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 Post subject: Re: Mariinsky International Ballet Festival: April 3-13, 2014
PostPosted: Sun Jan 12, 2014 2:10 pm 
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Maybe I could explain for a moment my above choices. There are two elements that come to mind. One is the Added Dimension and the other is the Basic Dance with its dreamlike beauty and refined purity.

The Added Dimension.

In the Festival performances Alina Cojocaru probably best exhibited the added dimension, in this case an ability to integrate an absolute brilliance of expression into her character and her dance. Her Giselle from 2011 attained the summit of theatrical-dance expression in my viewing experience.

Svetlana Zakharova, last year, with her Giselle, not only accomplished a similar feat, but did it with perhaps the finest Overall mastery of a performing art form that I've ever seen.

(Veronika Part (formerly a Mariinsky ballerina) is possibly the best that there is at taking things into another dimension. Her ability to reach inside herself to create entire worlds of compelling dance expression is remarkable. The very young Olga Smirnova also shows some of the same wonderfulness. Oxana Skorik has similar, often wonderfully subtle characteristics. All these artists have fine 'Vaganova School' refinement of dance. Veronika Part is perhaps the most compelling at reaching beyond this. Olga Smirnova, just embarking on what should be an amazing career, has been described by Diana Vishneva (as posted by Catherine) as the artist who has finally managed to assimilate the Mariinsky and Bolshoi fundamentals (at the age of 20!). I'm just beginning to really feel this and appreciate where it could lead to. Currently I would say that Veronika Part shows the greatest range and sublimeness of expression while Olga Smirnova is very noteworthy for her beautifully apparent fineness and Oxana Skorik most noteworthy for her fineness.)

Gillian Murphy, along with her ability to wow with her technical prowess, has a loveliness and most interesting to me in her Swan Lake performances an ability to create a powerfully compelling imagery and identity.

Ekaterina Kondaurova, "who made her name at the Mariinsky in the contemporary repertoire" (as quoted from Catherine's recent Pedagogue article in Dance Magazine) and then became equally apparent as perhaps the most sculpturally beautiful artist in ballet today with her Swan Lake performances went a step beyond that with last year's Festival Balanchine performances. As I've already mentioned her newly exhibited theatrical prowess absolutely Amazed me ! Her range seems limitless.

Viktoria Tereshkina with her 2009 Swan Lake also took her exceptional dancing prowess and added a masterfully constructed beauty in her sculptural appearance and overall imagery.

Beauty of Dance.

Ulyana Lopatkina has possibly the finest purity of grace in ballet. Other Mariinsky artists, such as Alina Somova and Oxana Skorik, have a similar basic fineness. Ulyana Lopatkina's 2006 Swan Lake also showed an Odile character, sublimely enigmatic, that was a masterpiece. Her overall beauty of dance was as fine as I've yet to see.


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 Post subject: Re: Mariinsky International Ballet Festival: April 3-13, 2014
PostPosted: Mon Jan 13, 2014 6:05 pm 
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In my above listing of personal Mariinsky Festival highlights, I've given a lot of attention to "Added Dimension" or 'step beyond' performances. The excellence of basic dance in each of these performances is assumed. It was there.

What about the basic dance alone? Was it ever enough to make a performance great without something added?

Ulyana Lopatkina is probably the most capable of this. The basic beauty of her dance seems to require nothing more to make it great.

Alina Somova and Oxana Skorik at the Mariinsky have this ability as well from my viewing. I believe each of them could simply dance the most beautifully that they're capable of and no added 'genius' of expression, virtuosity/bravura, etc. would be necessary. Still both these artists can and have added a great deal.

Oxana Skorik and Olga Smirnova (Vaganova Graduate now at Bolshoi) make a very interesting comparison. Oxana Skorik, although capable of 'thunderbolts' of magnificent expression seems for the moment to be concentrating on a refining and purity of dance, which is extremely beautiful. Olga Smirnova, on the other hand, seems to be more and more expressive, yet her basic loveliness of dance is also more and more apparent. This basic loveliness is what gives the 'genius' of expression validity in the context of ballet. Brilliant expression is adding wonderful excitement and richness to the wealth of basic beauty that Olga Smirnova possesses.

It should be very interesting to see how Oxana Skorik deals with this. Will she ever be able to carry a performance with only the basic beauty of her dancing, nothing added? Would she want to?


