Opening this up for the actual performance reports from myself and other BalletTalkers who care to do so. [I know of at least three others who will be there!] In the meantime, there's another thread for pre-festival chat, predictions, casting banter, etc.

Official Announced Schedule (source: Mariinsky website)

Ninth INTERNATIONAL MARIINSKY BALLET FESTIVAL
March 14 - 22, 2009


14 MARCH - LITTLE HUMPBACKED HORSE (premiere) , 1st cast

15 March - LITTLE HUMPBACKED HORSE repeat, 2nd cast

16 March - VISHNEVA: BEAUTY IN MOTION

17 March - DON QUIXOTE

18 March - SWAN LAKE

19 March - ULIANA LOPATKINA GALA

20 March - BAYADERE

21 March - GISELLE

22 March - ALL STARS BALLET GALA

RATMANSKY HAS ANOTHER HUGE HIT! TERIOSHKINA SUBLIME! 'BIG RED' RULES THE SEAS!

Saturday, March 14, 2009

Opening Night: LITTLE HUMPBACKED HORSE (premiere, new production & choreography)
Mariinsky Theater

ballet in 2 acts
Music: Rodion Shchedrin
Сhoreography: Alexei Ratmansky

Ivan the Fool - Mikhail Lobukhin
Tsar-Maiden - Viktoria Tereshkina
Little Humpbacked Horse - Ilya Petrov
Tsar - Andrei Ivanov
Stable Master - Yuri Smekalov
Mare/Tsarina of the Seas - Ekaterina Kondaurova
Two Horses/SeaHorses - Kamil Yanguradov and Sergei Popov
Brothers of Ivan, Danilo & Gavrilo - Ivan Sitnikov & Konstantin Zverev
Their Old Father-Roman Skripkin
Gypsy Pas de Huit- Elena Bazhenova, AlisaSokolova, Tin En Ryu, Yulia Smirnova, Polina Rassadina, Fedor Murashov, Karen Ioannisian, Anton Pimonov
Nurse-women - Elizaveta Cheprasova, Yana Selina (main 2); with Chugai, Nikitina, Ivannikova & Romashova
Firebirds - 8 male-female couples
Sea Creatures, Villagers & Boyars - corps

Choreography Staged - Alexei Ratmansky
Set and Costume Design- Maxim Isaev
Lighting design - Damir Ismagilov

Conductor - Valery Gergiev


It was a gala night in every sense - a star-studded audience, including the composer & his great wife, La Maya, in the Tsar's Box. Ratmansky's new Little Humpbacked Horse (or "LHH") is a delightful ballet, even if the mime is a bit tough to follow for those with no prior knowledge of the Russian fairy tale.

Designs

The very sparse set and plain, if not downright dowdy, solid-primary-color costumes were hard to swallow at first, yet they grew on me. [Think POB Sylvia - nothing realistic; Martha Graham minimal-modern.] The stage is completely black throughout the work, with one or two highly-colorful pieces of flat scenery to mark every scene, e.g., red rectangle for the scene in the hut, large red cube for a palace, a big yellow circle is the moon in an outdoor scene, etc.

The costumes lacked the gaiety and rich ornamentation necessary for a Russian fairy tale. Kids in my box were restless and dozing off due to the dowdiness on the designs; this is definitely a staging for adults. Another reason to keep the kids home is the somewhat sickening way that the Tsar drowns in an aquarium-like cauldron, his cadaver remaining on stage in the 'tank' for the rest of the act...yuk.

ONLY the Tsar Maiden and Queen of the Seas look truly glamorous with their crowns and somewhat-decorated dresses. I am particularly miffed by the dowdy burlap-sack 'babushka' jackets-and-skirts for the six Nurse-Maids, who, in the tale, are supposed to be glamorous beauties wearing bejeweled gowns and pearl-encrusted kokochnik headdresses. Another costume blooper: Why-oh-why the green-vertical-stripped outfits for the villagers, including silly top hats for the men? Perhaps in honor of St. Patrick's Day, two days from now?

Dancers

The dancing was energetic and appropriate, with special kudos to the two top ladies, Viktoria Terioshkina (Tsar-Maiden) and Ekaterina Kondaurova (Mare/Queen of the Seas), for their musicality and dash. It will be interesting to see how 2nd-cast Alina Somova will tackle the tricky petit allegro and general brisk dancing on the beat of the music that is required here. Ratmansky gives the Tsar Maiden some fiendish solos with double-attitude pirouettes (smooth as silk with Terioshkina) and energetic stabbing jumps on pointe.

If not quite an Ivanushka boyish type, the mature-mannered Mikhail Lobukhin willed himself into a role that I bet is much more suitable for tomorrow's Ivan, Sarafanov. Lobukhin warmed up for his exciting final solo in which he feigned not knowing how to dance, then forgetting steps...a delightful mime!

The character dancers were all superb with special kudos to recent-transplant from the Eifman Troupe, Yuri Smekalov, for his hilarious Stable Master, whose job was given to Ivan by the grateful Tsar early-on in the tale. Whether dragging the Tsar's throne around the stage or taking a yoga position to calm his nerves, Smekalov very often stole the stage with his presence. Bravo!

Andrei Ivanov was quite good as the Tsar. However, he looked way too young for this role - diminutive but young, with all-brown beard. A no-no according to the Ershov tale, which calls for a very old, white-bearded monarch.

Ilya Petrov, a star of the most recent Vaganova Academy graduation class in '08, tripped the light fantastic as the little horse. What ballon this young lad possesses!

Kamil Yanguradov and Sergei Popov were effective, if a tad silly, as the two tall horses masquerading as Disco Kings in bell-bottomed trousers. Huh?

The group dances were masterfully handled, especially the scenes with the swirling female AND male firebirds, in mostly-white tulle and enormous red flaming hats. There were the obligatory gypsies, here wearing brownish ponchos with big smiley-faced photos on the front and back.

Antecedents

Ratmansky salutes his new home of NYC in at least two ways: (a) a group of Boyars fall down in line, one after the other, like the Radio City Rockettes and (b) the Queen of the Sea is accompanied by male & female sea creatures in romantic tutus in a group-pose straight from Balanchine's Serenade (backstage-right, rows of dancers bend back, each row inclining at a different level). Later, the sea creatures are again in graduated rows but facing forward, akin to the skinhead-goons in Prodigal Son...and those men in tutus wear skintight caps, too. Coincidence?

There is even a tip-off to Ashton in the petit-allegro steps of female Firebirds who, as a cluster, perform the choppy-skipping steps of the fairy corps in The Dream.

Bronislava Nijinska's fanciful groupings for the wedding parties in Les Noces are recalled in Ratmansky's compositions for the eight Boyars sorrounding the Stable Master, who coyly poses like the Bride of the older ballet - a hilarious touch.

Also interesting are the numerous general echoings of standard Petipa mime, e.g., the Stable Master slowly lowers the palm of his hand in the famous "He will die" gesture performed by numerous classical villains.

Music

Ratmansky's choreography makes me love the Schedrin score which I simply could not appreciate in the old Bolshoi version by Radunsky, even though that ca-1961 version starred Plisetskaya & Vasiliev. Particularly gorgeous is the Act II music for the Tsar-Maiden's "Yawning Solo," to which Ratmansky choreographs a very beautiful and difficult dance that, to me, is the choreographic masterpiece within this work. That alone should win Ms Terioshkina the Golden Mask Award next year.

Bravi, Ratmansky and Kirov-Mariinsky Ballet!


Natalia Nabatova

This performance better be good! Shchedrin probably one of the best-known Russian classical composers of the latter half of the 20th Century and Ratmansky has done a lot of great choreographic work, especially his recent stint at the Bolshoi Theatre.

It was, sacto. Read above.

Sounds like it was a great performance, though I'm not sure if Western audiences will appreciate the "minimalist" design of the new production, though. Use costumes and set designs more appropriate for a Petipa-choreographed ballet of the 1880's and 1890's would turn this into a major sensation, in my humble opinion!

Hopefully, we'll get pictures of the premiere on mariinka.org within the next few days.

14/3/09
The Little Humpbacked Horse
Ballet in two acts, eight scenes

Music Rodion Schedrin
Choreography Alexei Ratmansky
Libretto Maxim Issayev after Pyotr Yershov's tale
Set & Costumes Maxiim Issayev
Lighting Damir Ismagilov
Conductor Valery Gergiev

Ivan the Fool Mikhail Lobukhin
Tsar Maiden Viktoria Tereshkina
Humpbacked Horse Ilya Petrov
Tsar Andrei Ivanov
Bed Chamberlain Yuri Smekalov
Young Mare Yekaterina Kondaurova
Horses Kamil Yangurazov, Sergei Popov
Danilo Ivan SItnikov
Gavrilo Konstantin Zverev
Father Roman Skripkin
Princess of the Sea Yekaterina Kondaurova
Sea Horses Kamil Yangurazov, Sergei Popov
Gypsy Dance Elena Bazhenova, Alisa Sokolova, Ji Yeon Ryu, Yulia Smirnova, Polina Rassadina, Fyodor Murashov, Karen
Ioanissian, Anton Pimonov
Wet-nurses Elizaveta Cheprasova, Yana Selina, Maria Chugai,
Anastasia Nikitina, Yekaterina Ivannikova. Xenia Romashova
Firebirds, sea people, people, boyars.

