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 Post subject: Bolshoi Paris January 2008
PostPosted: Sat Oct 20, 2007 6:45 pm 
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The Bolshoi will be appearing in Paris the beginning of January.

http://www.operadeparis.fr/Calendrier/? ... 007&Mois=1

I do speak enough french that I can try and relate what I find on the internet at the time.

As a possible indication of interest in France in the Kirov-Bolshoi, one of the major french language ballet discussion forums shows 143,172 (!) 'look-ins' at this topic in the last 2 1/2 years.


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 Post subject:
PostPosted: Sun Dec 30, 2007 12:22 pm 
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Natalia Osipova will not make her debut as Medora in Le Corsaire because of an apparent injury. Maria Alexandrova will replace her.

The good news according to the Bolshoi official schedule, as pointed out by the French ballet forum, Dansomanie, is that she will still be performing as the second Shade in La Bayadere and in Jeu de Cartes.

I wish this lovely and most talented young lady the speediest of recoveries.

http://www.bolshoi.ru/en/season/press-o ... p?id26=780


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 Post subject:
PostPosted: Sun Dec 30, 2007 2:25 pm 
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I'll be attending the three programms, and I'll tell you about it!

Link to the three programms

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 Post subject:
PostPosted: Mon Dec 31, 2007 11:03 am 
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Am looking forward to reading your reviews, urelie. Thank you.

Bonne annee (Happy New Year) !


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 Post subject: les voeux
PostPosted: Mon Dec 31, 2007 1:26 pm 
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J e vous renvoie en direct les voeux de Stéphane Lissner...Bonn année

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 Post subject:
PostPosted: Tue Jan 01, 2008 2:32 am 
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Happy new year!!

Bonne année!!

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 Post subject:
PostPosted: Fri Jan 04, 2008 2:29 pm 
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There is very brief interview with Svetlana Zakharova in Le Courrier de Russie, a french language newspaper in Moscow, cited by the french language ballet forum, Dansomanie.

She says that she first appeared in Paris at the age of 19 with the Kirov. She is very fond of the Paris audience. The Opera de Paris launched her on her international career, when they invited her to star in La Bayadere, her favorite ballet, at the age of 21.

Among the dancers in France that she admires are Sylvie Guillem, for her excellent artistic standards and Laurent Hilaire. She danced in Giselle with him and it was the only time that she was moved to tears by a partner because she was so emotionally taken by his performance.

http://lecourrierderussie.ru/fr/magazine/?artId=2491


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 Post subject:
PostPosted: Fri Jan 04, 2008 4:27 pm 
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That's actually not a recent interview, as I mentionned it a few months ago on Danser:

http://www.ballet-dance.com/forum/viewt ... ier+russie

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 Post subject:
PostPosted: Sun Jan 06, 2008 2:40 pm 
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The Paris ballet forum internet is alive already with reviews (from two or three generally active posters). Some lengthy reviews are coming in around midnight immediately after the performances.

I haven't had a chance to sort through them yet, but would like to leave the definitive commenting to Critical Dance's own 'on the scene reporter', urelie ("Danser en francais"). I hope that she has a wonderful time seeing as many as possible of the performances and tells us as much as she can.

Press interest seems to be a somewhat higher this year as well.


P.S. What a treat it should be, urelie, to see the fantastic Bolshoi dancers appearing in one of the world's most magnificent buildings, l'Opera, with the wonderful Marc Chagall (from Russia) painted ceiling overhead to greet and watch over them.

First reports from Paris look very good !


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 Post subject:
PostPosted: Sun Jan 06, 2008 4:13 pm 
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I've seen the premiere of Le Corsaire yesterday evening, with Svetlana Zakharova and Nicolaï Tsiskaridze. The opera was full and the evening was a big success. We don't know Le Corsaire in France, as it is never performed by parisian dancers, except the famous pas de deux.

It seems everybody enjoyed the three hour long performance. This ballet is really enjoyable, exotic, funny, and not intellectual, and it allows to see many different dancers in solos, pas de deux or pas de trois.

Svetlana Zakharova showed her exceptionally clean technique, as well as her elegance in both dancing and acting. That is a great pleasure to see her, even if I think she could have been more generous in her acting in act I. Nicolaï Tsiskaridze was a convincing Conrad, but in my opinion, he had very few parts to dance! (In Paris, we are now used to Noureev choreographies in which male dancers part are very much developped).

The staging was very nice, even if the stage seemed a bit too small for the dancers :lol: . I was expecting a lot from the "magic garden" in act II, but I thought this was a little bit too long, or it lacks dynamism, I don't know. But the costumes were very beautiful.

Finally, a very nice evening thanks to the good level of the dancers (both soloists and corps de ballet) and the qualities of the ballet itself. Unfortunately, the orchestra (french Orchestre Colonne) was not appropriate to such a prestigious ballet company.

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 Post subject: Scary
PostPosted: Mon Jan 07, 2008 3:51 am 
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Scary!

Scary to see how precipitously the level of the Paris Opera has dropped, in relation to the world's major troupes.

Although I would most certainly not say that I enjoyed the Bolshoi's reconstructed "Le Corsaire" - dull libretto, plodding score and, let's face it, a stultified, indeed petrified, choreographic vision that only the French press would dare call "inventive",

NEVERTHELESS

the Bolshoi, as a troupe, is in far, far better shape than the French National Theatre at this point, and, thanks to their commitment to THEATRE, they manage to make this trivial imperial entertainment if not stimulating, at least watchable.