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 Post subject: Re: Mariinsky International Ballet Festival: April 3-13, 2014
PostPosted: Mon Feb 03, 2014 1:20 pm 
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Wildcards

Now that the Washington DC performances are over, the Mariinsky will probably start focusing on the Festival and we'll get some insight into what to look forward to. What interests me very much is what to expect in terms of emphasis from certain Mariinsky artists who are very likely to appear. Again it's from the dancers that I've written about above that this list comes from.

The Balancing of Lyrical Beauty and Compelling Expression

Alina Somova
Oxana Skorik
Ekaterina Kondaurova

I use the term 'Wildcards' because there is a definite unpredictability as to what the emphasis and what the nature of expression will be in these three artists. For me, they all have an Essence of refined loveliness that I perhaps prize more that anything. The nature of expression is also very important. How these artists chose to balance this is what fascinates me.

Alina Somova

She is perhaps the most interesting to me. Over the years she seems to have tried about everything. Now that she has a child, like other similar artists, she appears to have matured in a loving way, settled down somewhat and become more focused.

Her lyrical refinement is more evident. Natalia referred to this at the DC topic as "Alina Somova's lyricism and delectable unfurling of long limbs in the 'white acts.' "

Somewhat unexpected to me is Sarah Kaufman's emphasizing the Expression in her Washington Post review posted above by Natalia.

"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.

"Such half-beauties, half-curiosities achieve that fascination by creating tension, which keeps their audience alert. There is no mental coasting when you’re watching Somova."

Fascinating expression is a quality that I've noticed over the years in Alina Somova, but not one that I've seen emphasized.

I have to add Sarah Kaufman's lightedhearted take here. It's somewhat a breath of fresh air after all the years of intense discussion regarding Alina Somova's use of her large extensions and exceptional flexibility.

"She has a strange, unsettling flying-apart quality. When launching into a big jump or a high kick, her limbs go in all directions; she seems as weightless as a paper doll. Where does the power come from to harness them again, and swiftly?

"Later in the ballet, when she appeared as Odile, the black-hearted seductress who leads Siegfried to ruin, Somova began wobbling in her turns (Uh-oh! — train wreck coming) but darn if she didn’t suck herself up into a whirlwind that by the end of her solo felt like a force of nature. With power to burn: I’ve never seen an Odile whip off those punishing 32 fouette turns so fast, in such poor form —and so thrillingly."

Once again I have to say that it's Alina Somova 'refined Essance' that I perhaps love the most and would like to see the most apparent. Still the 'expressiveness' cited by Sarah Kaufman is there and is very impressive. How Alina Somova decides to balance all this should be highly interesting and perhaps highly unpredictable.

I could maybe try to focus on the same interest in Oxana Skorik and Ekaterina Kondaurova at another time. Unpredictability of emphasis adds to the fascination and is why I lighthearted refer to these remarkable ballerinas as Wildcards.


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 Post subject: Re: Mariinsky International Ballet Festival: April 3-13, 2014
PostPosted: Tue Feb 04, 2014 2:02 pm 
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Facial Expression

To clarify my post above, what do I mean by "Expression"? In this case I primarily mean facial expression. Since ballet seldom uses words, this becomes perhaps the most powerful method to convey feeling and define the character.

What Sarah Kaufman describes as expression, I sense has more to do with overall body movement. I've noticed this very strongly in Alina Somova. What I've noticed less often is when her facial expression strongly defines the imagery. On stage I have seen instances of sublime and compelling meaning in her face that do set her apart.

Her most enchanting portrayal, for me, comes from the video clips a few years ago of Alexei Ratmansky's Cinderella. A more recent video clip of the same work shows what I consider her sensitively reassessing the role from the point of view of a new mother. Since she has such an encompassing stage presence, this becomes extremely interesting.

Oxana Skorik's use of facial expression is perhaps the most subtle and most real. You can actually believe that she's living her character. Ekaterina Kondaurova is perhaps the most theatrical, but it's great theater !

All these ladies are able to change all this with unexpected and often massive brush strokes. Thus the fascination.


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 Post subject: Re: Mariinsky International Ballet Festival: April 3-13, 2014
PostPosted: Thu Feb 06, 2014 2:19 pm 
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The festival schedule is up:

http://www.mariinsky.ru/en/playbill/festivale/fest_2013_2014/ballet_fest_231/

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 Post subject: Re: Mariinsky International Ballet Festival: April 3-13, 2014
PostPosted: Sun Feb 09, 2014 12:52 pm 
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Looking over the program for this year's Festival, it seems pretty good. My experience has been that it's not necessarily the inventiveness of the program, but the quality of the performances that really shines.