What a great opening for the 9th Mariinsky Festival Alexei Ratmansky provided
with his restaging and rethinking of The Little Humpbacked Horse!

What a great evening of dancing! Unfettered of formalism and consonant with the
richly textured musical score of Schedrin, Ratmansky provides a vibrant vocabulary of demi-caractere dancing- a heritage within the canon of l'ecole de danse, oddly neglected by other choreographers looking to express their vision in the context of the 21st century.

I think Ratmansky has hit the mark on how to deal with a popular Russian fairy tale and make it choreographically interesting for our age and our crises.

He's made a ballet for our times, that speaks to us, mindful of the music of another century and respectful of its beauties and sonorities, and when necessary, kindly placing tongue in cheek.
The highest praise I can bestow on this ballet, is, that it remains throughout its development interesting in its choreographic voice, true and vibrant. I enjoyed every minute of it.

And what a cast to realize this true and vibrant choreographic voice!

For start, my personal choice is the character and impersonation of the little humpbacked horse in the dancing of Ilya Petrov. Well nigh perfect in his insouciance and laissez faire attitude- this is a creature who can do magic and it works!

Central to the core meaning of the Yershov poem is the character of Ivan the 'fool'. Lobukhin embodies it beautifully. What keeps growing throughout the ballet is his likeableness. Lobukhin was spot-on.

The tsar of Andrei Ivanov is a buffoon. One looks for signs of malign behavior. There are none. The evil is his total lack of awareness. Ivanov creates a searing portrait of trivial, self-absorbed human behavior. The 'boiling water pot' of Yershov's tale becomes a gruesome bit of Grand Guignol theatre in this ballet
(that could be made briefer by judicious editing). And the briefer the better.

For malign behavior look no further than the portrait of the Bed Chamberlain, created by Yuri Smekalov. This is my first view of his work, and I am duly impressed; a very talented dancer.

The Tsar Maiden of Viktoria Tereshkina is a dance portrait of someone living in our times. Ms. Tereshkina creates a modern heroine, armed with independent thinking, directness of manner, and with resoluteness of action without any allusion to forces imposed from the 'outside'. She is her 'own' person.

The expansiveness of her persona in her variation sets new standards for wit, inventiveness and musical acuity. It was truly path-breaking. For a world premiere, her reading of the role is astonishingly fully developed. Ms Tereshkina continues to surprise with the range of her versatility.

The plasticity of equine and underwater creatures takes on new meaning with the
dancing of Yekaterina Kondaurova and Kamil Yangurazov and Sergei Popov- as a young mare and two horses in the first act, and a sea princess and two sea horses in the second act.

Like bold calligraphic designs, the double work of the dancers engraves imageries of astonishing originality and interplay as undulating lines in the retina.

The work of the two horses in the first act is, in my opinion, somewhat diminished by the heavy,' jokey' commentary provided by their costumes. Since the librettist and costume designer are the same person, this was obviously intentional.

Another noteworthy contribution of Ratmansky's choreography is the mastery of his groups dances. Among them, the dance of the wet-nurses was outstanding in achievement of dignified demeanor, economy of expression, and lyrical concision.

The six dancers are beautifully costumed, in white and sparse colors, suggestions of traditional garb, with heads covered, longish skirts, loose fitting tops, making altogether a harmonious ensemble that shows itself to the world as being at peace.

The gypsy dance on the other hand was more a commentary on gypsy dances, as we've come to know them and love them. Commentary on the 'hotness ' of gypsy dancing, commentary on the surprise-ness of gypsy dance, commentary on the exoticism of gypsy dance.
The dancers are wittily dressed in tops that have pictures of gypsy faces with 'fake' smiles.

Another group dance, less to my liking, is the people of the sea dance, with both sexes in unitards and romantic tutus. Their unitards have an 'alien' face on the chest printed upside down. The guy in tutu joke is tired.

From the opening scene introducing the father and his three sons, whose moves include 'air guitar' to the closing tableau of people (in green=hope?) coming forward in various reverences this was vibrant dancing from a gifted creative team and a gifted company. Bravi to all.

The Mariinsky orchestra under the baton of Valery Gergiev sounded masterful.

Unfortunately, I will miss the second performance of TLHH and will see instead the Mikhailovsky theatre's performance of Ruzimatov's new Corsaire.

Thank you so much for this wonderful review, chiapuris, with its vivid depiction of both characterization and dance. It sounds like a delightful ballet.

By the way, the pictures from the first performance of The Little Humpbacked Horse are now up on Mariinka.org's only English-language section. Natalia is right--the weird costumes and minimalist set design are quite unusual and not what I had quite expected, especially since I've seen the version filmed in 1962 with Maya Plisetskaya. I was hoping for a bit more "traditional" costume and set designs, which could have made this a wonderful ballet to watch.

Great to have such a detailed report. By what you have told us, I know I would have loved to have seen this production.

March 15, 2009

LITTLE HUMPBACKED HORSE, cast 2

ballet in 2 acts
Music: Rodion Shchedrin
Сhoreography: Alexei Ratmansky

Ivan the Fool - Leonid Sarafanov
Tsar-Maiden- Alina Somova
Little Humpbacked Horse - Grigori Popov
Tsar - Roman Skripkin
Stable Master - Islom Baimuradov
Mare/Tsarina of the Seas - Ekaterina Kondaurova
Two Horses/SeaHorses - Yuri Smekalov and Sergei Popov
Brothers of Ivan, Danilo & Gavrilo -Soslan Kulaev & Maxim Zuizin
Their Old Father- Andrei Yakovlev II
Gypsy Pas de Huit- Elena Bazhenova, AlisaSokolova, Tin En Ryu, Yevgenia Emelyanova, Polina Rassadina, Fedor Murashov, Karen Ioannisian, Anton Pimonov
Nurse-women - Elizaveta Cheprasova, Yana Selina (main 2); with Chugai, Nikitina, Ivannikova & Romashova
Firebirds - 8 male-female couples
Sea Creatures, Villagers & Boyars - corps


Conductor: Alexei Repnikov (a dead-ringer for ex-Gov. Blagojevic of Illinois, fluffy hair and all; the pre-announced Gergiev did not show)

Leonid Sarafanov proved that he was born to dance Ivanushka, far superior to Mikhail Lobukhin's very competent delivery yesterday. However, Sarafanov had the technical fireworks (four consecutive double-tours in each of his big solos, one per act), youthful looks and, most importantly, natural charm and fabulous comic timing. The audience went absolutely crazy for him. This was truly his night.

Beside Sarafanov, one other dancer in the house received a volley of 'bravos' and a standing-o: Maya Plisetskaya! The Bolshoi great -- and wife of the composer - sat at the front of the Tsar's Box on both nights...but only today received this unusual tribute at the start of the lone intermission when somebody in parterre shouted 'Brava, Maya!' prompting everyone else to commence cheering for quite a long time...and Maya thanked us back by standing and performing her 'swan wave arm movements' for several seconds.

Among the other on-stage dancers new to the ballet tonight, I must single out two: the sprightly Grigory Popov as the Humpbacked Horse - rivaling Sarafanov's ballon, as they leaped side by side -- and Islom Baimuratov as a truly snakelike villain, the Stable Master (the role that Yuri Smekalov essayed so magnificently yesterday).

Alas, I cannot report the same for tonight's Tsar Maiden, Alina Somova, for whom the choreographer seems to have supplied watered-down steps for both of her big Act 2 solos, e.g., gone are Terioshkina's double-pirouettes en attitude (tonight, tentative three-quarters....not even one full circle), as is the character's signature move of quick-stabbing hops on pointe (Somova did demi point hops). Similarly, series of back-traveling arabesques stopped at two. Furthermore, where was the series of eight (8) renverse-turns on one foot that Terioshkina did so grandly at the end of the 'Yawning Solo' (just before the Tsar-Maiden goes to sleep, at the start of Act 2)? Technique aside, Ms Somova totally lacked the charming acting ways of Terioshkina, e.g., mugging a big smile to the audience and hiking her chin constitutes her acting, it appears. As usual, she disregarded the music to make her extended points. [Somova can thank her lucky stars that the fast-paced Gergiev decided to take the night off.] Finally, where was Somova's turn-out? This is a basic fault that can't be missed in her huge feet.

One of these days, Sarafanov-Ivanushka will be paired with his worthy partner, Viktoria Terioshkina.

The Mariinsky should think twice about touring this ballet to places like DC or London, where people expect grand sets and costumes when they pay grand prices in large opera houses. Like last night, kids were bored...but even more telling, I overheard adults around me state the same, i.e., where are the true Russian folkloric costumes and enamel-box sets? It's a shame because the choreography is splendid. These cheesy - even vulgar, at times - costumes do not cut it.

Natalia Nabatova

Thank you Natalia for the wonderful report ! I am so happy that Ratmansky chose both Tereshkina and Kondaurova to take part in this premiere and open the 9th Festival. Also, it's wonderful that Plisetskaya and her husband Rodion were in attendance! What a rare
treat!

