Hello!!!! My favorite dancer is Vladimir Malakhov. He is so great, he has a great body, he is kind of handsome and the most important is that he is a principal with American Ballet Theatre and a guest principal with Vienna State Opera Ballet. I have heard many balletonames saying that he is the Nureyev of our years!!!! Does this really stand? What is your opinion on that?

Unfortunately, I haven't seen him often enough to judge. Only Romeo (MacMillan's, with ABT, which I much admired) and a few videos. I think he's a very different type of dancer than Nureyev, but I think he was a very fine one and someone I wish I could see more often. He has danced with so many companies, and so many different roles (but only a few times each role) that I don't really have an idea of what kind of dancer he is.

Thank you for the question. I hope others who've seen Malakhov dance more often will be able to give a better picture.

I also have only seen Malakhov a few times, but those few times made a huge impression. However, I think the comparison with Nureyev is inappropriate. Nureyev had an impact and influence that spread far beyond the dance world to say nothing of his enormous impact and influence inside the dance world. I don't think Malakhov as a "phenomenon" is remotely comparable. Nureyev danced during a very different time with very different standards. Today at ABT, for example, the other male dancers include several (at least four or five) genuinely sensational virtuousi who are gifted and imaginative artists as well. Malakhov is my favorite (of which more, below), but in this context he does not stand out quite the way Nureyev did when he first defected to the west and started dancing with the Royal.

Having said that -- Malakhov is my favorite for a reason, and I think a case can be made that he is, taken altogether, the finest male ballet dancer of our time. People who refer to him as the "Nuryevev of our years" probably mean no more than that. The qualities I appreciate about Malakhov include his remarkable line -- the wonderfully full, sustained, 'stretched' quality of his movements -- and his striking stage presence. He is (in my opinion) one of the few male dancers today who know how to run across a stage or, indeed, how to walk or even stand in such a way as to command the stage entirely. His performances in the nineteenth-century repertory also show great attention to dramatic as well as dance detail. Even in an absurd, secondary role -- the expanded "Rothbart" of Mckenzie's Swan Lake -- he manages to create an entire world. His best performances are always 'complete;' I don't really know how else to put it. There is a quality of imagination that expresses itself directly in a very pure, elegant-yet-intense balletic style. (He actually reminds me more of Anthony Dowell than Nureyev -- but all great dancers are sui generis.)

I have not found him to be %100 consistent, and I suspect that his virtuoso technique is not as strong as it once was. Still, in trying to think of someone else I admire as much, who is still dancing today, I can really only come up with one name, Peter Boal, and Boal's repertory is entirely different. However, there are top European male dancers I have seen little or not at all...

I agree in the fact that he cannot be compared with Nureyev because we are talking about two different dancers in different times. I strongly believe though, that he is- if not the best- one of the best male dancers in the world. He is so passionate and possesses and uses the technique such as no one else does. I went to mariinsky.com and saw some pictures from the 2nd Mariinsky Festival. Among many performances, Malakhov danced 'Manon' with Zhanna Ayupova. When I saw the photos of that performance I stood in awe by the expression on his face. I maybe very melodramatic or exaggerating but I suggest you go and see these photos and you'll remember me. He also danced one of Fokine's ballet with Ayupova again. Thank you for all your replies. I hope I get more.

I've only seen Malakhov live ONCE, but I'll never forget it -- he was dancing young Adam in "The Creation of the World," with he Moscow Classical BAllet, they came through San Francisco in , oh, 1990 or so--

I had never seen a male dancer who looked so beautiful.... Nureyev was androgynous, and, in a way, Malakhov resembles him -- the same coloring, high cheekbones, large eyes, beautiful ribs, clear center, beautiful hip-bones -- but Malakhov has much longer and more beautiful legs, and the most beautiful feet I've ever seen on a guy.... he is really more refined, more elegant, both in hte body GOd gave him and in the way he uses it -- though he's still young, Nureyev, GOd grant him rest, trashed his instrument and kept on stumbling around out there.... well, let's not go there....