Half the performances will be in the new theater, which should be very interesting. Two Swan Lakes will be danced there, the first time, I recall, that any of the classics has been danced more than once since 2008 when six(!) Swan Lakes were presented. I can live on Swan Lakes so this is fine with me. Who'll get the two this year? I would guess that at least one Odette/Odile will go to a guest artist. I keep hoping eternal for Veronika Part (ABT, formerly Mariinsky). Of the Mariinsky possibilities Ulyana Lopatkina and Oxana Skorik have not yet been listed for anything. Daria Pavlenko did this beautifully years ago.

I really look forward to seeing Olga Esina as Giselle.

La Bayadere will feature Alina Somova as Nikia, Isabella Boylston (ABT) as Gamzatti and Kim Kimin as Solor. Based on very fine internet comments about Alina Somova's recent Swan Lakes in Washington DC, this could be another exceptional performance. I've seen Isabella Boylston dance Gamzatti and liked her very much. I liked her Odette/Odile even more. (Also saw Simone Messmer as Gamzatti in the same series. Hopefully this amazing artist will appear someday at a Festival.) It's always great to see Kim Kimin.

Le Corsaire, which I've never seen live, should be danced beautifully by Ekaterina Kondaurova as Medora. I'm only familiar with the lovely Jardin Animé act and the dance for three by Madora with Ali and Conrad. Ivan Vasiliev will probably tear up the stage, in the manner of Rudolph Nureyev and Farukh Ruzimatov, as Ali. Andrei Yermakov will be Conrad.

Diana Vishneva should be wonderful during her evening.

Of the new additions, Frederich Ashton's Sylvia will open the Festival for two nights. Viktoria Tereshkina will dance the first night and should be outstanding.

("Sylvia is a typical classical ballet in many respects, yet it has many interesting features which make it unique. Sylvia is notable for its mythological Arcadian setting, creative choreographies, expansive sets and, above all, its remarkable score.
"Ashton re-choreographed Sylvia in 1952. As the story goes, what sparked Ashton's interest in Sylvia was a dream he had in 1946. In the dream, Delibes charged Ashton with revitalizing his under-appreciated ballet and Ashton, upon waking, took up the task.[11] The master choreographed Sylvia with a strong emphasis on the lead rôle; in fact he designed the entire ballet as a tribute to Margot Fonteyn, a dancer with whom he worked. Clive Barnes, an American drama critic, noted, "the whole ballet is a garland presented to the ballerina by her choreographer."….Ashton also tweaked Barbier's libretto for the première to maximize interest in the story.)

http://en.wikipedia.org/wiki/Sylvia_(ballet)

Then there will be two new works that I'm looking forward to seeing for the first time, Wayne McGregor's Infra and Alexei Ratmansky's Concerto DSCH. The Mariinsky dancers seem more comfortable and proficient each year with this sort of new material. Last year Ekaterina Kondaurova amazed me with her dancing of all the leads in George Balanchine's Jewels and did just fine with the William Forsythe evening along with all the other dancers.

Det Kongelige Teater and The Creative Workshop of Young Choreographers will be a new experience. Hopefully something fine will be be seen here.

I've always enjoyed the closing Gala very much. The Divertissements have been excellent and George Balanchine's Symphony In C should be equally fine.

Some ballerinas, high on my wish list as guest artists, would be Myriam Ould-Braham (Paris Opera Ballet), Maria Kochetkova (San Francisco Ballet), the return once again of Alina Cojocaru and Marianela Nuñez (Royal Ballet).


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 Post subject: Re: Mariinsky International Ballet Festival: April 3-13, 2014
PostPosted: Fri Feb 14, 2014 5:00 pm 
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There is now a posted video of Oxana Skorik and Alina Somova recently performing Legend of Love. This a great chance to make side by side comparisons of what I consider their often similar and remarkable qualities, which I hope will be just as apparent at this year's Festival.

(Thanks to Plisskin at Ballet Alert for finding this)


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 Post subject: Re: Mariinsky International Ballet Festival: April 3-13, 2014
PostPosted: Thu Feb 20, 2014 9:57 am 
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Wayne McGregor's Infra premieres Feb. 25 and again April 5th for the festival.