I'm REALLY surprised that the audience on the first night didn't realize that Maya Plisetskaya--the wife of composer Rodion Shchedrin and probably one of the two greatest Russian ballerinas of the 20th Century besides Galina Ulanova--was sitting in the Tsar's Box. Are they a little too chauvinistic about supporting the Mariinsky Theatre?

And it appears, Natalia, you agree with my opinion that the "minimalist" costume and set design might not be the liking of Westerners, either. (I was a bit shocked at the costume and set designs based on the pictures posted on Mariinka.org.) I really hope that if they do decide to tour this new production of The Little Humpbacked Horse in Europe and the USA, they go to more lavish costumes and a set design more appropriate for a Petipa-choreographed ballet as it was staged in the 1880's and 1890's, like I said earlier.

We did, Sacto1654. Everyone had their binoculars on her. The reason for the sudden erruption last night was that someone in parterre got the applause-ball rolling by shouting 'Brava, Maya!' as soon as the intermission lights went up. I suppose that 'the shouter' had not noticed her earlier, when she entered the box prior to the show.

During the opening night, a similar-but-smaller 'applause only' ovation had greeted Vishneva's entrance into one of the two boxes directly above the sides of the orchestra pit...and the night before, the same thing when Vishneva took her seat at the Mikahilovsky for the premiere of the new Corsaire.

It just takes one or two fans to begin these mini-ovations for VIPs in the audience.

Regarding the minimalist designs, I actually like the basic concept as 'total art.' I was thinking more a-la-Hochhausers who know that 'realistic luxe' is what the general opera-house-paying audience expects to see when shelling-out $100 a person for a night of 'Kirov-Mariinsky' or 'Bolshoi.' In today's economy, who needs a repetition of the July 2006 'Gergiev's Folly' of an all-Shostakovich season at the London Coliseum, when some performances sold only 30%...and the economy was rather good back then. This new Ratmansky ballet is delightful art for the seasoned ballet-goer but absolute box-office poison for international touring right now.

Natalia -- I hope no programmers or tour managers get any ideas from your last post ! I've read the wonderful descriptions of the ballet on this thread and watched a few youtube excerpts as well. And it would be fabulous to have the opportunity to see it. (Fabulous enough to buy plane tickets and fly to D.C. or New York to see it should work allow. I will even say that given my limited resources for that kind of extravagance, I would be more inclined to spend the money for this work than for the nineteenth-century classics, which I DO love and respect/)

I vaguely thought Ratmansky's Bright Stream was something of a hit in London at least. Certainly, he is pretty much the most talked about choreographer in ballet right now. Macaulay is a huge admirer and it might be possible to get a big feature in the Times and other papers. If one was lucky (very lucky) in D.C. maybe a first family appearance on opening night. So, perhaps a marketing campaign to sell this ballet to the general public is not impossible to imagine -- 'lost masterpiece of the Soviet era brought back to life by the most exciting choreographer in ballet!'

Of course if I knew how to produce a successful ballet tour, I would probably not be reduced to fantasizing about it on ballet message boards.

Anyway, for my part, I would be very glad to see this.

A couple of comments:

1) Thanks for the clarification of why the audience finally gave Plisetskaya that ovation. I was actually a little surprised that the St. Petersburg audience gave an ovation to Vishneva, considering how Gergiev has said publicly in the recent past about Vishneva doing a bit too much work outside of the Mariinsky troupe.

2) What you just said reinforced my view that the new version of The Little Humpbacked Horse was written for what I call a "hardcore" ballet audience--the dancing was great but the costumes and set design are definitely NOT what more casual fans had in mind when they think about ballet. Given that (in my opinion!) ballet fans in the West have a perceived standard for Russian ballet with its more lavish costumes and set designs, if the new ballet goes on tour in the West, they either have to go to type of costumes and set designs more akin to what Marius Petipa did in his heyday or write a really long explanation in the program guide why Ratmansky went to this "minimalist" design.

Drew, I am sure that you and most other habitues of Ballet Talk would love Ratmansky's Little Humpbacked Horse. I absolutely love it and would sincerely hope that impressarios can throw caution to the wind. Maybe one or two of them have the wherewithal to make our dreams come true?

By the way, Bright Stream is totally different in that it does have bright (no pun intended) and luxurious designs, as well as a bouncy, tuneful score. LHH has a major problem with the minimalist 'look' and a secondary one with the "non-Minkusian" (!) score. Casual Western audiences would have preferred the lilting Pugni and Drigo tunes from the Imperial-Era version of LHH...think 'Animated Frescoes Pas de Quatre' or the 'Ocean and Pearls pas de trois.' Tsar Nicholas II wrote that his favorite moment in all of ballet was the performance of the March that opened Act IV of the St. Leon-Petipa version of LHH...I wonder where on this earth we could now see and hear that march performed live?

To enjoy the Ratmansky LHH, it is important to "turn off your inner Tsar" and stay in the 21st century. I did, so I enjoyed.

My "inner Tsarina" remains off, as tonight we'll have VISHNEVA: BEAUTY IN MOTION. Interestingly, it will feature an ensemble of dancers somewhat different from what toured the USA last year.

Monday, March 16, 2009
DIANA VISHNEVA: BEAUTY IN MOTION
Mariinsky Theater

PIERROT LUNAIRE
Music by Arnold Shönberg
Choreography by Alexei Ratmansky; Assistant of choreographer - Elvira Tarasova
NEW designs (since the US tour) by Tatyana Chernova
Performed by Diana Vishneva, Islom Baimuradov, Mikhail Lobukhin, Alexander Sergeyev

F.L.O.W. (For Love of Women)
ballet in three parts
Choreography and Direction by Moses Pendleton
Performed by Diana Vishneva, Yekaterina Ivannikova, Yana Selina

THREE POINT TURN
Music by David Rozenblatt
Choreography by Dwight Rhoden
Performed by Diana Vishneva/Alexander Sergeev (in red costumes)
Irina Golub/Anton Pimonov (green)
Yana Selina/Mikhail Lobukhin (blue)

The hall was packed with Vishneva's enthusiastic fans who bravoed like crazy but...but....this show was, to me, very much a mixed bag, much as it was a year ago when I saw it in NYC. The best part came first, with Ratmansky's minimalist-intellectualist Pierrot Lunaire; followed by a nice'n' easy set of three choreographic bon-bons by Moses Pendleton (For Love of Women); ending with a techno-loser that did no justice to six great dancers, Three-Point Turn.

Pierrot Lunaire

Keeping the all-black 'non set' and projection-screen of Little Humpbacked Horse, this heavy-going ballet for lone female and three men was nonetheless masterfully crafted by Ratmansky...his excellent norm. A series of 20 or so poems, the first half are lighthearted and the second group sinister, e.g., Vishneva mistreats all of the men, at one point stepping over one, another time walking another guy on an imaginary leash, like a dog.

Unlike the US tour in 2008, the dancers were dressed in new street clothes -- Vishneva in a knee-length black lycra dress with short sleeves, the men in black trousers and white shirts. While the new togs are elegant and truly show off Vishneva's 'beauty' more so than the unisex white clown outfits and pointed hats from '08, I am not sure that they enhance the theme of the work. Another lovely but nonsensical innovation was the large projected backdrop of pink roses and cherubs, a-la Fragonard or Watteau. Huh?

F.L.O.W.

This seemed to be the audience's favorite third of the show...three sweet and simple short pieces. First, we were treated to a trick-light-show in which three seated women (whose faces were not shown) maneouvered their blue-lit limbs into many cute figures, such as swans, smiley faces and a big heart. Next came Vishneva's slinky Mme Narcisse reclining on a tilted mirror, making sexy poses. (Lots of audience flash-cameras out for this one!) Finally came my personal fave -- a silver-gowned, bare-footed Vishneva twirling endlessly while sporting a huge hooped headress from which emanate floor-length streams of beads...the faster she twirls, the farther the strings fly out...a Beauty-Helicopter in Motion! Vishneva was particularly lovely during the bows following this piece, garbed only in the simple silver-lame sleeveless gown, barefooted, hair down, she conjured images of Isadora Duncan during her St. Petersburg debut ca 1905. A magical moment, simply standing still, hand to heart, soaking in our applause.

Three-Point Turn

Set to truly-ghastly techno-marimba music, this peel-off-the-clothing and see 'em sweat work did nothing for me. Three couples dance together, make love, switch partners, don't seem to ever care for each other, yadda-yadda-yadda. Nice muscle tone..but where is the art? Particularly so when the saving grace of this work on the US tour -- African-American King of Dance, Desmond Richardson -- was not here, although the wonderful Alexander Sergeev tried his best to substitute. I almost fell asleep, as did everyone around me, it was that bad. Oh well, it still got a bundle of bravos from the Vishneva Groupies, here in full force in the upper galleries.

Apotheosis

Ah...but the show was not quite over with the final ballet. As in NYC, the audience was held captive for several minutes awaiting the appearance of LA VISHNEVA in a fancy gown. What would she be wearing, we all asked...as we applauded, and applauded, and applauded. Corps dancers took at least three bows...then the musicians from Pierrot Lunaire came back out...then the marimba player from the last work...then all of them together. FINALLY La Vishneva emerged with a red-and-gold beaded gown, and a Makarova-style long red headscarf, also totally beaded. It was the most luxurious costume seen on this stage in three nights!

