I must say, I agree with Nikolai's assertion that Pavlenko danced exceptionally.

DJB- I absolutely agree with you about her regal bearing. Something about it -- that I can't pinpoint -- just made you feel like *she and only she* was supposed to be in that costume, in that role, at that time, and it was impossible to find fault with any element in her dancing. I cannot believe it could be danced better than anyone else -- technically or otherwise.

And as with djb, I too was moved almost to tears more than once with her warmth and beauty. It was all I could do to remain composed!

<small>[ 13 October 2003, 11:26 AM: Message edited by: Catherine Pawlick ]</small>

An interesting assessment from the Chronicle:

http://www.sfgate.com/cgi-bin/article.cgi?f=/chronicle/archive/2003/10/13/DD154167.DTL&type=performance

Another couple of things I like about Pavlenko: She can fill out slow music like few dancers I've seen, and she has the ability to project attention out of her body. I don't quite know how to describe what I mean, but some dancers seem to draw my attention mostly to what their bodies are doing -- how high their legs are, the shape they're making. I was aware that Pavlenko had a pleasing line (because I wasn't aware of her not having a pleasing line), but I was aware of so many other things in her dancing that I can't even remember how high her extensions are or how arched her feet are. (My comment earlier about liking her legs is based on noticing them during curtain calls.)

I'm sorry I didn't get to see Lopatkina in Diamonds, having donated my ticket to someone. I'm curious to hear how she liked the performance, since she's a ballet student.

I enjoyed Gumerova in the tall girl part in Rubies. Her personality came out a lot more in this role. Interestingly, her character in it was flirtatious, more like the other Rubies soloist, but I thought it worked well. Sarafanov also was very good in Rubies.

Once again, as happened with Pavlenko's double-duty in Jewels, a pre-performance announcement said that someone else would be performing the solo woman in Rubies, but in fact it was Gumerova, as stated in the program. It brought to mind "George Spelvin," a fictitious name used in the theater for an actor whose name already appears in the program (such as in the play/film "Sleuth"). Has anyone heard of this being done in ballet?

<small>[ 13 October 2003, 02:47 PM: Message edited by: djb ]</small>

Do you know, there is the one moment towards the beginning of the Diamonds pas, her cavalier has his arm around her waist I think, and she arches sideways to the left, her right arm in 5th high... and I have this image of her in my head doing that movement -- it's not about feet or legs or extensions or whiplash flash... it's just *beautifully* expressive. Like you said "outside" herself... I think you expressed exactly what I've noticed too.

I was conveniently tuning out those announcements at the beginning, so I don't recall who's name was stated besides the pianist's. But I agree...Gumerova was flirty and even *more* relaxed than Friday night. (I say "more" because given the spill, I personally would have been on edge all night had it been me, but her smile seemed to say "it's all right, don't worry about me one bit.")

By the way -- coincidence that both spills were on the same area of the stage (left)??

Just wanted to add too: I was more impressed with Sarafanov on Sunday for some reason, and I think it's because he grows on you. I was overwhelmed wtih the entire production Friday night...but Sunday gave some more time to digest each performer. And I seemed to notice him even moreso-- that sort of boyish, no-holds-barred gusto that is rare to see in men these days. He's definitely a valuable member of the male component of that company.

Is Janice Berman any relation to Joanna Berman?

She is not.

Thanks, David. I'd like to know the backgrounds of the various critics the Chronicle has been using.

Did anyone get in to see Lopatkina's Diamonds? She's been extraordinary in it. Her Berkeley performance would have been the first time she's danced it in two years.

She must have danced on one of djb's watches. I missed her, so it would have been on Saturday. Maybe another reader saw her?

That was the performance I gave up when my mother gave up her ticket because she wasn't feeling well. However, our neighbors' son and his girlfriend (a ballet student) were thrilled to get our tickets, and he -- who had never attended a ballet performance before -- said he had tears in his eyes watching Lopatkina in Diamonds. What a great introduction to ballet, eh?

<small>[ 15 October 2003, 02:22 AM: Message edited by: djb ]</small>

ripowam and Catherine, I was fortunate enough to take in the Saturday evening Kirov's "Jewels." I hate to say it, but I was planning to post in some notes spiced up with *knowing* references to Bourdieu, E.H. Gombrich, and maybe even some catty comments about the Ghiberti doors, but I'm just too tired on a Tuesday evening.

To answer the literal question, I was totally gripped by Uliana Lopatkina and Danila Korsuntsev's "Diamonds" pas de deux.

I believe that Arlene Croce said that all dances have 2 senses of time – an inner time and an outer time. The outer time is the tempo of the music, its beat, the steps. The inner time is the rate at which meanings accumulate. When she says that great classical adagios of the Russian Imperial inheritance seem both faster and yet to take longer than their literal time, she is referring to the choreography’s internal economy of time. The ability to match the physics of movement to the uncompromising theatricality required of ballet is the mark of genius.

If you believe what Clement and Crispe said of "Diamonds" -- which is, were all of Petipa's ballets to disappear, "Diamonds" would be able to tell you everything of their essence -- in this sense, the "Diamonds" pas de deux marks the summation of that inheritance.

To have seen last Saturday’s “Diamonds” pas de deux is to have been marked by that genius.

What came through for me was its majestic proportion. Lopatkina's Diamonds ballerina is not to be the fin de siecle queen dancing before the lights went out over Europe like in the Rosenkavalier movement of “Vienna Waltzes,” yet neither the empress of ice cream as in “Tschaikosvky Concerto No. 2” nor even the queen of hearts and shades as in “Walpurgisnacht.” Beautiful with a beautiful line and technique, tough as nails, and exuding imperium that particularly classic notion of power, Lopatkina seemed to take over that role.

O well, there’s more but it’ll have to wait until I can get my notes (if I can) into presentable shape.

<small>[ 15 October 2003, 02:57 AM: Message edited by: Jeff ]</small>

Jeff, I am glad to read your report of Uliana Lopatkina's triumphant return to "Diamonds". I can still vividly remember Lopatkina's sublime performance in this role in London in 2001. There is no doubt that Lopatkina is the greatest Kirov exponent of the "Diamonds" ballerina. I seem to recall that Clement Crisp found her even more interesting in this role than the great Suzanne Farrell who created the role. Personally I like Lopatkina's interpretation as much as Svetlana Zakharova's. I don't think Sofia Gumerova or Daria Pavlenko is anywhere close to the same level of artistry in "Diamonds".

Jeff --

I think you probably write as well as Lopatkina dances! Thanks for the comments and insights ...