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 Post subject: Re: Mariinsky International Ballet Festival: April 3-13, 2014
PostPosted: Mon Feb 24, 2014 11:56 am 
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The only thing new (posted today) is that the work that The Royal Danish Ballet (Den Kongelige Ballet) will be doing (two performances) is August Bournonville's Napoli. This will be the first time (in ten years anyway) that The Royal Danish Ballet has appeared or that one of August Bournonville's works has been performed at the Festival. It should be a very enjoyable first.

http://www.mariinsky.ru/en/playbill/fes ... _fest_231/

"Napoli, or The Fisherman and His Bride is a ballet created in 1842 for Denmark's Royal Ballet by Danish choreographer and ballet master August Bournonville. The ballet tells the story of Teresina, a young Italian girl who falls in love with Gennaro, a fisherman. The tale culminates in the marriage of the lovers.

"Bournonville recounts in his memoirs how, during a monotonous carriage journey, he spent hours humming what became the first three sections of the tarantella in Act III. The tarantella became the inspiration for the creation of the ballet.

"The ballet was choreographed after Bouronville had visited Naples (it: Napoli), where he had been impressed by the local colour and the vibrancy of a city in constant movement.[1] He strove to include the "brightness and dynamism" of the city in the work, ending the final act with a lively tarantella.

"The dancing really comes to forefront only in the third act….However, the piece has also been praised for its "local colour", the exceptional male solos, and is sometimes referred to as Bouronville's "signature work".

http://en.wikipedia.org/wiki/Napoli_(ballet)

Having spent an often very pleasant week in Naples last October, when the Mariinsky performed Swan Lake, I can relate to this. Maybe the Mariinsky had fun too, which is why the performances. Maybe? :)


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 Post subject: Re: Mariinsky International Ballet Festival: April 3-13, 2014
PostPosted: Thu Mar 06, 2014 1:54 pm 
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New casting information is dispersed around the Mariinsky Festival site today.

Some of the names.

Oxana Skorik will dance Swan Lake with Denis Rodkin (Bolshoi Theatre). She did a beautiful job with the Act I, Odette duet at the 2012 Gala.

No Ulyana Lopatkina yet.

Alina Somova will hold down the fort dancing Sylvia with Xander Parish as well as the previously announced La Bayadere (with Kimin Kim as Solor and Isabella Boylston (ABT) as Gamzatti). In 2012 (she was on maternity leave 2013) she was similarly active dancing Swan Lake, Symphony In C twice and appearing three times in one evening's gala.

Ekaterina Kondaurova, who seemed to appear almost every night last year, will be performing Le Corsaire with Ivan Vasiliev as well as the McGregor/Ratmansky evening.

Viktoria Tereshkina will do the previously announced Sylvia along with the McGregor/Ratmansky evening.

http://www.mariinsky.ru/en/playbill/fes ... _fest_231/
(thanks to Elena K at Dansomanie, who actually ticked into each event, which I didn't think of)


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 Post subject: Re: Mariinsky International Ballet Festival: April 3-13, 2014
PostPosted: Sat Mar 08, 2014 2:17 pm 
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Insight Into A Festival

I guess I'm on a Xander Perish roll after having seen video clips of his and Yulia Stepanova's Swan Lake debut two days ago. There must be an English school of high ballet theatricality because his 'Shakespearian' take has left me almost overwhelmed. I also recall Alina Cojocaru's great interpretations (she might be the best!) at four Festivals and Tamara Rojo's very 'real' Odette/Odile at another Festival. These three artists are former Royal Ballet (London) performers.

In any case I discovered Xander's Facebook site which included some published entries from his diary. The largest excerpt is devoted to last year's Festival and gives a very interesting and sympathetic insight into the ground that a Mariinsky artist has to cover in ten days. (It starts at Tuesday 5 March 2013)

http://www.opendemocracy.net/od-russia/ ... -of-dancer

"A punishing schedule ahead: tonight is the first of six shows for me, during the weeklong Mariinsky International Ballet Festival. This evening, I'm dancing the principal male role in Balanchine's Emeralds, opposite Maria Shirinkina."

In addition Xander was the Understudy for a rather lengthy and difficult solo work. Then…

"Today is a first: two solo performances in one day! 15.00 the premiere of Intenso, the piece by Yuri Smekalov for the Young Choreographers programme; and 19.00 the Pas de trois in Swan Lake."….Everything was ready, then this morning we're told that one of the six dancers in the piece is sick, and won’t be performing. I’m expecting the piece [Intenso] to be pulled but no: ‘This is the Mariinsky….12.30: Unbelievable! After morning class, Yuri the choreographer rounds up the five of us left in his piece, and we restructure while he re-choreographs as we go…"

And while he was getting ready for the Swan Lake Pas de trios that evening he was asked to prepare for a major solo in three days that he'd never done before in a county five hours away by plane.