Although an official part of the Mariinsky Festival, the evening was, as per the playbill, a production of Danilian/Ardani Artists.

Tonight the 'three-day vacation' ends for the set, costume and prop departments with DON Q! Back to the type of ballet that made the Kirov-Mariinsky name. It's time to turn my 'Inner Tsarina' back on.

Natalia Nabatova

That description just made my day!

Glad that you liked it, Helene!

By the way, our Japanese fans will be happy to read that the LHH will tour Japan this coming November/December! I just ran into a nice Japanese journalist who confirmed it. No word yet on a North American or Western-Euro tour featuring this ballet. We already know that the big 2009 London tour will not include LHH; neither will the troupe's annual visit to Washington, DC, in 2010. Maybe NYC in 2010? Or perhaps Ratmansky may take it to ABT? Hard sell for the Met, though, especially with ABT's current troubles.

The Mariinsky Ballet will have a Japan tour in November to December to perform LHH. I don't know how many performances of LHH will be done because tickets have not started booking yet. Other programs are Swan Lake and Sleeping Beauty, and a gala.

I will introduce you the official blog of the impresario that reports about the premire.
http://ja-ballet.seesaa.net/article/115802765.html

Natalia, I have enjoyed your reports and that gives me a very positive expectation of the LHH with the Mariinsky. Hope we can see Tereushkina's Tzar maiden.

Also some pictures from the rehearsal.
http://ja-ballet.seesaa.net/article/115557127.html

Dear Naomikage, thanks so much for this additional news and links about the upcoming tour of Japan. This may end up being the 'tour to see' next season. Let's all hope for an upswing in the int'l economic situation...so that we can book our tickets to Tokyo!!!

Edited, 9am, 3-18-09: Ran into hotel internet glitches last night so couldn't write full report 'til today. Sorry!

SHE CAME, WE SAW, SHE CONQUERED! VIENGSAY'S KITRI AT THE MARIINSKY!!!

Tuesday, March 17, 2009
DON QUIXOTE
Mariinsky Theater

ballet in three acts (six scenes)
Music: Ludwig Minkus
Choreography: Alexander Gorsky (1902)

Kitri – Viengsay Valdes (Ballet Nacional de Cuba)
Basil – Leonid Sarafanov

Espada – Konstantin Zverev
Street dancer – Yekaterina Kondaurova
Flower-sellers – Nadezhda Gonchar, Yana Selina
Dryad Queen – Tatyana Tkachenko (instead of announced Alina Somova...Tkachenko totally unannounced!)
Amour - Valeria Martinyuk
Gypsy soloists - Alisa Sokolova & Islom Baimuradov
Oriental Dance - Yulia Slivkina-Smirnova
Mercedes - Elena Bazhenova
Fandango leads - Ti En Ryu & Karen Ioanisian
Act4 Classical Variation - Anastasia Nikitina
Don Q - Vladimir Ponomaryev
Sancho - Stanislav Burov
Gamache – Soslan Kulaev
Lorenzo - Nikolai Naumov
Tavern Host - Alexander Efremov


You know that a magical performance is afoot when the babushki who tend the coat-check rooms enter the auditorium to witness the big pas de deux. That's what happened tonight when Cuban star Viengsay Valdez made her Mariinsky Festival debut in her signature role of Kitri, opposite the home troupe's bravura master, Leonid Sarafanov, as Basil. For afficionados of good, old-fashioned technique -- and a chance to see Cuba's Cechetti/Ballet-Russe de Monte Carlo charm paired with a Vaganova-style man-- this was one for the ages, even if it 'pushed the envelope' of highest taste, for some. It doesn't matter; they cheered like crazy and kept the theater personnel up way past the usual closing time.

Viengsay Valdez did all that we expected and more, e.g., balances to die for (one for about 30 seconds in the pdd adagio...then slowly lowering her leg...the theater erupted!), multi-fouettes (superb 1-1-3 series in the pdd coda, opening her fan for the triples), and plenty of natural Spanish brio. Ole!

Sarafanov also drove the crowd crazy...doing his now-signature "double-tour/double-pirouette x 4" sequence as part of his Act I solo. He lifted the ballerina securely most times but had one small glitch when trying to lift her onto his shoulder in the tavern scene (prompting a very cute improvisation and "Oh, don't worry...nichovo!" miming by her). We all held our collective breaths for the presage lift into throw-swan-dive in the Act 4 pdd...and it succeeded without a hitch!

Surprise of the night: a gorgeous, unannouinced, Tatyana Tkachenko as the Dryad Queen in place of Ms. Somova. Oh, my...let's just say "Vive la difference!" Tkachenko has so streamlined -- but still womanly - and now has straight darkish-blonde hair that I hardly recognized her at first. She performed her variation splendidly, with high degree of musicality and no strain -- repeat, no strain -- in her extensions and positions. Her diagonal of jetes in the coda was actually higher than that of Valdes, garnering huge bravoes.

Also, kudos to Konstantin Sverev's sharp Espada and, of course, the elan of our 'Big Red'!

Finally, one must mention the fine work by Anastasia Nikitina in the Act 4 Bridesmaid Solo, where she substituted the usual variation with the "jete variation" from Paquita. Much, much better than her forays into the traditional bridesmaid solo in Washington, DC!

The ensemble was magnificent, seemingly very happy to be back in its Comfort Zone of the classics. A standout among the demi-solo Dryads/Bridesmaids: elegant Oksana Skorik, of the recent Perm Ballet School DVD fame, in bright orange tutu in the last act.

TONIGHT: Swan Lake starring Terioshkina!


Natalia Nabatova

This is just circus, I've seen this dancer in Don Q. pas de deux in London: vulgar beyond belief.

17/3/98
Don Quixote
Grand ballet in three acts, six scenes with a prologue
Libretto by Marius Petipa after Cervantes
Choreography by Alexander Gorsky after Petipa
Gypsy and Oriental dances by Nina Anisimova
Fandango by Fyodor Lopukhov
Set design by Alexander Golovin and Konstantin Korovin
Set restoration by Mikhail Shishlianikov'
Costume design by Konstantin Korovin

Don Quixote Vladimir Ponomarev
Sancho Panza Stanislav Burov
Lorenzo Nikolai Naumov
Kitri Viengsay Valdes
Basil Leonid Sarafanov
Gamache Soslan Kulaev
Espada Konstantin Zverev
Street Dancer Yekaterina Kondaurova
Flower-sellers Nadezhda Gonchar Yana Selina
Lady Dryad Tatiana Tkachenko
Amour Valeria Martynyuk
Mercedes Elena Bazhenova
Tavern Owner Alexander Efremov
Gypsy Dance Alina Sokolova Islom Baimuradov
Oriental Dance Yulia Smirnova
Fandango Ji Yeon Ryu Karen Ioanissyan
Variation Anastasia Nikitina

I looked forward with anticipation for yet another Kitri in this age of Osipova.
Ms Valdes from the Ballet Nacional de Cuba shone brightly.
Gifted with an open face and a forthright style, she developed her characterization in stages, showing us various facets of her theatrical demi-caractère personality.

I found the pairing of Ms Valdes and Mr Sarafanov entirely felicitous. His blond sleek looks and her dark-haired Mediterranean disposition created palpable synergy.

And just to get it out of the way in this review as early as possible, the as yet developing double-work skills of Mr Sarafanov notwithstanding, they worked very well together.

They were delightful in the first scene, generally carried out musically at a brisk pace, establishing the parameters of their growing relationship.

Konstanin Zverev made a fine Espada with his deeply arching backbends and acute rhythmic precision. He partnered the always glamorous Yekaterina Kondaurova with panache.

Nadezhda Gonchar and Yana Selina were flower-sellers of free spirited, stylish extroversion. Very smart.

The character and pantomimic parts, from Soslan Kulaev's Gamache to Don Quixote's team of Vladimir Ponomarev and Stanislav Burov maintained the high standards of the Mariinsky's 'grand' ballet traditions. It was a pleasure to see them all.

The same can be said of the male corps de ballet toreadors. What a fine showing they make!

The dream scene had a beautiful performance of Lady Dryad (as the program calls her) by the unannounced Tatiana Tkachenko (for the program's listed Alina Somova).

I checked the lobby at intermission to see whether they had listed the substitution on the poster as they've done at other performances -rather than announce it over the loudspeakers-, but there was nothing.
It seems to me a curious omission on the part of the Mariinsky management.

Ms Valdes exhibited a total conviction in the choreographic material she was exhibiting, a legacy of the Alicia Alonso tradition she has inherited.

Valeria Martinyuk was, as usual, as fresh as a spring bulb as Amour.

The female corps and the Vaganova academy students were a joy.

Ji Yeon Ryu and Karen Ioannisyan danced Lopukhov's Fandango
with precision and style. A stunning performance.

A standout of the third act was the wedding variation of Anastasia Nikitina.
She is another one to watch for in future performances.

The wedding pas de deux was a totally fulfilling experience.
The entrée and adagio were in the grand manner with some thrilling balances by Ms Valdes, and save for some double-work difficulties, in a clear style.
The variations were models of technical achievement.
The coda brought astonishing feats from both principals, contributing to a lovely evening of classical dance from the principals, and indeed, from the entire cast.