Creation of the world is a character ballet, and Adam is as much acting -- Malakhov was wonderfully naif, like a boyish Bambi -- as it is dancing, and he was a wonderfully imaginative actor. SO I can't compare him with someone I've seen do Swan Lake or Giselle or Dances at a Gathering -- though I'd sure like to see him DO Dances at a Gathering, and Apollo.... I do know he made me want to see him in anything

When he did grand jete, the grand battement was so long , so light, and it involved lifting and OFFERING the foot so sensitively -- but with plenty of power, it was not languid dancing, not a t all -, his front leg flew up so lightly, his torso rode the wave, and his back leg stretched out behind and followed hte curve of hte jump -- I'd never seen such a clear "up and over" leap before....

I've only seen Malakhov a few times, and always in acting roles (Romeo, Albrecht, etc.) I can't begin to better Paul's wonderful description of him. He's a dancer who intrigues me and whom I wish I could see more often.

Last week he danced the first movement in Symphony in C (with Paloma Herrera) and I thought he was marvelous. He *is* like a long legged Nureyev -- they have the same way of pouncing into a step -- but he can remain a part of the ensemble. He was one of eight principals, but not a STAR here, and I liked him very much for that.

The dancing itself was very clean, very elegant and very sophisticated -- and joyous. He's not well-matched with Herrera (though this is one of her best roles). He's too small for her and they just don't seem a match made in Ballet Heaven. But he partnered her beautifully.

A surprise performance, but one I'm glad I saw. Wish he was doing Oberon in Dream!

A few years ago Malakhov seemed to be paired consistently with Amanda McKerrow. I was struck at the time with how well-matched they seemed to be on many levels. McKerrow is a beautiful and refined classical stylist herself, although her performances have often seemed a bit on the wan side, physically. Their acting together in Giselle or Coppelia was among the best-realized I've seen. When Malakhov's Albrecht kissed Bathilde's hand, McKerrow was standing center stage, upstage of the pair, and as Malakhov slowly, slowly, lowered his lips to Bathilde's hand, he turned his head to watch McKerrow's Giselle as he did so. This wasn't just a key moment in the narrative; it became a key Moment of the entire ballet. It was clear this Albrecht knew he was about to destroy this Giselle, and felt helpless to prevent it (McKerrow, needless to say, fell to pieces quite satisfactorily).

I don't remember if he's dancing with McKerrow at all this season, but they're well worth catching together.

A dance teacher of mine likes to remember the happy surprise she had one day discovering Malakhov in her class, and described him to me as a cross between Nureyev and Anthony Dowell. Although this sounded like hyperbole at the time (and lots of it!), she really wasn't so far over the top. He has Dowell's refinement and singing line in arabesque, as well as more then a dash of Nureyev's brilliance and power. It makes me sad that he seems lately to be cast more in second or third banana roles (I mean, Lankehndam?). It does also seem that his technique is not what it once was, but he's still as refined and graceful as ever.

While he's certainly not the only classy man at ABT (Marcelo Gomes exudes class, for instance), he's certainly the classiest, for reasons Alexandra has already mentioned.

And thanks for the beautiful description, Paul. That really does catch him to a T.

I recently obtained a copy of ABT's 'Le Corsaire' on videotape and was surprised at how ABT could cast such a brilliant, exquisitely refined dancer as Malakhov in the role of the slave trander Lankendem.

As my mother and I watched the ballet, we agreed that while Corella and Stiefel may jump higher and turn more than Malakhov, one can see the amount of strength that they put forth into each of their virtuostic movements. With Malakhov's dancing, there is a floating, stretched quality that masks all of the physical exertion (or lack thereof) that he goes through.

I know that the different roles that these men have in 'Le Corsaire' will affect how strenuous it can be, but I'm still convinced that for Malakhov, dancing is a piece of cake.

So to prove my point, I also took a look at a video made in Soviet-era Russia called '30 Variations'. It was thirty variations danced by various principals/soloists, and a very young Malakhov was among them. Even at such an early age, he had the most beautiful suspended lines out of all those in the static-laced video. One could not find an ounce of a tense, strained look in his face or in his dancing. It completely knocked me away when he proceeded, in one of the variations, to do some entrechat-sixes, and I looked around the screen desperately for wires carrying him over the ground. I couldn't, and to this day I am still wondering how he dances like he does.

