★★★★✰ Who knew the Mariinsky dancers are a group of profoundly entertaining comedians?
The Mariinsky Ballet are currently touring California and Claudia Bauer took the opportunity to see the rarely spied Raymonda. Viktoria Tereshkina and Vladimir Shklyarov were the leads…
The American Ballet Theatre season continues with Giselle where Marina Harss saw Stella Abrera’s company debut. The response to the performance was understandably enthusiastic.
Too much Chopin? Perhaps.
If you really think about it, Swan Lake is, for lack of a better phrase, an odd duck…
“This is how ecstasy is danced.” Kimin Kim in Concerto DSCH.
Viktoria Tereshkina has a warm personality and this enhances her dancing. She has long thin limbs and offers expansive port de bras, while her legs whip up effortlessly but with control.
2 Casts in various extracts – Vicktoria Tereshkina, Uliana Lopatkina, Vladimir Shklyarov, Filipp Stepin. Gallery by Dave Morgan.
…, the first-night Juliet, Diana Vishneva, brought her understanding of MacMillan’s ballet …to Lavrovsky’s older version.
The corps (in Chopiniana) must be congratulated for the ball-bearing precision in their soft gentle boureeing, gliding gently back to their original positions as the music ended. A real treat to see it done so beautifully.
The formula for the success of the Mariinsky’s Swan Lake is simple. The love story between a beautiful young woman turned into a swan and a prince is told in a direct, traditional manner. There is no symbolism or hidden meaning here, no exaggeration or melodrama.
A delightful production, on this occasion, there was the added excitement that the two principals, Maria Shirinkina and Vladimir Shklyarov, husband and wife, were performing the ballet together for the first time.
The Mariinsky Ballet’s annual Baden-Baden tour is something of a balletomane’s winter retreat and, with mild weather to boot over Christmas, provided yet another opportunity this season to catch up with the St. Petersburg company.
Ratmansky’s vision of Cinderella is bracingly fresh, and the ballet’s harsh, urban setting and grotesque choreography seem suitably attuned to Prokofiev’s darkly sardonic score. His concept, however, does not succeed completely.