Audience applause was warm and long.

Pavel Bubelnikov conducted with zest and authority.

I've only seen clips from last nights PDD, and it appeared as though Valdes had an off-night and was out-classed by Sarafanov. She seemed to be trying too hard and although her triples in the coda were nice, she failed to finish the fouettes with her typical multiple pirouette. Also, I though it was very awkward when she tried for the double turns a la seconde into the penche, while Sarafanov tried to catch her after one rotation. I thought she looked rather stiff in her variation as well. Sarafanov looked brilliant, especially in his variation. I think Valdes is a very entertaining dancer, but I am surprised that she isn't getting more negative reviews for being tasteless considering the lashing Somova typical receives. I was at the festival two years ago when Osipova lit up the stage as Kitri, and that remains one of the most magical nights of ballet I have ever seen.

I was wondering if in the last act's PDD, she did the "shoulder rolls" that Kitri does in Cuba? For me this is what made me twitch, but I do enjoy the Cuban balance.

How did you find the clips on youtube? I tried searching but only came up with older clips.
Or are they on another site?

I keep trying to have an open mind but the more I see, the less I like. Still.....

Unlike Somova, Valdes has excellent technique, but in my opinion she mis-uses it.

The videos are on the channel of Petyarus on youtube. There are clips of the entire PDD, Nikitina, dream sequence variations, and Kondaurova. Try searching Valdes Sarafanov. Good luck!

IMO, Somova clearly has better technique than Valdes. I could see how some might think Somova misuses it.

Call me crazy, but I kind of expect Don Q to be over the top. I have a lot more tolerance for a Kitri who is showy to the point of vulgar than I would for a Giselle, or even a Swanilda.

I also will admit the occasional soft spot for straight-on vulgarity if I feel the dancer comes by it honestly.

I have seen Vladimir Vasiliev and Yekaterina Maximova in full length performances in the theatre and in 1969 saw them dance the pas deux as a concert item. Both pulled out all the stops, performing a highly technical version with perfect control and there was a lot of fun to be admired but no vulgarity. I think Vasilievs performance is best caught on film and perhaps more so than the entirely delectable Maximova who on stage in Don Q, was an accomplished performer who brought true joie de vivre and an impeccable techhnique.

On the Valdes thread, cubanmiamiboy posted a number of youTube links which show her in a number of very familiar "numbers" from the classics.

Two of them caught my eye:

Black Swan Act III variation/coda
http://www.youtube.com/watch?v=17-adPOsE4g

and (relevant to her performance at the Mariinksy):

DQ Kitri’s entrance/Dulcinea variation
http://www.youtube.com/watch?v=WEfknMnP66s

Her balanching is indeed extraordinary, which impacts her turning enormously. In the 2002 Black Swan clip, this actually distracted from the dancing and the character. It was like a master class of sorts, and it mesmerised me by technique while obliterating the character..

The 2007 Paris Kitri/Dulcinea, on the other hand, reveael both technique AND a charming and charismatic dancer. As Leigh impliess, some roles are more tolerant of this sort of thing than others.

While Valdes' flashiness isn't totally to my taste, it suited Don Quixote. I thought she was quite good in the clips from last night -- nice balances and fouettes. It seemed to me the over the top-ness was toned down a bit, compared to other clips of Valdes doing this PDD. (Perhaps some nerves?) Sarafanov looked brilliant. He and Valdes appeared a well matched pair.

Oh, and thank you for the wonderful reports, Natalia and chiapuris!!

You're welcome, Rosa. I failed to mention in the review the surprising 'softness' of Valdes' Don Q pdd variation. Instead of going chop-chop-chop, she floated into her initial attitude arabesques which, I am told, was part of the 1930s-40s-50s Ballet-Russe de Monte Carlo way of performing this dance. Madame Alonso's influence, perhaps? So, in regard to the pdd solo, Viengsay Valdes is among the least vulgar Kitris.

I am back to internet access in my room, so will try to give quick impressions of last night's fab Swan Lake with Terioshkina and Berlin Ballet principal Kaniskin. I had better move quickly before things blank-out again....LOL!

Wednesday, March 18, 2009
SWAN LAKE
Mariinsky Theater

fantasy ballet in three acts (four scenes)
Music: Pyotr Tchaikovsky
Choreography: Marius Petipa and Lev Ivanov (1895)
revised choreography and stage direction: Konstantin Sergeyev (1950)

Odette-Odile – Viktoria Tereshkina
Siegfried – Mikhail Kaniskin (Staatsballett Berlin)
Act I Pas de Trois – Irina Golub, Nadezhda Gonchar, Maxim Zyuzin
Jester – Andrei Ivanov
Rothbart – Ilya Kuznetsov
Prncess-Mother - Elena Bazhenova
Tutor - Petr Statsyunas
4 Big Swans - Iosifidi, Kondaurova, Lishuk, Vasnetsova
4 Cygnets - Vasyuchenko, Lavrinenko, Selina and ???? (a small redhead -- not Cheprassova -- certainly not the announced Nikitina)
Spanish - Ryu, Baimuradov, Smirnova, Sergeyev
Neapolitan leads - Selina, Khrebtov
Hungarian leads - Rassadina, Ioannisian
Mazurka - Berinova, Belik, Vasiletz, Khrebtova, Nikitin, Salikov, Klimov, Naumov
Act 4 Two Swans - Kondaurova, Iosifidi

Conductor – Mikhail Agrest


Last night's performance of Swan Lake could be subtitiled 'Felicitous Facility.' The leads, as well as the Act I Pas deTrois dancers, are so easily in command of their art that, almost to a fault, there was no tension.

Odette/Odile has become one of ViktoriaTerioshkina's signature roles. One knows that she will never put a wrong foot down. Her body is poetry and the line sublime, very much like another long-limbed-but-diminutive great Odette-Odile of my childhood, Natalia Makarova. Terioshkina has Makarova's body and expressiveness in line. If there is a fault, it is that, like Michele Wiles at ABT, Terioshkina face & acting may be a bit too toned down. [The extreme opposite of this is Veronika Part, also of ABT.]

Mikhail Kaniskin was an able partner and easy-going technician, if not the sort that knocks the socks off you. I loved his floaty manner in jumps and turns, as well as his gorgeous feet.

The pas de trois dancers were elegantly beautiful...if not particularly exciting. Nice and clean.

It was, for me, the lowest-wattage night of the festival, from a crowd-reaction point of view...but nothing was wrong. Felicitous facility. Even the jester, Andrei Ivanov, was in low-key mode. If anybody 'showed the effort' and got the audienced pumped-up, it was Kuznetsov's always-thrilling, ever high-flying Von Rothbart....but his presentation was almost ruined by one obnoxious 'clacquer' in the audience -- we know the guy; I've written about him before -- who loudly 'Bravoed' every jump and turn made by Kuznetzov...four 'bravos' during his initial brief appearance at the start of scene two, imagine that! But it's characters like BRAVO MAN who make coming to the Mariinsky such fun.

Last night's presentation paired the traditional 1950s scenery with Vinogradov's over-glittery costumes, e.g., a jester in electric-blue unitard with red glitter in the ball scene. Curiously, according to the playbill, the evening was in honor of the 100th birthday of the designer of the 1950s costumes, Simon Virsaladze! So he was 'honored' trotting out the vulgar costumes of 1995? Geez Louise...

Natalia Nabatova

18/3/09
SWAN LAKE
Fantasy ballet in three acts (4 scenes)
Music Pyotr Tchaikovsky
Libretto Vladimir Begichev and Vasiy Geltzer
Choreography Marius Petipa and Lev ivanov (1895)
revised by Konstantin Sergeyev
Set design Simon Virsaladze
Costume design Galina Solovyova

Odette-Odile Viktoria Tereshkina
Siegfried Mikhail Kaniskin
Princess/Mother Elena Bazhenova
Tutor Pyotr Stasyunas
Pas de Trois Irina Golub Nadezhda Gonchar Maxim Zyuzin
Joker Andrei Ivanov
Rothbart Ilya Kuznetzov
Cygnets Elena Yushkovskaya Anastasia Mikitina
Anna Lavrinenko Yana Selina
Big Swans Alexandra Iosifidi Yekaterina Kondaurova
Lilia lishchuk Daria Vasnetsova
Spanish Ji Yeon Ryu Yulia Smirnova Islom Baimuradov Alexander Sergeyev
Neapolitan Yana Selina Maxim Khrebtov
Hungarian Polina Rassadina Karen Ioanissyan
Mazurka Daria Barinova Olga Belik Anastasia Vasilets Svetlana Khrebtova
Igor Nikitin Sergei Salikov Alexander Klimov Nikolai Naumov

Although I made this point after last year's run of five consecutive Swan Lakes,
I'll repeat myself: the Mariinsky's production of Sergeyev's SL is one of the most satisfying productions extant. The first act is a marvel of story telling, scene setting and just beguilingly conceived dance sequences. The lake scene is without fault. The Odile scene sets the standard.

In my view, It is also the one that most needs rethinking to bring its Act III back into consonance with its musical springboard: the score of Tchaikovsky. It needs to let go of its Soviet happy ending.