I was at all these performances, except the Young Choreographers programme, and had no sense of how much was going on behind the scenes for this remarkable young man. I can imagine that this applied to many of the other artists as well.


There is more of general Xander interest. As he mentioned in a previous interview, his big chance came when he was given Giselle a month before. This is the first diary entry.

"Now, I get the chance to put my theory into practice: a story ballet is about the development of emotion and character; wonderful technique is lovely to see, but it's the emotion of a piece that does it for me.

"My mum is in the auditorium with some of my friends. Well, I’m guaranteed some applause…

"19.55: During the interval, Igor keeps my courage up. Katya too. And Yuri [Fateyev, the Artistic Director]. I feel like a prize racehorse.

"Curtain down. It's over. Suddenly, I am surrounded by wellwishers. Yuri is thrilled: "Now you are a real Russian artist!" "

And in summary.

"Time has a different meaning to a dancer: you live your life to a rigid timetable of rehearsal and performance; and then by age thirty-five or forty, you've got to know what to do next with your life.

"22.30: I’m alone in the dressing room. Yuri has made me think: Russian ballet is different; it’s in the blood. You tell people you’re a ballet dancer in Russia, and it’s as if you’ve told them you drive a Lamborghini."


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 Post subject: Re: Mariinsky International Ballet Festival: April 3-13, 2014
PostPosted: Sat Mar 08, 2014 6:43 pm 
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In reference to the first paragraph in my previous post, I asked humorously at Balletco. (UK)….

"Is there a school of high ballet theatricality hidden away at The Royal? [Royal Ballet, London]" and got this response.

"It's hardly "hidden away", Buddy - it's one of the company's distinguishing marks. You'll have to come and see for yourself sometime :)"

Does anyone know if the Mariinsky has anything similar? I believe that I read somewhere that there is an acting class. The men certainly seem to be trained to at least give their ballerinas plenty of supportive psychological space to develop and express deep and often delicately sensitive feelings.

And it brings me back to Xander's comment about his Giselle performance.

"Now, I get the chance to put my theory into practice: a story ballet is about the development of emotion and character; wonderful technique is lovely to see, but it's the emotion of a piece that does it for me."


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 Post subject: Re: Mariinsky International Ballet Festival: April 3-13, 2014
PostPosted: Mon Mar 10, 2014 4:48 am 
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Buddy wrote:
In reference to the first paragraph in my previous post, I asked humorously at Balletco. (UK)….

"Is there a school of high ballet theatricality hidden away at The Royal? [Royal Ballet, London]" and got this response.

"It's hardly "hidden away", Buddy - it's one of the company's distinguishing marks. You'll have to come and see for yourself sometime :)"

Does anyone know if the Mariinsky has anything similar? I believe that I read somewhere that there is an acting class. The men certainly seem to be trained to at least give their ballerinas plenty of supportive psychological space to develop and express deep and often delicately sensitive feelings.

And it brings me back to Xander's comment about his Giselle performance.

"Now, I get the chance to put my theory into practice: a story ballet is about the development of emotion and character; wonderful technique is lovely to see, but it's the emotion of a piece that does it for me."

Acting/interpretation is part of the coaching for each role at the Mariinsky and absolutely integral to it. I think there is no division between "acting" and "dance" at Mariinsky since ballet movement is seen as an expression of an inner thought/emotion. At Vaganova, certainly the students have acting classes and examinations.


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 Post subject: Re: Mariinsky International Ballet Festival: April 3-13, 2014
PostPosted: Mon Mar 10, 2014 10:28 am 
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Dance theatrical expression is an interesting area that I really haven't given that much thought to. I tend to see the dancers that I love as bringing an 'Aura' to their performance rather than a really defined character.

I certainly see a huge difference between what the *Truly Amazing* (in my opinion) Mariinsky "Principal Character Artist", Vladimir Ponomarev, portrays and what a regular dancer does. His Don Quixote interpretations show some the finest character expression that I've ever seen. By the way, I still believe that the Mariinsky should give this great artist a Gala. A Festival one could really be something excitingly different.

In Xander's case (as I've seen with some other 'English school' dancers, Alina Cojocaru and Tamara Rojo for example) there is a real attempt to define and amplify the character.

