Thanks, Natalia, for your good news. I'm glad that you liked Anastasia Kolegova, partnered by Maxim Zyuzin. I see her as someone that you have to love, who is also an extremely fine dancer. She is indeed different from the long-lined 'ethereals' that I appreciate so much at the Mariinsky (Ulyana Lopatkina, Oxana Skorik, Olga Esina, and probably Ekaterina Kondaurova, although she is a slight degree different in my perception, etc.). Anastasia Kolegova is a not tall ballerina, who compensates for not having long lines by being a sweetheart, a subtly sensual bombshell and doing everything beautifully right.
I understand how you feel about longing for the delicate "lyricism" that Alina Somova possesses. This quality has become more apparent to me from my video watching. Although she has many qualities that I like very much, it's this lovely lyrical essence, the "unfurling of long limbs" (as you have written), that has captivated me the most.
Hope that you see another really good one tonight. I think that you'll find a similar long-lined lyrical fineness in Olga Esina combined with an airy vitality and a solidity of performance, an interest and excitement in her nuancing and transitioning….
Thank you also, Natalia, for alerting us elsewhere to Sarah Kaufman's highly interesting and sensitively supportive review in The Washington Post.
"How could he resist Somova’s Odette? Captive to a magician’s spell, she unspooled a magic of her own. Somova is known — and derided, by some — for her extreme flexibility more than her artistry, but it’s time for a reassessment. First of all, she is blessedly free of affectation: no Gothic dramatics, no face-pulling. Secondly, this whisper-thin, leggy creature who looks like a child has upper-balcony star quality. There is something fascinating and watchable about her, the way Joan Crawford was not a classic beauty but she made you focus on her every move, every minute."http://www.washingtonpost.com/entertain ... story.html