Tonight's performance featured Viktoria Tereshkina, an artist, who, at least for me, sets the standard of dancing the dual roles as pure vessels of choreography unfettered of personal ornamentation. She was transcendently beautiful throughout. The purity of her line, the acuity of her perception were very moving.

Her partner, Mikhail Kaniskin, a guest from the Berlin Staatsballet, was a solid partner, an accurate dancer, but, at least personally I failed to see him at any point in the proceedings express any passion of anxiety, remorse, pain of love
or anything else that the unfolding events could have provoked in him.

An association I hold for the first act pas de trois is dancing as the abandon of youth. I missed this feeling of carefree delight in tonight's performers of the trio, who were technically superb but somewhat restrained.

The ensemble dances, in all the acts, as always with the Mariinsky company, were fully articulated, rich with details, spilling over with interest.

The character dances of the Mariinsky three-act ballets keep alive the rich musical folk and court traditions upon which the ballet's danse d'ecole is nourished. Tonight's Hungarian and Mazurka ensembles are bright examples.

Tonight's audience was loaded with digital cameras and flashes that kept going off throughout the performance- particularly bothersome during the lake scene.

Another jarring audience event was a clacquer's shouted 'bravo' during the lake scene with Rothbart alone on stage. Simply weird.

Mikhail Agrest conducted energetically.

Applause was warm and curtain calls were extended.

Mr Kaniskin on receiving floral bouquets offered them in turn to Ms Tereshkina. A nice gesture.

Thursday, March 19, 2009
ULIANA LOPATKINA GALA
Mariinsky Theater

I. Diamonds
(Balanchine/Tchaikovsky)

Leads - Ulyana Lopatkina, Danila Korsuntsev
Demi-solo women - Chugai, Ivannikova, Ostreikovskaya, Vasnetsova
Demi-solo men - Ermakov, S. Popov, Zverev, Zuizin


II. Contemporary Divertissements

THE PARTING by Yuri Smekalov - Obraztsova/Schklyarov

THE CRANE solo fm Dreams of Japan by Ratmansky - D. Gudanov (Bolshoi guest)

DUET OF AUTUMN COLORS by Yevgeni Panfilov - Tarasova/Batalov

OLD PHOTOGRAPH by Dmitri Bryantsev - Golub/Sitnikov

CONTRADICTIONS by Francesco Ventriglia - Lopatkina/Kozlov


III. Schéhérazade

(Fokine/Rimsky-Korsakov)

Zobeide- Uliana Lopatkina
Golden Slave - Dmitry Gudanov (guest fm Bolshoi)
Shah- Ivan Sitnikov
Shakezman - Karen Ioannisian
Chief Eunuch- Roman Skripkin
Three Odalisques in Pink- Elena Bazhenova, Ti En Ryu and Yulia Smirnova


The 9th Mariinsky Festival hit a lowpoint in the most unlikely of evenings-- the gala in honor of its greatest star, La Divina, Uliana Lopatkina.

The negatives were NOT due to the night's highlight -- the first ballet, Diamonds, which received a truly majestic delivery from soloists and corps alike. For anybody who thinks that Lopatkina may be 'losing it' at age 35/36, her Diamonds can be held-up as Exhibit A that this is not the case. Everything was creamy and masterful -- deliciously silky double pirouette after the partner lets go of her in the adagio, buttery bourres, sculptural positions that recall the Canovas in the Hermitage. The corps was brilliant, especially the four demi-solo ladies, among whom I'll single-out Daria Vasnetsova with her bronzed complexion and ever-flashing eyes.

It was all dowhill from here, despite the participation of glorious dancers...

In the next section, we were seemingly taken back to one of those gawd-awful 'Contemporary Rounds' of an international ballet competition, such as Varna or Jackson. Lots of sturm-und-drang to display ability to extend limbs and roll on the floor. At least Dmitri Gudanov had a solo and was spared having to fight with a female. What a shame that this will be (I think) our only Festival look at the marvellous Evgenia Obraztsova & Vladimir Schklyarov -- a sturm-und-drang tango! How horrible that anybody's only look in a long time at veteran artists, Elvira Tarassova and Andrei Batalov, was a 'posing piece' in which each pulled the other to 180-degree extensions...quite surprising in the man, be the way. Golub and Sitnikov's piece was brighter -- well, the costumes were white -- but even it had a dark undercurrent (little girl in pigtails with a tall sailor?). Especially horrid was the last piece with Lopatkina and her favorite heave-ho guy, Kozlov, which begins with Lopatkina slapping Kozlov and eating a bunch of roses, then ends with a big kiss for the bum? Why does such a great artist like Lopatkina subject herself to this kind of crap that does her no good whatsoever?

Intermission 2 began at 8:30pm....and ended after 9:30 - ridiculous! The audience got very restless and clapped several times to bring-on the conductor. For a moment I thought that perhaps Valery Gergiev was scheduled to conduct Scheherazade --Gergiev being infamous for stretching intermissions while fetting VIPs in his office -- but, no, it was Mikhail Sinkevich instead. Then began a verrry lonnnng ballet that included the orchestra playing the initial movement before the curtain rose on the 2nd movement to reveal Bakst's luxurious 1001 Nights setting...but even that could not keep me fully awake. I kept waiting for this night to end, which is a shame because Gudanov gave us a truly lively and high-flying Golden Slave. The others in the cast seemed to be going-through-the-motions, La Divina included. I saw several people leave their Orchestra-Stalls seats before Scheherazade began; three people in my Bel-Etage box left in the middle of the ballet, right after seeing a bit of Lopatkina, when the Shah goes to the hunt. I should have followed them.

I may have one more chance to see Evgenia Obraztsova in a decent ballet, as she is listed on the big 'main poster' for the festival as dancing in tonight's Bayadere.....what - as Manu, the water-jug girl? Hopefully as one of the three solo shades but, still, the mistreatment of this great artist is unpardonable. But at least she is dancing a couple of bits. Daria Pavlenko is not so lucky.

Natalia Nabatova

19/3/09
Ulyana Lopatkina Gala Evening
Mariinsky

Diamonds
Music Pyotr Tchaikovsky
Choreography George Balanchine
Scenery Peter Harvey
Costumes Karinska/Holly Hines
Lighting Roland Bates/Perry Silvey
Cast:
Ulyana Lopatkina
Danila Korsuntsev
Maria Chugai, Xenia Ostreikovskaya, Daria Vasnetsova, Yekaterina Ivannikova
Sergei Popov, Andrei Ermakov, Maxim Zyuzin, Konstantin Zverev

Part II Divertissements

1. The Parting Music John Powell, Choreo. Yury Smekalov
Yevgenia Obraztsova Vladimir Shklyarov
2. The Crane Music L Eto, M Yamaguchi, R Tosha Choreo. Alexey Ratmansky
Dmitry Gudanov
3. Duet of Autumn Colors Music Arvo Part Choreo. Yevgeny Panfilov
Elvira Tarasova Andrey Batalov
4. The Old Photograph Music Dmitry Shostakovich Choreo. Dmitry Briantsev
Irina Golub Ivan Sitnikov
5. Contradictions Music Yann Tiersen Choreo. Francesco Ventriglia
Ulyana Lopatkina Ivan Kozlov

Part III
Scheherazade
Music Nikolai Rimsky-Korsakov
Choreography Michel Fokine/Isabelle Fokine & Andris Liepa
Set and Costume Design Leon Bakst/Anna & Anatoly Nezhny

Zobeide Ulyana Lopatkina
Golden Slave Dmitry Gudanov
Shah Shahryar Ivan Sitnikov (debut)
Shakhezman Karen Ioannisyan
Chief Eunuch Roman Skripkin
Odalisques Elena Bazhenova, Ji Yeon Ryu, Yulia Smirnova

The gala of Ulyana Lopatkina presented a brilliant tiara of luminous dancing with the performance of the first ballet, Balanchine's third act of Jewels.

What a beauty of a performance it was!
It is easy to praise the pas de deux, the centerpiece of the tiara and the largest jewel of the lot, for its luxurious amplitude of movement, nobility of gesture, and the emotional resonance of its coupled poses.

For me, this performance of Ms Lopatkina's will remain in my memory as one of the most vivid readings of the role that I know.

Danila Korsuntsev was impeccable as the devoted cavalier. His double-work was assured and his variations were handsome.

The ballet, Balanchine's tribute to his Mariinsky upbringing, with its recollection of high-style Imperial Russian dance, boasted, in this performance, an ensemble of dancers showing us the grandeur and elegance (and the deep balancé, typical of the Mariinsky style, stressing the downbeat).

Among the demi-soloists, all excellent, I particularly liked Daria Vasnetsova and Maxim Zyuzin.

The musical finale's polonaise created, in waves of patterns of increasing complexity, a melding of the principals and the demi-soloists and the ensemble, until, at the end, we had before us a collective organism - the ballet, larger that any of its parts. Altogether, a thrilling performance.

The second part with five divertissements was a refreshing collection of dance miniatures showing off the dancers in different choreographic styles.

Standouts for me were the first duet with witty choreography by Yury Smekalov, where Obraztsova and Shklyarov show the sorrows of love with the pulse of the tango.

Save for Gudanov's zen-like solo by Ratmansky, the other duets all dealt with aspects of the pains of sexual needs/love/loss.