--Luka

Unfortunately, Malakhov and McKerrow are not dancing Giselle together this season. I agree with Manhatnick--the moment when Malakhov bent down to kiss Bathilde's hand was one of the most vivid theatrical moments I can remember. Their Giselles to me will be my model of how individual and moving that story can be. And in the second act, he just seemed to be so tightly wound, just begging for one last chance to see her and explain. I get choked up just thinking about him. I do like him as the slave owner, though. He is the only one I have seen who can dance it expressivley, who can make is solo say something and not just look difficult. Watching him go down into those deep plies and then spring up again just seemed to sum up his character so perfectly.

Watching him go down into those deep plies and then spring up again just seemed to sum up his character so perfectly.

My knee-joints would always pop in sympathy. They're aching now just thinking about it.

Part of the thrill is that Malakhov makes it all look so easy, springing up into that soutenu like it was nothing at all!

Sometimes when I'm in a flippant mood I wonder if Bournonville (or was it Beck) was so fond of tossing in similar steps to keep the young whippersnappers at bay -- "Heh. You think you're hot stuff? You get the solo with the grande plies. Let's see how cocky you you are after your knees blow out!"

Manhattnik, I think that was one of the steps that 19th century dancers tossed off all the time! There was one of Bournonville's men -- I can't remember who, but it was in the 1850s or '60s, Middle Bournonville -- who had something terrible happen to his kneecap . It's in Theatre Life -- Mr. B I had never heard of that injury. I have no idea if it's related, but....

Malakhov also puts those deep plies into La Sylphide, I've been told -- I've never seen it. So did Peter Schaufuss, but so did Poul Gnatt, the James of the late 1940s and early 1950s. I can't date them before that, but the second solo in Napoli II (Beck, as you pointed out) uses them and about 100 years ago now.

Hello!!! I read at malakhov.com that Vladimir was appointed artistic director of Staatsopern Ballet (I don't know if I have spelt it correctly). That is very good but does it mean that he will leave ABT or he will retire from dancing in general? Does he want to ensure his future by asssuming this position because he is going to retire? In his letter at this ballet's website, he was mentioning that he will also dance in certain pieces. I don't know. If he 's going to retire I will just die... What, he is only 34!!!!! If you have any news please do tell me. Bye!!!!

I can't be of much help, I'm afraid -- I hope someone else will know more. Malakov's appointment was announced several months ago -- very quietly. It doesn't necessarily mean he will stop dancing

On the website of Berlin State Opera it says that Malakhov is appointed as Artistic Director and Principal Dancer. Also, in the interview he gave during last Mariinsky festival, he said that he will continue dancing, mainly in Berlin, with ABT, and at the Vienna State Opera, but not with Stuttgart Ballet. He also mentioned Tokyo Ballet where, I guess, he is a Principal Guest. I am sure he will and I hope he will continue dancing. He is 34, but I can be wrong here, but were not Nureyev and Baryshnikov about the same age when they started directing? And kept on dancing.

Katja, I think you can count on any dancer of Malakhov's calibre dancing as long as he is able Baryshnikov did dance while he was director of ABT, and, as I'm sure you know, Nureyev never stopped I think he was considerably older than 34 when he took on Paris Opera, but he'd been staging ballets from the time he was in his mid-twenties.

As far as I know Vladimir is not going to quit dancing. In September he'll be performing Albrecht in Berlin Staatsoper "Giselle" partnering Diana Vishneva as a guest-star. In December he is planning to mount his version of "La Bayadere" and dance Solor.

I'd also like to contribute to the admirers of this uniquely gifted dancer with some traces of his career in Russia. It is common knowledge all over the world that Malakhov is a " True Prince" (there exist a well-made documentary of this title). But Vladimir has also a talent of a comic actor which he manifested in Russia more than once before leaving for the West. For the first time he revealed these qualities in a composition based on Mayakovsky's play "The Bug". It was choreographed for ballet competition in Moscow and was a big success. Then especially for him the role of Gamash in Don Quichote was newly choreographed. Alas my English is rather poor to describe how mockingly touching he was as an unlucky fiancee' - with ribbons in his long curly hair (at that time) and shoes, moving on the stage like a grasshopper and jumping like a balloon. This ballet was shot for TV, but unfortunately never released as a commercial video. He was a wonderful playful Adam in "Creation of the World" (this role was first made for Baryshnikov) and … a cheeky Carmen in a special New Year TV-program. He did not loose his sense of humor since then, and can even appear on special occasions on points (wonderful technique!) as he did for example in Japan in a parody on Sylvie Guillem (female variation from Auber's Grand Pas Classique). Ms. Guillem kissed him after that and said he was "naughty boy" (with strong French accent which Vladimir perfectly imitates). I must stress that his grotesque roles are never vulgar, but refined, like Toulouse-Lautrec's posters.

