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 Post subject: Re: The Bolshoi in London, April/May 2001
PostPosted: Fri Apr 27, 2001 10:45 pm 
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Thanks for the Clement Crisp review. He is always amusing and gets right down to the nitty gritty. <BR>We had the pleasure of studying Dance History with the dear chap at the RAD years ago, and his wit and wisdom really lightened up our friday mornings.


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 Post subject: Re: The Bolshoi in London, April/May 2001
PostPosted: Sat Apr 28, 2001 9:51 pm 
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Stuart --<BR>Did you happen to go see the Bolshoi?<BR>If it is possible, I would like to hear your comments as well!


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 Post subject: Re: The Bolshoi in London, April/May 2001
PostPosted: Sun Apr 29, 2001 12:37 am 
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Not yet, but I will be going next week. One criticaldance reader told me that it was worthwhile for the quality of the dancing.


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 Post subject: Re: The Bolshoi in London, April/May 2001
PostPosted: Sun Apr 29, 2001 12:58 am 
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More comments on the Bolshoi:<P><BR><B>Bolshoi - Out of step</B><P>The Bolshoi return but our correspondent leaves disappointed<BR>BY DEBRA CRAINE in The Times<P><BR><A HREF="http://www.thetimes.co.uk/article/0,,62-120962,00.html" TARGET=_blank><B>Debra Craine's review</B></A><P><BR>Bolshoi - The Bolshoi shines bright<P>by Luke Jennings in The Evening Standard<P><BR><A HREF="http://www.thisislondon.co.uk/dynamic/hottx/music/review.html?in_review_id=382171&in_review_text_id=331378" TARGET=_blank><B>Luke Jennings' review</B></A><P><BR><B>Bolshoi, RB, Bounce. That's enough swanning around </B><P>By Jann Parry, The Observer <P><BR><A HREF="http://www.observer.co.uk/review/story/0,6903,480019,00.html" TARGET=_blank><B>Jann Parry's review</B></A><P>


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 Post subject: Re: The Bolshoi in London, April/May 2001
PostPosted: Sun Apr 29, 2001 2:40 am 
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<B>Russian Ballet Titans Clash in London</B> <P>By Mike Collett-White<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>The titans of Russian ballet clash in London this summer, pitting the Bolshoi, Moscow's big and brash showpiece, against St. Petersburg's classy Kirov.<P>The Bolshoi kicks off the head-to-head on Wednesday, opening a four-week season of extracts from favorites like ''Swan Lake,'' ``The Nutcracker'' and ``Giselle'' at the Theater Royal, Drury Lane.<P>Just across the road at the Royal Opera House, the Kirov features from June with full-length productions including ''Manon,'' ``Sleeping Beauty'' and evenings dedicated to the work of George Balanchine and Mikhail Fokine.<HR></BLOCKQUOTE><P><BR><A HREF="http://dailynews.yahoo.com/h/nm/20010425/re/arts_britain_ballet_dc_1.html" TARGET=_blank><B>More...</B></A><BR><p>[This message has been edited by Stuart Sweeney (edited April 29, 2001).]


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 Post subject: Re: The Bolshoi in London, April/May 2001
PostPosted: Tue May 01, 2001 12:52 pm 
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I went to see the Bolshoi on Monday along with about 800-1000 others in the 2200 seater Theatre Royal Drury Lane. This visit of about 50 of the Bolshoi dancers does not seem to be catching the imagination of ballet fans or the general public. <P>The format for each of the three programmes is a white act and then various very well known divertissemnets. For the first programme we got about 100 minutes of dance. So it's a rather flat Gala programme and certainly nothing like as interesting as the San Francisco Ballet Gala we saw in London two years ago.<P>However, the saving grace is the dancing. In 'Swan Lake' Act II, Anna Antonicheva dances beautifully and with restrained yet powerful emotional impact. I found myself more engaged with the performance than I had with the Kirov production I saw last year. The corps was lovely and wonderfully synchronised. The Three Swans and Four Cygnets sections were taken at a very slow pace by UK standards and I sometimes I felt I wanted to get out and give it a push, as it all seemed a bit lifeless. Sergei Filin partnered carefully without setting the stage on fire.<P>After the interval, Anna Antonicheva danced the adagio from 'Raymonda' with Andrei Uvarov, but it was gone almost before it started. The second half came alive with Bournonville's 'Flower Festival at Genzano' pdd. Anastasia Goriacheva and Dmitry Gudanov danced with lightness and grace. Gudanov performed the tricky footwork with great aplomb.<P>In an excerpt from 'Giselle' Svetlana Lunkina showed why she causes such a stir whenever she is on stage. Her long, elegant line formed beautiful shapes from the choreography and made me keen to see her in the full length version of the ballet.<P>To go out with a bang we saw Maria Alexandrova and Andrei Uvarov in the 'Don Q' pdd. Some of the UK critics have been rather snooty about this excerpt, but it is a scintillating piece of ballet and this pair gave it much flair and verve. Uvarov's grands jetees were thrilling and his spinning and landing deft and clean. Alexandrov danced with appropriate fire and pace.<P>For dance fans in London I would urge them to go. It is one of the most unimaginative programmes you are ever likely to see, but the quality of the dancing transcends the familiarity of the fare. It looks as though discount seats will be available for most performances from the Half price theatre booth at Leicester Square and concessionary stand-bys for students, seniors etc will also be availbale on most days I would guess. <P>