The Scheherazade had very-well appreciated performances by Ms Lopatkina and Mr Gudanov.

Since I remember the old Ballet Russe de Monte Carlo performances of the same work in NYC, my memory remains faithful to the old.

Curtains calls for Ms Lopatkina were endless.

Mikahil Sinkevich conducted with his usual panache.
I enjoyed both his Tchaikovsky and Rimsky-Korsakov readings.

Thanks Natalia and Chiapuris for the wonderful reports! I'm sorry to hear that Obratzova and Shklyarov danced
a tango. What a waste - such "assignments" do not do them justice. Tereshkina is simply magnificent. Thank you
both for the beautifully detailed reports of her O/O and the performance. Quite simply, this is her Festival. Brava Victoria !



Manu?! Are they serious?! Unfortunately, yes. I hope they don't consign Obratzova to the "Dumchenko Dungeon."
I agree Natalia: At least she's scheduled for this Festival - at all. Post Festival, here's some other things they're serious about: March 28 a "Giselle" debut. Who? A. Somova. No, they're not finished with us yet. April 4 "Don Q" with Tanya Tkachenko as a Flower Seller, Volodya Shklyarov as Basil, Katya Kondaurova as Dryad, and Dasha Pavlenko as the Street Dancer - backing up Somova's faux "Kitri." Imagine that .

I'm also sorry to hear that the audience was subjected to a one hour intermission before Lopatkina's "Scheherazade." There must have been a very good reason for the delay. IMO a P.A. announcement requesting the audience's indulgence, at 30 - 40 mins. wouldn't have been inappropriate; regardless of whether it was a podium or backstage issue. It's well known that Gergiev's unpunctuality is normal at home. Let's hope the rest of the conducting staff doesnt pick up this, as well as the black p.j. affectation. Bubelnikov has cornered that market.

Friday, March 20, 2009
LA BAYADERE
Mariinsky Theater

ballet in three acts
Music: Ludwig Minkus
Choreography: Marius Petipa (1877)
Revised choreography: Vladimir Ponomarev and Vakhtang Chabukiani (1941)

Nikia – Polina Semionova (Staatsballett Berlin)
Solor – Igor Zelensky
Gamzatti – Anastasia Matvienko
Golden Idol – Alexei Timofeyev
Shadows – Evgenia Obraztsova, Nadezhda Gonchar, Daria Vasnetsova

Conductor – Mikhail Sinkevich

Note: Review updated on 3-26-09; was unable to complete while in St. Petersburg due to daytime commitments.

Tonight afforded us one of the most complete and satisfying nights of the 9th Mariinsky Festival. Not only did we see perhaps the most old-fashioned 'deluxe' production in the troupe's current repertoire -- in the grand old Imperial style -- but we also enjoyed the artistry of a magnificent guest ballerina who danced as if To the Manor Born, in pure Vaganova style. Polina Semionova of the Berlin Ballet -- trained at the Boslhoi school in Moscow -- is a brilliant, majestic ballerina whose sculptural Nikiya can best be described as Poetry in Motion. Having heretofore seen Ms Semionova only in competitions or in short gala pieces, usually accompanied by Roberto Bolle, I had somewhat written her off as a 'glamor gal' without much substance. Boy, was I wrong! Seeing her in a long, complex classical ballet, I now appreciate what a totally-giving, serious artist she is. I would even venture to write that she is very much in the style and 'big good girl' look of England's Darcey Bussell. Every arabesque, every attitude is a work of art. So musical and gracious. Thin but not a sack of bones - a gorgeous 'true woman' with gravitas. America/ABT deserves to see her soon, she is The Real Thing....the Anti-Somova, shall we say.

Igor Zelensky also impressed, as Solor. He is still eeking out those jetes after all of these years but, to his credit, was able to easily lift an extremely tall-and-big-boned Nikiya. He has always been and continues to be a gracious artist and a joy to watch, despite minor technical faults due to age.

The evening saw three very impressive Shades. Evgenia Obraztsova displayed extraordinary ballon as the first shade, ending in a picture-perfect diagonal of traveling arabesques, hopping on pointe. The ever-improving Nadezhdar Gonchar was sharp as the second shade, displaying high cabrioles. In the lyrical solo of the 3rd shade, tall brunette Daria Vasnetsova was elegantly melting, if a tad tentative in the tricky initial sequence of developes and slow pirouettes; she is one of the Mariinsky's most promising and deserving young soloists and possesses one of the most beautiful and expressive faces and, especially, sets of eyes!

The 'revelation of the night' was quite unexpected: the Mariinsky's new young Lioness of the Dance in the Act II Hindu/Tom-Tom Dance, ANASTASIA PETUSHKOVA. Remember the name -- definitely not the "princessy-angel type" with her angular facial features and largeish torso but....oh, can she dance like crazy as if her life depended on it! NYCB would adore her in the Govrin-Meunier repertoire. Her partner was Islom 'The Energizer' Baimuratov...so just imagine the sparks!!!

The very few disappointments included a low-key Mariinsky debut for new 1st-soloist Anastasia Matvienko as Gamzatti; picture Alina Somova as a brunette, weak (low) jetes and all...and Gamzatti's variation is famous for its jetes. A competition-circuit specialist with a very pretty face, she is nonetheless at the Mariinsky thanks to her husband, Denis Matvienko's, coat-tails. That is a shame for the many home-grown choryphees and 2nd soloists who have waited so long for their promotions to 1st Soloist but, hey, that's life and politics. Also, the relatively-new Bronze Idol, Alexei Timofeev, was quite mediocre - fine in the initial straight-up-and-down jumps and poses but embarassingly bad in his final circle of jetes...as if he had forgotten to turn-on his jet-propulsion engines tonight.

The corps de ballet danced the finest that I've seen them in this festival, particularly the wonderful 32 shades in the final scene. They still "have it" unlike any other corps in the world.

Next: GISELLE with Vishneva and Gomes!

Natalia Nabatova

20/3/09
La Bayadère
Ballet in three acts, five scenes
Music Ludwig Minkus
Choreography Marius Petipa (Vladimir Ponomarev/Vakhtang Chabukiani version)
Additional Dances Konstantin Sergeev & Nikolai Zubkovsky

Nikiya Polina Semionova (Staatsballett Berlin)
Rajah Pyotr Stasiunas
Gamzatti Anastasia Matvienko (debut)
Solor Igor Zelensky
Brahmin Vladimir Ponomarev
Magdayeva Grigory Popov
Toloragva Andrei Yakovlev 1st
Slave Sergei Salikov
Aiya Elena Bazhenova

Jampo Xenia Ostreikovskaya, Yana Selina
Pas de quatre Valeria Martynuk, Yana Selina, Anna Lavrienko, Elena Chmil
Grand Pas Classique Anastasia Matvienko and Igor Zelensky
with Alexandra Iosifidi, Yekaterina Kondaurova, Lillia Lishchuk, Yuliana Chereshkevich, Alexander Romanchikov,Sergei Popov
Indian Dance Anastasia Petushkova Islom Baimuradov Fyodor Murashov
Golden Idol Alexei Timofeyev
Manu Elena Yuskovskaya
Shades Variations Yevgenia Obraztsova
Nadezhda Gonchar
Daria Vasnetsova

This evening's performance featured the work I most enjoy seeing at the Mariinsky --(Well, not exactly; first on my list would be the Vikharev reconstruction of Bayadere, which, at least, I have already seen twice at an earlier festival).

Moreover, this evening's cast featured superb performances by all three principals, the guest Nikiya, Polina Semionova, Igor Zelensky's Solor, and newly joined soloist Anastasia Matvienko's Gamzatti.

To call this a star-studded evening would be no exaggeration.

Besides the principals, the performance included extraordinary contributions from Evgenia Obraztsova Daria Vasnetsova and Nadezhda Gonchar as Shades, Alexei Timofeyev's golden idol, Grigory Popov as a very good Magdayeva,
the very energetic pair of Anastasia Petushkova and Islom Baimuradov in the 'Indian' dance (that, in spite of all, I am learning to like) and, not least, the female ensemble in the descent of the Shades, one and all, crystalline and shimmering as if with an inner, deep-sourced energy.

Polina Semionova, in my first view of her, was truly a joy to watch. She placed all of her profound technical resources in the service of the role. Never once, did she display virtuosic proficiency for its own sake outside the bounds of the role.
She was intensely moving in her dance for the wedding celebrations, extending the wide range of movement, from astonishing balances on pointe before 'developing' the leg, to meltingly slow port de bras.

The 'Shades' pas de deux was impeccably performed. The assurance of her bearing remained serene throughout the proceedings. The scarf dance with its pirouettes en arabesque unfolded seamlessly as if the creature performing it were freed from gravity and other physical laws.

Zelensky gave an outstanding performance with attentive partnering and unleashed power in his variations, with jumps that hovered in the air, and impetuous runs and secure turns both in the air and on the ground.
I have not seen him in years exhibiting this kind of explosive force in his dancing.

Anastasia Matvienko, whom I had the privilege to see win the senior Gold in the 2005 Moscow Competition, was somewhat demure in her first pantomimic scene with Nikiya, but came into her element with the Grand Pas Classique where she showed lush lines and exquisite phrasing in her variations and the double work with Zelensky.