Thank you for that, Ina -- and welcome. I note that this is your first post! Your Engliish is splendid, and I hope we'll be reading more from you in the future!

I've been surprised there haven't been more comments on Malakhov. I think it's because he simply doesn't dance here enough. He's always in ABT's spring season at the Met, but doesn't go on the company's tours, and he doesn't seem to get as much attention as the wunderkinds. I agree that he is a fine artist. I wish I could see more of him.

I deleted a post on this thread and notified the poster by email. So, dear poster, please check your email

A reminder: when writing about a dancer, don't get too personal. It's a good idea to remember that anything you write may be read by the dancer, or his mother. Be honest, but pretend you're in a living room

Vladimir Malakhov and Dianan Vishneva are touring Israel at the end of August and beginning of September (and hopefully won't cancel.:eek: ). The Hebrew ad. placed in the newspapers terms these performances 'International Festival of Classical Ballet' and the names mentioned are Malakhov, Vishneva (who is described as Prima Ballerina of Covent Garden:confused: ), Farukh Ruzimatov, Julia Makhalina, Irina Surneva and Gedminas Taranda. There are 2 programs: one is a full length Giselle and the other is a mixed bill with Sheherzade, Paquita, Bolero and 2 other ballets that I don't know how to transliterate (Hebrew has dots and accent-like characters for vowels and not letters, and the vowels are usually left out in newpapers, adult books, etc.). The ad. states that Valdimir Malakhov's company will be performing together with the 'stars'. Does anyone have any info on these performances ? Do you know what company this is? It sounds very promising:)

Hi,

I've danced last seison with Malakhov in Stuttgart. I did Kameliendame and Romeo and Julia with him on tour.
I think he is first of all a very nice person and second off all a great dancer. I think you can not compare him with Nureyev. I see Nureyev in a differnet catogary. Nureyev really changed the status off the male dancer.
Malakhov did of course do al lot to for the ballet, but that kind of an impact he had not. Maybe he will have that now as a director.

His technik is soft an fragile. He had a very good scholing, also Mr. Pestov. If you look to the video when he was in the Bolschoi school, you see that he LEARNED everything. It's not that he found out some thing, he really studied and learned it. If you take that, and his talent of giving and his fysical talent you have a world dancer.
I have great respect of him!

I hope this was ok for you!!

see you!

Welcome, Stuttgart, and thank you for posting that!

GWTW, I haven't heard of that company, and apparently no one else has either, since there have been no posts. It may be a group put together for summer tours -- but it does sound interesting, and I hope you'll report on it for us.

Hi!!!Sorry for not having posted for a long time but my computer suffered from a major virus(I didn't have any Windows-imagine...) I am so grateful that you respond to this thread. I am the happiest person on earth. Vladimir Malakhov is going to come here in Greece to dance Giselle with Diana Vishneva.That is going to happen in December and Leonidas De Pien will choreograph. They will dance in the Megaron of Music. In January he will dance some modern pieces by Neumeier, Duato, Petit, McMillan, Parsons and others. When I heard that, I screamed from my happiness. I can die after seeing him.... Anyway, I just wanted to share my happiness with you!!!! Bye...

Thank you, Marilia -- enjoy it! And please write about it -- I think there are a lot of people here who would be interested in reading about Malakhov's European performances.

Well, I saw Malakhov almost two weeks ago and thw main reason I didn't write about it that it was a rather disappointing show. As I wrote in a post above, Malakhov came to Israel with 2 programs. After much deliberation I decided to go to the mixed bill program and not to Giselle. That turned out to be a mistake. During a 3 hour long performance, Malakhov himself danced for about 7 minutes !!! in 2 short neo-classical/modern solos. I think these were solos choreograohed especially for him as they were very much like the pieces he dances in 'Prince of the Ballet'. This is certainly not what I expected to see from a prince of the ballet. Definitely not when ticket prices ranged from 45$ to 75$. Absolutely not when all the advertising is centered on Malakhov's name.