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 Post subject: Re: The Bolshoi in London, April/May 2001
PostPosted: Tue May 01, 2001 10:05 pm 
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Thank you so much for the review Stuart! I'm hoping to see Lunkina soon; it seems like she's developping very quickly over these few years. By the way, do you know why the more established primas such as Stepanenko and Grazheda (or Grachova ?? -- sorry about the spelling!) were not a part of this tour?


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 Post subject: Re: The Bolshoi in London, April/May 2001
PostPosted: Tue May 01, 2001 10:27 pm 
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Hi Terry! Stepanenko will perform Nikiya in programme 3. With a split of 9 Principals, 5 Soloists and 28 Corps I certainly don't think we have been short-changed with a second rate cast. <P>I should say that the second programme with 'Chopiniana', Lavrovsky's 'R&J' adagio, Gorsky's 'La Fille Mal Gardee', Goleizovsky's 'Narcissus' and the third programme with 'Flames of Paris' pdd, 'Grands Pas Classique' by Gsovsky and 'Le Spectre...' with La Bayadere Act III make for more varied dance than the first programme. <p>[This message has been edited by Stuart Sweeney (edited May 02, 2001).]


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 Post subject: Re: The Bolshoi in London, April/May 2001
PostPosted: Sat May 05, 2001 4:00 am 
The house was much fuller last night for the opening night of the second programme, which was even more enjoyable than the first. "Chopiniana" was grandly danced, and Svetlana Lunkina and Andrei Uvarov were sublime in the pas de deux. In the divertissements in the second half, Lunkina made her debut in the pas de deux from "La Sylphide" with Gudanov. (Lunkina told me that she had been coached in this role by Maximova and Struchkova in Moscow). Their dancing was full of nuances.<P>But the highlight for me was the pas de deux from Gorsky's "La Fille Mal Gardee" which I had never seen before. Anastasia Goriacheva and Yan Gudanov danced the airy choreography with a joyful abandon that lifted the spirits. Also notable was the pas de deux from Lavrosky's "Romeo and Juliet" danced by Inna Petrova and Sergei Filin.<BR>


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 Post subject: Re: The Bolshoi in London, April/May 2001
PostPosted: Sat May 05, 2001 11:21 pm 
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Image <P>The Bolshoi in London<P><BR><B>The great leap forward - and a small step back</B><P>Anthony Dowell's Royal Ballet farewell continues with a daring Stravinsky triple bill, while the Bolshoi's bits and pieces leave a little to be desired, says David Dougill in The Sunday Times.<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Whatever face the Royal Ballet will take on under its new directorship, beginning next season, the current one has been a triumphant reminder that the Covent Garden company is a repository of a huge variety of modern-ballet masterpieces. Anthony Dowell's choice of repertory for his last year in charge has been very personal, acute and celebratory, and we can thank him for a string of revivals of fine works, some long unseen.<HR></BLOCKQUOTE> <P><BR><A HREF="http://www.sunday-times.co.uk/news/pages/sti/2001/05/06/sticuldnc02004.html" TARGET=_blank><B>More...</B></A>


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 Post subject: Re: The Bolshoi in London, April/May 2001
PostPosted: Sun May 06, 2001 11:06 pm 
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<B>Bolshoi back on form</B> <P>Rating***(out of 5) <P>by Judith Mackrell in The Guardian <P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Halfway through the opening number of the Bolshoi's second programme a disgruntled punter suddenly yelled from the stalls for the dancers "to put a bit more life into it". This was about as stupid as it was rude, given that the company were in the middle of performing Fokine's exquisite homage to Romanticism, Chopiniana (Les Sylphides). It was also blind to the fact that the dancers were looking twice as good as they had been in their dispiriting first programme. They were now a confident, vital company living up to their reputation. <P>It helped that the Bolshoi were performing their first complete ballet in a season otherwise composed of chunks and diverts. But the dancers also seemed to have settled past their first-night nerves.<HR></BLOCKQUOTE><P><BR><A HREF="http://www.guardianunlimited.co.uk/reviews/story/0,3604,487062,00.html" TARGET=_blank><B>More...</B></A><p>[This message has been edited by Stuart Sweeney (edited May 11, 2001).]