The men have little to do in Le Corsaire, and last night, Serguei Filin as Conrad seemed either to be in pain or unwell, definitely under the weather in any event.

But the ladies! My oh my!

We have just had the Internal Promotion Concours at the Paris Opera, a fortnight ago. A number of problems that we have had occasion to discuss on this very forum, are, manifestly, dealt with at Moscow, if not entirely satisfactorily, at least rather more efficiently than we do.

For example, the foot. On pointe, the Moscow ladies do not go over the shoe, but rather draw the weight well back, so that the stresses be distributed down through the great bones of the hip and leg, not on the tiny, friable bones of the foot. That is why they appear to be at once lighter on their feet, and more grounded, than we do.

Secondly, the Moscow ladies, some of whom are positively gigantic (can one have too much of a good thing? Possibly!), nevertheless land soundlessly from the jump. Yes, they seem to have brought their own floor, and so on, and perhaps they have different shoes than we do, but that is not the reason. The reason, is that the weight is cast differently in the jump.

People tend to think that things are the way they are because they are the way they are.

No.

Everything man does, is a subject for enquiry, for scientific experiment.

Why cast the weight forward in a grand jeté for example, and allow the full force to hit on landing? Which is what we do at Paris. The Russians do the battement, jump, and allow the weight to follow AFTER. Hence, silent landing. Hence, less damage to the foot and spine. A similar enquiry applies to the Russians' jeté à la seconde and to their grande cabriole, something we really do need to think about here.

Let us remember, everyone, that grand allegro technique is NOT a Soviet invention. Grand allegro technique was invented at Paris, at the Opera in point of fact, in the very early part of the Nineteenth Century. Somewhere along the line, we seem to have lost the thread.

There are, of course, other more intangible factors. It is no secret to anyone that demoralisation, and what the French call "sinistrose" is rife at the Paris Opera, and that over the past decade, the percentage of our corps de ballet off ill, injured or, to put it diplomatically "not entirely with it", has soared.

Then the Bolshoi rolls in, and despite all Russia's huge problems, here we have a corps de ballet that, instead of simply "mouthing" the steps dutifully as we do, trying not to get a "bad mark" at the Concours, is actually DANCING, and, if one look into their eyes and face, every man Jack of 'em is seen to be acting his part.

There's lessons to be learnt, I fear.

Footnotes to history (1): Has anyone troubled to compare Doug Fullington's reconstruction of Le Jardin Animé for PNB School at Seattle, that was recently seen at Munich, with that of Burlaka? And what of J.G. Bart's production for the State Theatre at Ekaterinburg last year?

Footnotes to history (2): The Bolshoi too, is losing its épaulement, and all the wealth of upper-body positions, under the impact of this leg- or rather tentacle-waving business. We had our fair share last night of ladies, utterly persuaded that accents in the musical score, invariably and under all circumstances, lie at precisely the point a développé à la seconde strikes 190 degrees. Comical.

Incidentally, Dansomanie publishes today a lengthy interview with Maria Allash (dating from 2006), the key lines in this precise context being,

"I'm not happy about these attempts at rapprochement with Western teaching. I should prefer that we keep our own Russian style ... I am now in a position to compare the lessons given by foreign teachers who have been working here with those of Marina Semionova, for example, and the latter's lessons are, to my mind, far more complex and interesting despite her great age (editor's note - Semionova is 96) or those of Svetlana Adyrkhaeva ... The Russian School is what we must teach !

"Foreigners are fascinated by our lessons, because our tradition stretches back over centuries. An excellent teaching method is of the essence, because that is what avoids injury. The Russian School enables us to dance classical ballets properly. Which simply cannot be said of all the Western Schools. Dancers trained for the most part in contemporary or neo-classical, can no longer do justice to the classical ballets."


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 Post subject:
PostPosted: Mon Jan 07, 2008 7:34 pm 
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Thank you very much, urelie and Kanter, for your reviews and your thoughts. Kanter, I once read your comments elsewhere and long ago about the selective use of pointe steps in general and have always kept your suggestions in mind.

As cited by two other forums, according to the official Bolshoi site in russian, Natalia Osipova will debut as Medora in Le Corsaire tomorrow.

http://www.bolshoi.ru/ru/season/press-s ... p?id26=780


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 Post subject: Marina Semenova (Semionova)
PostPosted: Tue Jan 08, 2008 4:42 am 
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I would just like to point out that Marina Semenova will in fact be 100 years old this year.

Svetlana Adyrkhaeva very kindly allowed me to watch a couple of her classes when the Bolshoi danced in Monte Carlo in October 2006 and I have to say she was a most interesting teacher.


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 Post subject:
PostPosted: Sun Jan 13, 2008 12:11 pm 
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I don't think that I have ever seen so much enthusiastic internet coverage of a ballet series as I am seeing now in Paris. Several of the most active internet posters seem to be going to performances almost every night and the press is also still quite active. Comments are generally very favorable with a great deal of praise going to Svetlana Zakharova and also to Svetlana Lunkina, who I believe performed Medora (Le Corsaire) three days in a row. Natalia Osipova, who apparently did not perform her debut as Medora is stlll generating a lot favorable comment and praise.

[spelling correction made]


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 Post subject:
PostPosted: Sun Jan 13, 2008 2:11 pm 
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I had to renounce to see the second program yesterday because of sickness :cry: . But it seems I missed a great thing: Denis Matvienko as Solor in La Bayadere. Everybody says he was stunning, "I have never seen that in my life", etc :( ...

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