A few highlights of the program (which was much too long - everyone would have been better served if a ballet or two had been cut), were an outstanding Farukh Ruzimatov in Sherezade and a polished performance of Paquita. It was also interesting to see Walpurgisnacht, as it was the first time I've seen 'Soviet' choreography on stage and it was very exciting. The lead dancer, who I assume was Diana Vishneva, was excellent and also her partner, a very tall man with chin length straight hair, was good
:confused:
The lowlight - a very strange Bolero (All the programs were in Russian, so I don't know who choreographed it and who danced in the various ballets!!). Oh, and in between there was a lackluster Sleeping Beauty p/d.
Of course, the major disappointment was Malakhov's disappearing act.
So if this troupe comes your way, be warned.

Thank you for that, GWTW. It happens a lot, I'm afraid. I don't think the intention is to deceive. In the summer, dancers get together in little touring groups, and they're often centered around a star, because that helps get bookings. But if Ruzimatov and Vishneva were there, they're certainly deserving of star billing, too.

Nureyev used to do these kinds of groups a lot -- they were called Nureyev and Friends, and he danced in every ballet (usually) and definitely at every performance, no matter what condition he was in. So the ticket buyers would get what they'd come to see, but he was heavily criticized for "hogging" the spot light, and often what one saw wasn't top drawer.

I'm sorry you were disappointed, but very interested to read your review. I've never seen Walpurgisnacht live, and was very interested to see that it was still in repertory. It's an "old-fashioned" Soviet ballet -- but very exciting, at least on video.

Sadly but predictably, one's expectations (and reactions) to a performance are often based on the advance publicity. If I'd gone to performance billed as "A Celebration of Russian Ballet" and seen Sherezade, Walpurgisnacht and Paquita with Ruzimatov and Visneva, I would probably have had a great evening and consider my money well spent. (BTW, I'm just assuming that the best femake dancer that evening was Vishneva. As there weren't any prgrams in a script I can read I don't actually know).:rolleyes:

GWTW, please do not blame the dancers on any sort of the advanced publicity - it is usually done by the presenters, in this case it must have been israeli presenters. Also, from a friend of mine who was at the Gala - Vishnyeva didn't dance at all that evening and Malakhov did dance but only one piece - his solo "Voyage." It is too bad you have chosen the Gala. According to my friend their "Giselle" was the greatest ballet performance she has ever seen. She was raving about it, I only wish I could be there.

If I remember right, back in hte late 80's, when hte "Iron Curtain" was breaking up, Russian companies started appearing in San Francisco with great frequency -- the kirov, hte Bolshoi, and hte very fine Moscow Classical Ballet, where I first saw Malakhov, as Adam in the Creation of hte WOrld (and Maximova, who was fabulous and looked 14 years old in a Juliet-ish pas de deux -- by Bejart?? in a white leotard and skirt costume that looked like practice clothes).....

ANd some company -- the Bolshoi? did Lavrovsky's Walpurgisnacht, and it was rip-roaring and WONDERFUL, and lots of girls jumped about in the position we call "attitude-front" -- what does the rest of hte world call that? It looks very Isadora-ish to me -- and the ballerina (Nina Sorokina?) was lifted in this position a lot and looked fabulous, and there were some pretty convincing furry-thighed satyrs or pans..... It seemed way too much fun to be a witches' sabbath -- I had not yet seen Mark Morris's Dido, but when I did, i knew now THAT's a witches' sabbath; Walpurgisnacht was really a baccanal, and it was a riot, but it was really joyful. WHen I finally saw Robbins's "Autumn," it reminded me of Walpurgisnacht.... the memory's dimmed, so long ago, now we're on the brink of war, everything seems so long ago, but I felt it was a wonderful ballet, I'd love to see it again -- but then, I'm very impressed by Lavrovsky. THe tiny snatches of his Spartacus I've seen intrigued me no end, and I admire his Romeo and Juliet beyond all others........

