In addition to the information in the posts above, there is another explanation why the Mikhailovsky tour was cancelled.
It was revealed yesterday in RIA Novosti and Russia Today that JFC Group filed for bankruptcy. Vladimir Kehkman is the founder and CEO of JFC. http://en.ria.ru/business/20120222/171452498.html http://rt.com/business/news/russia-bana ... ilure-925/
I'm ITA with everything that "ksneds" posted. It was incredibly arrogant of Kehkman and Danilian to think that ABT would let Osipova and Vasiliev skip across Lincoln Center quad from the Met to Koch Theatre and perform with the Mikhailovsky (practically) at the same time. It seems that Kehkman bet the house on 1) acquiring Osipova and Vasiliev - (which was a long shot), and 2) have them headline what might have been the Mikhailovsky's first U.S. engagement. The sad fact is that while Leonid Sarafanov (formerly) of the Mariinsky may have an out when his contract is up, (i.e. he could
return to the Mariinsky Theatre), the Bolshoi bridge is out, perhaps permanently for Osipova and Vasiliev. The morale of this tale is this: It matters how
you leave; you may have to come back one day.
Moreover, as for Duato, he was another gamble that Kehkman took upon himself. The great teacher Mikhail Messerer and coach and former Kirov premier danseur noble, Nikita Dolgushin are already in the theatre
), and yet he looked beyond Russia's borders and selected Mr. Duato to lead the ballet and essentially change the emphasis of the company to modern dance. This is an entirely different direction which is not based on the training of the Mikhailovsky's dancers
classical ballet. As for ksneds' very perceptive point about Duato having ". . . no faith in any of his other dancers," I totally agree. I for one, can draw no other conclusion just by looking at his casting decisions. For example his vision of "Sleeping Beauty" was barely tolerable simply because Svetlana Zakharova chose to participate. She danced one of the premiere performances with Sarafanov. The opening night was danced by Irina Perren, (also with Sarafanov). His vision of Petipa's masterpiece is essentially modern dance in roccoco costumes. This is the problem: His choreography does not translate nor fit others
in the rank and file who might aspire to the role of (his) Aurora. The reception by the public and the critics was mediocre - at best. That's just not MO, it was also the majority opinion of the specialists, pedagogues and the cognoscenti in Petersburg and Moscow.