The pas de quatre of the bayaderes in the second act (Martynuk, Selina, Lavrinenko, Chmil) was particularly handsome.

The production as a whole looked exquisite, and it could be that there were a few new costumes. I even enjoyed dances that usually leave me indifferent such as Manu (the dancer with the jug on her head) and the Jampo, which opens the second scene. Jampo was led in this performance by Xenia Ostreikovskaya and Yana Selina.

The Vaganova Academy students danced capably, accompanying either the Golden Idol or Manu.

Mikhail Sinkevich conducted with his usual brisk efficiency, enhancing Minkus' score.

Audience response was enthusiastic and long with applause.
The principals and indeed the entire company deserved all the bravi.

DIANA AND MARCELO SPILL THEIR PASSIONS AT THE MARIINSKY!

Saturday, March 21, 2009
GISELLE
Mariinsky Theater

fantasy ballet in two acts
Music: Adolphe Adam
Choreography: Jean Coralli, Jules Perrot and Marius Petipa

Giselle – Diana Vishneva
Count Albert – Marcelo Gomes (American Ballet Theatre)
Hans – Ilya Kuznetsov
Peasant pdd – Valeria Martynyuk, Filipp Stepin
Berta, Giselle's mother - Anastasia Vasiletz
Bathilde- Elena Bazhenova
Albrecht's aide - Maxim Khrebtov
Mirtha – Ekaterina Kondaurova
Moyna - Oksana Skorik
Zulma- Xenia Ostreikovskaya

Conductor – Mikhail Agrest


The flames of red-hot passion ignited the Mariinsky stage tonight as Marcelo Gomes made his Mariinsky debut as Albrecht opposite his ABT colleague - and leading ballerina here in Petersburg - Diana Vishhneva. This is surely one of the finest pairings I've seen live, right up there with Alonso-Esquivel in 1978 and Cojocaru-Kobborg at this festival ca-2003. Vishneva, of course, can always be counted on to deliver a fine Giselle, regardless of whoever is dancing opposite her but when you put her together with a TypeA on-stage-personality soulmate, well....it goes to the hearts of everyone in the auditorium...which is why we kept them coming back for more and more curtain calls well past the lowering of the hard front curtain...some of us "Marcelo-ettes" sitting on the edge of a balcony box, dancing and waving our arms when the pair kept coming out for more late bows. Whew - it was fun!

Just as with the wonderful Part-Gomes Swan Lake in DC last month, this was mostly about the chemistry. Technique was secondary though it was there too...but who cared? Vishneva's Act I solo was gracious and light; yet, she so danced it FOR Albrecht that even I was paying more attention to their interplay than to the actual steps.

Ilia Kuznetsov essayed a multi-layered Hans and danced very well...yes, again 'backed up' by his "Bravo Man' who was seemingly hanging from the rafters way up in cheap seats. [He had my group in stitches...whenever Ilya appeared, Bravo Man would jump out of his seat and lean over the edge of the highest tier and clap his hands loudly...it's a wonder that the ushers let him get away with those antics.]

Ekaterina Kondaurova soared as Myrtha. Young Oksana Skorik performed gorgeous cabrioles into attitude balances during her demi-solo; she is another one on the rise, quickly and deservedly.

The Peasant pdd was graciously delivered, Valeria Martinyuk with a lovely ballon and Filip Styopin with elegant line but a misplaced step or two. I was sorry to see that the famous-but-difficult move in which the girl kneels down then pops up in unsupported pirouette, is now omitted; instead she barely does a demi-plie and the guy already has his hands around her waist to assist her pirouette. Boo to that! Luckily, practically all else this evening was wonderful, with special kudos to the spot-on Wilis.

Tomorrow - The Final Gala. Until now, we're not quite sure who will appear dancing what. For example, will it be Somova or Obraztsova dancing with (maybe) Corella in the Don Q Grand Pas?

Natalia Nabatova

So glad Marcelo "The Magnificent" Gomes' Mariinsky debut was a success!

Per Angel Corella's website he is to dance the DonQ pdd with Olesya Novikova.

Thanks for all the reports Natalia and chiapuris and any others I have missed, it's been a joy to read.

Thank you Natalia! Vishneva, Gomes, Kuznetsov...a casting of my dreams and I missed it. What an evening it must have been. Who the heck is poor bravo man!

Please do not misunderstand my question, I have nothing but admiration for the casting and choice of ballet but, was the house filled with tourists or would you say the educated Petersburg audience liked the perfomance? I wish I could read the Russian websites, but my language skills have deteriorated horribly.

Whaaaaaaat??? So it's three possibilities. Novikova is probably best-known among the three for her Kitri. Come to think of it, we haven't seen Novikova at all in this festival and she had been one of the most visible of dancers not-so-long-ago.

Marcelo will dance a pdd from Manon with Tereshkina.

I'll probably review when back in DC as (a) these closing galas tend to last long and (b) my flight departs at 6am!

EDITED TO ADD: Vrsfanatic, to answer your question based solely on three very nice forty-something Russian ladies in my box who stayed til the last curtain call and "waved" with me...at the lone intermission, they were remarking, "Why is he the prince? He looks more like a Hilarion and Ilya should be the prince." That prompted me to politely go "ahummmm....izvinitie (excuse me)..." which is how I found out that the old rules of emploi are alive and well here, eg, the paler and blonder guy -- also the one with longer lines, as is Ilya -- is the natural prince. All of that changed for the ladies in the box with Act2, when Marcelo won them over with his performance.

By the way, I had never seen Marcelo's Albrecht before....in A2, whenever he collapses to the ground from exhaustion, it's with a huge BOOM! I was afraid that we'd see a gaping hole on those fabled boards!!!

BravoMan is a paid clacquer, which I know for a fact when he asked me a few years back if I would pay him to "ensure a success" for Maria Kowroski's debut the next night. [Why me - he knew that I was Amerikanka?????] Ilya should distance himself from that embarrassment because he does not need him to get 'bravos' or prompt entrance-applause...he gets that on his own merits.

FURTHER EDITED: "Petyaurus'" shaky cell-phone clips are now on YouTube.

21/3/09
Giselle
Fantastic ballet in two acts
Music Adolphe Adam
Libretto Jules Henri Vernoy de Saint-Georges, Theophile Gautier,
Jean Coralli
Choreography Jean Coralli, Jules Perrot, Marius Petipa
Set Design Igor Ivanov
Costume Design Irina Press
Reconstruction Consultant Yuri Slonimsky

Giselle Diana Vishneva
Albert Marcelo Gomes
Berthe Anastasia Vasilets
Bathilde Elena Bazhenova
Hans Ilya Kuznetsov
Sword-bearer Maxim Khrebtov
Duke Vladimir Ponomaryov
Classical Duet Valeria Martynuk
Filipp Styopin
Myrtha Yekaterina Kondaurove
Monna Oxana Skorik
Zulma Xenia Ostreikovskaya



The last ballet of the festival starred Diana Vishneva, ABT's Marcelo Gomes and
the majestic Yekaterina Kondaurova as Myrtha.

The evening as a whole was richly rewarding, with Ms Vishneva's performance thoughtfully replete with a detailed reading of the role, at times even idiomatic.
Certain passages, in both acts, seemed, in my view, performed so slowly, that the flow of the story telling and the musical pulse appeared disrupted.

In earlier views of the Mariinsky's production of Giselle I had commented on how
efficiently the story telling advanced throughout the first act. I don't find that this statement applies to this performance.

Ms Vishneva looked extremely ethereal in the first act, in a pale, dusty pink bodice, which contrasted with the rather bright costumes of the ensemble, and had her hair worn back, gathered, but left down. She didn't loosen and free the hair for the 'mad' scene.

The 'mad' scene relied on her expressive body language to signal the effect of events on her state of being. It was a very moving scene, free of rhetorical gestures, and profoundly simple and clear.

Marcelo Gomes was the impetuous youth/noble cad, par excellence.

The Hans/Hilarion of Ilya Kuznetsov was very well done. I really enjoyed his performance of a character one can only feel sympathy for, since his actions are by no means villainous.

I have no idea whether I have ever seen before the classical pas de deux inserted in the first act or where it came from.
Every time I see Giselle it seems a different pdd.
This one looked 'Bournonville'-like and was very well-danced by the charming Martynuk and Styopin. (Styopin's double tours times two ending in 5th demi-plie were exemplary).

The second act held together better with the imperious presence of Kondaurova's Myrtha, a figure suggesting contained fury. The amplitude of her dancing confirmed her reign over the realm of the Wilis, discontented ghosts seeking redemption -for themselves, or in the case of Giselle for her beloved.

A high-point of Vishneva's performance was, for me, her initiation into the sorority of the Wilis with the grands pirouettes en arabesque at dazzling speed. In contrast, some of her adage movements were slower than usually seen.

Mr Gomes' highpoint was his series of entre-chats six with the arms in different positions, exemplifying a soul in a tormented state of remorse.

Altogether, this was an evening of exceptional dancing.

The audience was appreciative with sustained applause, many flower tributes,
endless curtain calls.

Mikhail Agrest conducted.

We at Ballet Talk are so fortunate to have these reports! Thanks to all.

Yes, thank you all for the reports, they've made wondersul reading! Wish I could have been there...