Galas can be fun. I only saw a couple of Bolshoi Highlight programs, and I'd be happy to see more. Paul, that "Walpurgisnacht" is on video -- one of those "Magic of the Kirov" compendiums; RG will know which one -- with Maximova. I think of it as a happy Rite of Spring (and I think Robbins said he hads been influenced by it for "Four Seasons.")

GWTW, I really can understand your disappointment. I agree with Katja that it's best to look at pre-performance publicity with a wary eye, but people won't know that until they've experienced one of these. I agree, too, that one has a totally different expectation when going to see "Great Stars of the Ballet" and a program organized around one or two particular dancers -- and presenters should realize that. It would avoid a lot of misunderstandings and disappointments.

Katja, now I'm really curious. Could you ask your friend who dancde the principal ballerina in Walpurgisnacht? She was wonderful.

The ballerina in Walpurgisnacht was Irina Surnyeva. She is the soloist of the Imerial Russian Ballet.

Dear Paul Parish,
you wrote that you liked Walpurgisnachts and then:
"I'm very impressed by Lavrovsky. The tiny snatches of his Spartacus I've seen intrigued me no end, and I admire his Romeo and Juliet beyond all others........"
Which Lavrovsky you meant - father or son?
If father, Leonid, then he never choreographed "Spartacus".
If son, Mikhail, then he never staged "Romeo & Juliet".
Perhaps, I misunderstood you?

Wait a moment; never is a long time, and while Grigorovitch is the standard we see today, Leonid Lavrovsky's Spartacus was the version with which the Bolshoi toured in the 1960s.

There were 3 productions of "Spartacus" by the Bolshoi Ballet:
1958 - by Igor Moisseyev
1962 - by Leonid Yakobson [This production toured the USA in 1962]
1968 - by Yuri Grigorovich

I stand corrected!

I went down to my infamous cellar, and found the 1962 Bolshoi Souvenir Program, and sure enough, the Spartacus was Yakobson's. Of course, there was this big full-page photo of Mikhail Lavrovsky as the Slave on the first page of the article, so that may be the source of my confusion.

Or maybe it's just another case of brain burps. I've been having them since my operation, and I must ask the surgeon what they did in my tummy to make me mistake one Leonid for another!;) At this rate, I'm lucky I didn't misremember one or the other of them for a meteor shower!

On December 14th it was announced, that Malakhov was awarded the prestigious Nijinsky Prize as a best male-dancer 2002. Unfortunately he could not be present at the ceremony in Monako (though he intended to be there) because the balerina, who was to dance in the second cast of Malakhov's "La Bayadere" at the Staatsopera (the premiere was on December 8th) got flu, so the first cast (Vishneva-Malakhov) had to remain in Berlin and dance the performance. I had a happy chance to see them on the opening night and was greatly fascinated by the harmony and chemistry existing in this duet. As far as I know they will be dancing R&J at ABT in June and already envy the new yorkers who will see them. It seems to me that another perfect partnership is on the way (knocking the wood!).

Ina, thank you for the news on Malakhov. Are you saying that Vishneva and Malakhov will be dancing together at ABT? I had not heard that. However, I had read that they performed a very moving Giselle in Russia last year.

Yes, Dale, by my information (which is from reliable sources) they will have two performances in the summer season of ABT in the first decade of June. Hope, that nothing will change these plans.

Ina, thank you so much for the casting preview! I am really curious, though, as to what Malakhov's "Bayadere" is like. If it's possible, could you give us some details about the production and the performance you saw?

Yes, please! I think all of us would like to read about that Bayadere. Ina, if you could, would you post a new thread on Recent Performances and tell us about it?

Thanks for the proposal. I'll try to do my best, but please give me some time. After a week in Berlin there are a lot obligations which are too pressing at the moment.

Diana Vishneva was in Hong Kong during the Kirov's tour about 3 weeks ago, before she flew to Berlin to dance with Malakhov. When I interviewed her, she told me that she will guest with the ABT next spring, but she didn't mention her partner.

I just listened again to the tape of my conversation with Diana Vishneva in Hong Kong. Vishneva also mentioned that she will return to dance with the Berlin Ballet next year - in John Neumeier's Lady of the Camellias, as well as in Swan Lake which she hasn't yet danced with the Kirov Ballet.