Added thought:

For anyone who has seen the recently posted video clips of Yulia Stepanova and Xander Parish's Swan Lake debut this distinction might be noticeable. Yulia Stepanova, for me, has an 'Aura' whereas Xander shows more of a defined person. I think that the interaction of styles that they have achieved in this performance is a very beautiful one.


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 Post subject: Re: Mariinsky International Ballet Festival: April 3-13, 2014
PostPosted: Fri Mar 14, 2014 2:54 pm 
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Anastasia Kolegova is being given the second Swan Lake to be danced with Timur Askerov. Although she is often seen on tour as Odette/Odile this will only be the second time that she has done anything at a Festival. She was the Lilac Fairy in the 2011 Sleeping Beauty that featured Viktoria Tereshkina as Aurora and Dmitri Gudanov (Bolshoi) as Prince Desire. Oxana Skorik also made one of her earliest Festival appearances as Princess Florine in the Bluebird duet. Both Anastasia Kolegova and Oxana Skorik will now be performing Swan Lake at this year’s Festival and I’m very happy for them.


XIV International Ballet Festival Mariinsky
3 – 13 April 2014

Sylvia — April 3

Sylvia: Viktoria Tereshkina
, Aminta: Vladimir Shklyarov,
 Orion: Yuri Smekalov
, Eros: Alexei Tyutyunnik, 
Diana: Tatiana Tkachenko


Sylvia — April 4

Sylvia: Alina Somova, 
Aminta: Xander Parish, 
Orion: Andrei Yermakov
, Eros: Alexei Timofeyev, 
Diana: Daria Vasnetsova


Infra. Concerto DSCH. Sacre — April 5

Infra

Nadezhda Batoeva,
Viktoria Brilyova,
Yekaterina Kondaurova,
Anastasia Matvienko,
Viktoria Tereshkina,
Zlata Yalinich,
Kimin Kim,
Kirill Leontiev,
Alexander Sergeyev,
Filipp Stepin,
Vasily Tkachenko,
Andrei Yermakov

DSCH

Svetlana Ivanova,
Konstantin Zverev,
Elena Yevseyeva,
Kimin Kim,
Filipp Stepin

Sacre

Yekaterina Kondaurova, 
Daria Pavlenko, 
Alexander Sergeyev, 
Yuri Smekalov


Swan Lake — April 6

Odette-Odile: Oxana Skorik
Siegfried: Denis Rodkin (Bolshoi Theatre)
von Rothbart: Konstantin Zverev
The Prince’s Friends: Nadezhda Gonchar, Elena Yevseyeva, Filipp Stepin
The Jester: Vladislav Shumakov


Diana Vishneva: On the Edge -- April 7

I. Switch

Diana Vishneva, Gaëtan Morlotti and Bernice Coppieters (Les Ballets de Monte-Carlo)

II. Woman in a Room

Diana Vishneva


Swan Lake — April 8

Odette-Odile: Anastasia Kolegova
Siegfried: Timur Askerov
von Rothbart: Andrei Yermakov
The Prince’s Friends: Nadezhda Batoeva, Maria Shirinkina, Alexei Timofeyev
The Jester: Vasily Tkachenko


La Bayadère — April 9

Nikia: Alina Somova
Gamzatti: Isabella Boylston (ABT)
Solor: Kimin Kim


Napoli — April 10

The Royal Danish Ballet


Giselle — April 11 (Mariinsky Theatre)

Giselle: Olga Esina
Count Albrecht: Konstantin Zverev
Hans: Ilya Kuznetsov
Myrtha: Tatiana Tkachenko
Classical duet: Elena Yevseyeva, Alexei Timofeyev


Napoli — April 11 (New Theatre)

The Royal Danish Ballet


Le Corsaire — April 12

Medora: Yekaterina Kondaurova
Gulnare: Maria Shirinkina
Conrad: Andrei Yermakov
Ali: Ivan Vasiliev (Mikhailovsky Theatre)


A Creative Workshop of Young Choreographers — April 13 (12:00)

Details about the concert to be announced


Ballet Gala — Divertissement. Symphony in C — April 13 (20:00)

Divertissement

Cast to be announced

Symphony in C

I. Allegro vivo
Anastasia Matvienko and Denis Matvienko

II. Adagio
Oxana Skorik and Yevgeny Ivanchenko

III. Allegro vivace
Nadezhda Batoeva and Kimin Kim

IV. Allegro vivace
Maria Shirinkina and Alexei Timofeyev

http://www.mariinsky.ru/en/playbill/fes ... _fest_231/
(click on the name of each title at right for complete casting)


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