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 Post subject: Re: The Bolshoi in London, April/May 2001
PostPosted: Fri May 11, 2001 12:55 am 
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<B>Stars Of The Bolshoi Ballet</B><P>Anna Antonicheva, Maria Alexandrova, Nina Kaptsova, Svetlana Lunkina Rating: 2* (out of 3)<P>by Luke Jennings in The Evening Standard<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>The Bolshoi's second programme opens promisingly on Vadim Ryndin's wonderfully atmospheric set for Chopiniana. Its dewy greys and misty woodland greens suggest a dawn painting by Corot, and the motionless groupings of corps de ballet dancers complete the tableau. <P>All the more disappointing, then, when the night's three ballerinas failed to offer the requisite romanticism.<HR></BLOCKQUOTE> <P><A HREF="Http://www.thisislondon.co.uk/dynamic/hottx/music/top_review.html?in_review_id=382171&in_review_text_id=335177" TARGET=_blank><B>More....</B></A>


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 Post subject: Re: The Bolshoi in London, April/May 2001
PostPosted: Fri May 11, 2001 2:40 am 
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<B>Triumph of the bite-sized Bolshoi</B> <P>by CLEMENT CRISP in The Financial Times<P><BR>Or rather, triumph of the dancers - he still doesn't like the Season.<P><A HREF="http://globalarchive.ft.com/globalarchive/articles.html?id=010511001499&query=Clement+Crisp" TARGET=_blank><B>Clement Crisp's review</B></A> <BR>


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 Post subject: Re: The Bolshoi in London, April/May 2001
PostPosted: Mon May 14, 2001 9:16 pm 
Here is my review of the Bolshoi's first and second programmes. I wish I could stay longer to see the final programme.<P>Bolshoi Ballet in London<BR>------------<BR>The Bolshoi's season at Drury Lane got off to a pleasing start with its first programme. The first half consisted of Act 2 of Yuri Grigorovich's version of "Swan Lake". The corps de ballet of swans, scaled down to 18 from the normal number of 24, had a pleasing uniformity though not comparable to the Kirov's.<P>Interestingly there are three big swans instead of two in this Grigorovich version. Anna Antonicheva danced Odette beautifully with a warm femininity. She has a long and thin line, and her dancing had an elegiac tone that was moving. Antonicheva's legwork was sharp. In her solo, she articulated very well the passage when Odette does a 'develope' with her working leg which she then turns back with a 'passe'. Her Prince Siegfried was the noble Sergei Filin who danced with a romantic ardour.<P>The second half of the evening had five divertissement numbers. Antonicheva returned for the short adagio from "Raymonda" partnered by Andrei Uvarov. Then we saw the pas de deux from Vainonen's version of "Nutcracker" which the Kirov had danced in the London Coliseum in 1996. Nina Kaptsova has an old-style Bolshoi glamour, with a slightly heavy upper body which is compensated by her incisive legs. In this version Masha does no 'gargouillades' in her solo. Her partner Yan Godovsky is more demi-caractere in style, but he showed off his dazzling turns and jumps.<P>My favourite item was the pas de deux from Bournonville's "Flower Festival at Genzano" danced with great flair by Anastasia Goriacheva and Dmitry Gudanov. Their dancing abounded in joy. Goriacheva danced with delicacy and finesse the intricate knitting steps in Bournonville's choreography. The handsome blond dancer Gudanov is a natural Bournonville dancer, with an impressive ballon, and excels in the 'battu' and 'elance' steps. His double tours en l'air, which he executed in both directions, were dazzling. <P>Then came the "Giselle" pas de deux danced by the 22-year-old Svetlana Lunkina who was the discovery of the Bolshoi's last season at the London Coliseum in 1999. Lunkina cuts a ravishing figure with her long and thin limbs, and her legs have great power in adagio. Her Giselle had a dreamy quality which captured the heart of this ballet. The large floating lifts were strongly executed by her Albrecht, Sergei Filin.<P>However I was slighly unimpressed by Maria Alexandrova in "Don Quixote" pas de deux. I remember Alexandrova as an imperious Myrtha in the Bolshoi 1999 London season. Two years on she has developed into a monotonous hard-edged virtuoso dancer without much softness. Her self-congratulatory air in her performance was slightly off-putting. Andrei Uvarov had a dazzling virtuosity as Basilio. His powerful manege of 'coupe jetes' were space-devouring.<P>In the first variation, Maria Allash travelled in her grands jetes like a javelin in typical Bolshoi fashion. The second variation was stylishly danced by Olga Suvorova who had a lovely port de bras.<P>The Bolshoi's second programme was even more enjoyable than the first, and showed off the dancers at their best. The opening work "Chopiniana" has a beautiful white floral backdrop bathed in moonlight. The corps de ballet was however not as polished and uniform as the Kirov's who had danced this ballet at Covent Garden last summer.<P>At the heart of the ballet was Svetlana Lunkina whose dancing had a pearly lustre. It was a pleasure to see her long delicate limbs etch such beautiful shapes in Fokine's choreography. And she was divine in the pas de deux, splendidly partnered by the tall and noble Andrei Uvarov. In fact this was only Lunkina's second performance in this role, after her debut in Moscow last month. In the waltz Maria Alexandrova sprang like a dart in her grands jetes.<P>In the second half of the evening which consisted of six divertissements, Lunkina made her debut in the pas de deux from Bournonville's "La Sylphide". (She had been coached in Moscow by Raisa Struchkova and Ekaterina Maximova.) Lunkina was an ethereal sylph, and rendered the mime with a delicious charm. James was danced by Dmitry Gudanov whose space-devouring grands jetes and double tours en l'air in both directions were dazzling.<P>The second half opened with the pas de deux from Leonid Lavrovsky's "Romeo and Juliet", which the Kirov had also shown last summer, danced with a sweeping passion by Inna Petrova and Sergei Filin. Filin also returned for the last showpiece "Le Corsaire" pas de deux, partnering Maria Alexandrova. Alexandrova again struck me as rather dry in her nonetheless impressive pyrotechnics, short on artistry. She managed some impressive double fouette turns and was very rapid in her diagonal of pique turns, but I noticed for instance that her supporting leg in her grands jetes was not well turned out.<P>In between was the grand pas de deux from Grigorovich's version of "The Sleeping Beauty", danced with grace and style by Anna Antonicheva and Andrei Uvarov. However the coda seemed rather underpowered in Grigorovich's choreography.<P>There was also a seldom-seen solo "Narcissus" choreographed by Goleizovsky, splendidly danced by Gennady Yanin who was a last-minute replacement for the injured Nikolai Tsiskaridze. There are lots of jumps in the choreography, and Narcissus' drowning at the end is actually quite subdued.<P>The highlight for me was the pas de deux from Alexander Gorsky's "La Fille Mal Gardee" which I had never seen before, set to music by Peter Hertel, unlike Ashton's version. Gorsky's airy choreography is sheer joy, and abounds in wit and technical bravura. The bravura passages necessitate frequent changes in direction. The choreography was impeccably danced by Anastasia Goriacheva and Yan Godovsky whose delightful dancing lifted the spirits.<P>It was gratifying to see a much fuller house than for the first programme, who gave all the dancers a loud ovation at the end.