I can confirm that Vishneva is planning to dance "Swan Lake" in Berlin (I think that is supposed to be in May) and Balanchine's "Ballet Imperial" (the premiere is planned for May 3d). On the 21 st of December she is dancing "Giselle" with Malakhov in Greece (Maria Alexandrova is invited there to dance Mirtha).What to "The Dame with Cammelias" she hasn't mentioned that while visiting Berlin to dance in "La Bayadere" and I am not sure I've seen this ballet in the repertoir for this season, but I must check.

Vishneva doing Ballet Imperial should be interesting. I know people who are interested in the Kirov doing more Balanchine mention Ballet Imperial as a logical choice. Malakhov did the ballet at ABT and I remember he was OK (his foray with Apollo was not a success, but he was good in Symphonie Concertante). I wonder who is going to set and coach the ballet in Berlin. I'd rather see Vishneva and Malakhov doing BI than McMillian's Romeo and Juliet.

Ina, I hope you find time to post about what you've seen recently.

Ina, Diana Vishneva's Swan Lake in Berlin will be in April 2003. Perhaps Neumeier's The Lady of The Camellias will be a new production for the Berlin Staatsoper.

Vladimir Malakhov has been invited again to dance in the Kirov's Mariinsky Festival in St. Petersburg next Feb.

Kevin, do you know by chance what ballet Malakhov is supposed to dance?

Ina, I only know that Vladimir Malakhov is one of the guest stars who will dance in the Mariinsky Festival next Feb. I don't know yet in which ballet he will dance. But I'll post again here when I've more information on the casting, which probably won't be available till nearer the time.

I thought he did a wonderful job with the Corsaire video (ABT)...he was a thrill to watch and I loved his expressions!!

Fantastic! Perfect! Thrilling! Marvelous! Beloved! Unforgettable! I will never forget how I felt before it started and after it finished. Vladimir Malakhov and Diana Visneva are by far the best partership after Nureyev and Fonteyn.
The choreography was the best I have ever seen. It was done by Leonidas De Pian and he payed attention even in the smallest detail. This Giselle had something that does not exist in the others that I have seen. The costumes were fabulous, the scenery even more fabulous. It was like you were entering in an other world. That real it was!!!!!
Vladimir Malakhov was the most perfect thing I have ever seen in my life. I remember I was shaking when he came out on stage. I had never seen him before and I was very excited about the whole event. This guy jumps in the air and he stays there. I AM NOT EXAGGERATING: HE STAYS IN THE AIR!!!! And when he lands you don't hear anything. It is as if a feather was thrown on the floor. This is how he lands. His face expressions were something unbelievable. He could transmit his feelings to the audience. Especially when Giselle died of a broken heart I almost cried.I think he is by far the most perfect ballet dancer. And he is quite handsome too...
Diana Vishneva was quite good, but I expected that she would be better. I liked her face expressions very much. She is very beautiful and she knows how to use her face very well. At some points in act I, she was somehow clumsy it seemed to me. Yet she is quite flexible and she has impecable technique. That was seen in the Mad Scene where she was just perfect. I belive only by her expression someone could understand, but she was dancing in such a way that could convince that she was actually crazy (This is the case when we say that dancers are also actors). On the other hand, in act II, she was just PERFECT! The sad expression on her face was quite beautiful and it made the audience easily understand her pain. She was very light, she was like a leaf taken away by the wind. She seemed so vulnerable without her Albrecht, yet she was like she aquired courage when she saw him and willing to save him.
Myrthe was Maria Alexadrova whom I didn't like at all and Hilarion was Yasen Valkanov who was actually pretty good. The peasent pdd was danced by Ivanka Kasabova and Trifon Mittef (sorry if I have mispelled the names, I translate them from greek). Mittef was unexpectadly good but Kasabovava was completely "expressionless", although her dancing was quite good. The two Willlis were Vesa Tonova- Krastanova and and Ivanka Kasabova. This time Kasabova was very beautiful. I think the role of the Willi fits her best. Krastanova was excellent. She seemed so fragile!!!
In general, it was the most fabulous Giselle I have ever seen in my life and it made me really happy to be there seeing all those wonderfu dances before my eyes! I will never forget it......