Internally theres a roles for cash racket operating, but I don't know if this extends to dancers from overseas.

Cassandra, as Catherine clarified a while ago in another thread, Kampa, Parish, Kimin and other occasional foreigners have their own special contracts. It is a different 'cash racket' of sorts, in that the contracts can guarantee a specific number of starring or featured roles within the contract period. The very talented Kim Kimin, for example, is solely sponsored by a wealthy Japanese businessman/fan (as clearly shown in his bio page, on the Mariinsky web). So, in a way, Kimin's sponsor 'bought' his on-stage time. [No slam on Kimin, who, in a 'normal' ballet company would most likely shine on his own accord.]

I don't know if Kampa is similarly 'sponsored' but she is the subject of a documentary film project that is ongoing. I'm sure that the film-makers want to show her story as a star, thus the reason to show her on stage in top roles...which may partly explain the push.

http://wwfilmfest.com/films/the-keenan-kampa-story

The film's initial footage was recently previewed in the DC area but, as we were told, is 'a work in progress.' The footage shown is lovely but the film is not ready, as the story is still evolving, i.e., Ms Kampa will soon bound onto the Mariinsky's boards as Kitri. (A Star is Born scenario!)

In August 2000, I was lucky enough to have a conversation with the first American at the Mariinsky, Rasta Thomas, while he guested in Varna, just before beginning his one-year stint at the Mariinsky. He mentioned that he would be dancing starring roles (Jeune Homme, Chopiniana poet, Spectre de la Rose), as part of the agreement/contract. I believe today's foreigners on the roster also went into this with expectations for x-number of starring roles...which is a tad unusual when someone is brought in as "corps de ballet" and has to share the corps dressing rooms with others who've been patiently waiting their turns at leading roles. I can understand when someone like Cojocaru or Hallberg is brought in for one or two guest performances as leading soloist in one ballet. The odd thing at the Mariinsky is foreigners being brought in, under special contracts, to be in the corps de ballet.

Just a note that tomorrow, Jan. 16, Keenan Kampa debuts as Kitri alongside Andrey Ermakov also debuting as Basil. Ruben Bubelnikov is debuting as Gamache.

Natalia Sologub who was at the Mariinsky when I first began living in Russia (2004) and then joined the Dresden Ballet (2006 I believe), is returning for a performance of Cinderella on the 18th.

And finally, Andris Liepa is currently on site coaching the dancers in the Fokine program -- Chopiniana, Sheherezade and Firebird. There were some wonderful pictures of him in the studio with Xander Parish, working on Chopiniana on one of Xander's sites.

Maybe **Veronika** will make it back as well, Catherine. She was invited once before along with Natalia Sologub. If she was invited to the Festival I'd be in heaven ! I'm hoping to be able to see her at ABT in Swan Lake for about the sixth time in June. I'd also add Myriam Ould-Braham (Paris Opera Ballet) to my Festival wish list.

Very best wishes to Keenan for tomorrow.

Buddy it would be great if Veronika Part were invited -- at any point. I'm keeping fingers and toes crossed as well. Given her strong roots and the start of her career there it seems she deserves to be a permanent guest artist. We can hope!

This morning a press release was issued announcing the passing on Jan. 22 of Vladimir Alexandrovich Tan'ko, who was the deputy chief executive officer (or deputy director) of the Mariinsky Theatre. He was 76 years old. He joined the Kirov Theatre in 1985 as assistant director and held the title of Honoured Culture Worker of the Russian Federation.

Tomorrow, Feb. 11, Svetlana Ivanova and Xander Parish were slated to perform in Giselle together. This would have been Ivanova's debut, however, she is injured and will be replaced. I am praying it's not serious and that we can see her again in this debut later this season -- perhaps for the White Nights festival!

I suspect Ivanova would have been a wonderful Giselle! Who knows when she will get another opportunity!

Very sad news. Vladimir Alexandrovich wasn't only a very capable manager but also a warm, kindhearted and charming person with a wonderful sense of humour. Let him rest in peace.

Can anyone help with information on WHEN the Mariinsky will start selling tickets on internet for performances in September?

I'm sorry but I can't help you on this one.

I've just seen some video clips posted elsewhere of Keenan Kampa's performance today of Kitri from "Don Quixote." She looks more secure than she did several weeks ago. She looks lovely.

Soutenu, I just PM-ed you.