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 Post subject: Re: The Bolshoi in London, April/May 2001
PostPosted: Wed May 16, 2001 1:05 am 
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<B>The hot shoe show</B><P>John Percival in The Independent has a fine time at the Bolshoi's third programme<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>I would not have expected to find the Bolshoi Ballet outclassing the Kirov in such a delicate work as Le Spectre de la rose. Neither company (Kirov last year, Bolshoi now) has the benefit of Bakst's elaborate decor but, even on a stage empty except for an old armchair, the Bolshoi's entrant for the title role, Dmitry Gudanov, establishes the atmosphere in a manner better than I have seen since Nureyev first played the elusive character.<P>Tall and slender, with a strong technique, Gudanov is blessed with beautiful line, too, and a gift for varying his style to each role ­ at Drury Lane we have seen him as the vigorously evil Rothbart in Swan Lake, then in two contrasted but equally virtuoso, fleet-footed duets by Bournonville, and this week he plays the dream lover imagined by a girl returning from a ball with the rose she wore there.<HR></BLOCKQUOTE><P><A HREF="Http://enjoyment.independent.co.uk/theatre/dance/reviews/story.jsp?story=72402" TARGET=_blank><B>more...</B></A> <P><BR><B>Swans and lovers</B><P>The Bolshoi's London season relies on its stars. They finally deliver. <P>BY DEBRA CRAINE in The Times<P><BR> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>The Bolshoi’s month-long London season has been a gamble. No “proper” ballets to speak of (well maybe one or two), no productions to impress us with spectacle, and no full houses at the enormous Drury Lane Theatre (at least not on the nights I’ve been there). So the success of this season rests with the stars, and how well they dance on the night. <P>I am happy to report that by the time the third programme rolled along, the dancing looked a lot better than it had on opening night. Again the bill was bits and pieces, the Kingdom of the Shades scene from La Bayadère followed by a selection of divertissements, six in all. Plenty of opportunity to check out the Bolshoi talent.<HR></BLOCKQUOTE> <P><A HREF="Http://www.thetimes.co.uk/article/0,,62-202251,00.html" TARGET=_blank><B>more...</B></A> <P><BR><p>[This message has been edited by Admin (edited May 18, 2001).]


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