It was recently announced that Dasha Pavlenko will debut in Firebird on March 12th. Hurrah!

The company completed the Mariinsky Festival Sunday night, followed by a lovely reception at the hotel Astoria. Today they leave for Abu Dabi, where they're bringing the Fokine program thru Saturday. Danila Korsuntsev has sustained a back injury -- he was replaced last minute in Olga Esina's "Swan Lake" performance (Sat nite) by Evgeny Ivanchenko. As a result the Scheherezade main role in Abu Dabi will be danced by Xander Parish for some, if not all of the performances.

Tonight is Pavlenko's debut and on Sunday Keenan Kampa will be performing the Don Q grand pas at the Concert hall at the end of an evening of divertissements.

That is a short update

Les Noces/ Firebird
Mariinsky Theatre
Saint Petersburg, Russia
12 March 2013
by Catherine Pawlick

Daria Pavlenko is back. Following maternity leave, and a torn Achilles tendon injury that subsequently sidetracked her return to the stage, the Mariinsky ballerina that is beloved by many is now again on top of her game. Following appearances during the Mariinsky festival in Don Quixote and the Forsythe program, on Tuesday night she debuted in Mikhail Fokine's colorful The Firebird to Yuri Smekalov's handsome and proud Ivan-Tsarevich.

The program itself was an odd one: Bronislava Nijinska's somberly disturbing Les Noces set to Stravinsky's irregular beats, followed by a 20-minute balalaika concert in the theatre's upper foyer during intermission, and then at last Firebird, bringing relief with classical steps and (at least for the Firebird) a tutu. It was the Fokine work that offered the most vibrancy, not just in terms of sets and steps, but in terms of the emotions on stage.
We enter the bright land of the Firebird first through the sets and costumes designed by Alexander Golovin, Léon Bakst and Michel Fokine-- bright reds, deep blues, accents of gold and green. This is not the black-and-white color palette of Swan Lake, nor is it the world of muted pastels in Sleeping Beauty. For those who have seen Alexei Ratmansky's Little Humpbacked Horse, the color scheme here is similar: lively and energizing.

As Ivan-Tsarevich, Yuri Smekalov cut a dapper figure in the classical Russian costume - these characters look as if they have stepped directly out of a fairytale book. Smekalov etched the perfect figure of a young and curious Prince, one who is determined not to led his newfound "prize" go. Bowing politely to the princesses in white, he was generally entranced upon his sudden encounter with The Princess of Great Beauty, Ekaterina Mikhailovtseva, and seemed determined to stay with her, until Kashchei the Immortal (Vadim Belyaev) revealed his evil kingdom. Smekalov's adjustments --pulling down his belt, rolling up his sleeves-- offered an appropriately cartoon-like demonstration of the Tsarevich's pride, and the challenge he faced in trying to overcome evil.

The role of the Firebird itself is a taxing one: the ballerina jumps throughout the nearly 45-minute ballet, and she is also the main focus for much of the dramatic action. Daria Pavlenko, stunning in the bird's smooth red bodice, with golden bracelets that accent her supple port de bras, first crossed the stage in the requisite sautés, then in grand jetés. Her pas de deux with Smekalov after being captured hinted at both sadness and struggle. Pavlenko infused the role with depth of feeling, without compromising the pantomime or steps. In fact, each scene and gesture became utterly clear in her rendition of it: her promise to help the Tsarevich in return for freedom, or the single sweep of an arm that sent evil creatures offstage. Her characterization was vivid, which in turn gave us an unambiguous interpretation of the libretto. Smekalov did the same, notably at the ballet's turning point: teasing Kaschshei with the egg, he threatened to break it before the spell is finally broken, in almost a mocking gesture. These small gestures made the performance heartfelt and real.

Andrei Petrenko conducted the opera singers and orchestra for Les Noces. Alexei Repnikov did a fine job leading the orchestra for Firebird. Let us hope that Pavlenko and Smekalov both continue to be cast in roles worthy of them.

Thank you Catherine for the wonderful review of Dasha Pavlenko in "Firebird." She's "back" indeed! In fact she never left; she was always there, always prepared and available. She just needed to be given the opportunity and the chance to reclaim her roles. May Pavlenko grow in this new role, as well as reclaim all of her roles, (i.e. O/O, Giselle, Nikiya, Raymonda etc.), and the modern repertory on a regular basis!