Here’s an article on the opening of the Moscow Ballet Competition; I’ll try to follow up on this in the coming days:
Got a problem with this May 9, 2017
I admit I’m not much of a fan of Natalia Osipova. I hear she’s simmered down lately, but a few years back she was nothing but a bald-faced athlete. Maybe that’s why I dislike this video so much (I hasten to point out that it’s 5 years old, and that’s an eon in the life of a ballerina).
Of course, true Romantic-style ballet has long since vanished. If we saw ballet dancers dancing that way these days, we’d assume they were rank beginners. But even by today’s relaxed Romantic standards Osipova’s arms are all wrong, held way too high, strong, and straight, (although she has some lovely flowing, boneless instants, you can blink and miss them).
She’s mostly all muscle and sinew in this video. She’s inhabiting her body too much; she looks too “alive” even though, as I said, she has ethereal moments where she appears to be floating. For instance she’s not looking over the shoulder of her Albrecht (a very okay Ivan Vassiliev, although I keep wishing for Anthony Dowell no matter whose Albrecht I’m watching). She’s looking right at him and playing to him. No. No. No. Giselle is dead. She honestly doesn’t inhabit the physical world anymore; she has no grand passion and her only aim is to keep Albrecht alive through the night of the Wili’s (probably so he can feel miserable about her until he dies decades later). This is a dance about being forgiven from beyond the grave, not a display of how well one can bouree’ and appear to be floating with the occasional lovely arm flourish for good measure.
As I said, this video is from five long years ago and probably much has changed with Osipova. She’s been through a lot of companies and danced on a lot of stages since then; she’s more mature now. But still, I think this video is a mess.
Rose Adagios and New York, NY January 25, 2017
Went to YouTube last night and watched part of the Bolshoi’s Sleeping Beauty, which had initially been broadcast a few days before. Olga Smirnova was Aurora…at least, she was dancing the role. It’s always hard for me to get used to a Russian Aurora, since I’m expecting that bubbly airhead and instead am faced with a stone-cold classicist who barely pays attention to her suitors unless one nearly drops her, or doesn’t quite get there in time during one of the balances. Of course I’m kidding, but only just.
Smirnova was a quintessential Russian Aurora. As Aurora gets more grown up as the ballet progresses ….I mean, she wakes up after something like 100 years…I’m sure Smirnova’s interpretation was just great by the end of the show. But as it was, it seemed like she was taking class from a very strict teacher and wasn’t much worried about appearing to be a giddy teenager.
Whatever. Sleeping Beauty puts me to sleep, anyway; it’s all those damn fairies. Just when you think you’ve seen all the fairies it’s possible to behold…DAMN! Another bloomin’ fairy. It gets old very fast unless one is into looking closely at the soloists for future prima ballerina possibilities.
And on to other things…as ever, Joy Womack. I wondered and wondered what was going on with her. She left Russia in November and never went back except for one day — and that was to be her application day for a Russian green card. Apparently she didn’t get one; she’s now stranded at her brother’s place in New York City, unable to return to Russia due to visa issues.
It’s turned out not to be such a bad thing. Of course she probably won’t get an offer from ABT, as in one of her previous videos she didn’t really badmouth them, but she did mention that they do not generally promote their own dancers beyond soloist because they have so many guest artists.** Not a great move if one is thinking of future job prospects; prospective employers generally don’t like to have their flaws pointed out. But she’s taken class with them at least twice, so they’ve now seen her up close and personal. And considering her newfound love for NYC…
…To be fair, she is not talking about joining ABT. She’s having a ball taking classes at Steps on Broadway and is speaking almost like she works for Gaynor Minden. What she did say about her future performing career was intriguing: she is thinking of “putting together a team,” whatever that means, and touring.
Judging from that, it sounds like she means to be a freelance ballerina. Like I said, what she really meant by that remains to be seen.
It does sound like she is no longer obsessed with carrying on with her career in Russia (Katisized, you were right!). It could be that she’s finally accepting the caustic reality that her situation there was never secure and didn’t look to improve beyond being a prima in a tiny company. It could also be that she’s decided to look past Russia strictly because of the visa issue. And it could also happen that when/if her visa finally comes through, all this NYC love will become a passing fancy and she’ll be back to trying to hammer her Russian dreams into reality, unhappy and drained as that seems to leave her.
I observed that she seems much, much happier right now than she’s ever been (almost like a giddy Aurora!) except for during one brief working trip to California a few years back. If this is so, maybe there’s a message for her in that: forget your Russian dreams, kiddo; your bouquets are all right here at home.
Freelance possibilities aside, it would be most interesting to see her take a place in a U.S. company and watch how she looks in the same mirror as home-grown dancers. Obviously if she got into ABT or the San Francisco Ballet, she would likely have to step down to soloist. Would she be able to step up again? That would be fascinating to see. Plus, we would finally really get a chance to closely observe her dancing, live and in person on a steady basis, and make solid judgements based on that.
She is not famous for being clear about anything. The only thing for certain right now is that she can’t go back to Russia at the moment, and maybe she shouldn’t even try. There’s no use in continuing to try to build a house of cards, no matter how solid the foundation seems to be.
** That is true now, and has been for decades; it’s too early to tell whether having attended the JKO school will make any difference in an ABT corps member’s or soloist’s future, or if the company will ever stop relying so heavily on guests to fill out its principal roster if indeed it gets more than enough talented kids out of JKO. It sure didn’t work with the previous ABT school, which folded in the early 1980’s — but then again, that school was never as serious and well-organized as JKO; it had no set ballet curriculum (the JKO school does), and no junior division to speak of; it consisted mainly of preprofessional classes, which may or may not have been open — meaning that anyone could attend (although I do remember seeing a call for auditions at that school). The only really major dancer I can remember whose training was strongly attributed to that school was Fernando Bujones. And I may not even be remembering that correctly.
Of course Womack never attended JKO, and she does not have enough standing as a prima ballerina to join ABT as a stellar guest artist, either. And so she would have to start out as a soloist or worse, a member of the corps.
Everything there was dark and dirty October 8, 2016
I finally watched Bolshoi Babylon tonight. My take-away: don’t be a twit.
First I have to say that as an American living in the U.S., it’s impossible for me to grasp the deep importance of ballet to Russians. In the U.S., ballet is a niche art that is becoming a niche sport as the numerous competitions spread, grow, and flourish (whether they lead to exciting ballet careers is a question for another article, but I do visualize there eventually being a ballet Olympics or something, and ballet dancers appearing on Wheaties boxes with their gold medals; art need not apply).
What the film did provide for me was a closer look at Filin, who appears to be a right little twit — not that that in any way excuses the physical attack on him. It also clarified that Dimitrichenko’s apparent recent remarks indicating that Vorontsova was never his girlfriend/wife were a bald-faced lie. And that Tsiskaridze is another twit.
Everyone, in fact, seems to be a twit. There seems to be no peace in Bolshoi-land, only factions of twits hissing at other factions of twits. Maybe this has calmed down a bit since Filin was deposed, however.
As for Joy Womack, anyone following her (who hasn’t seen the film) is probably under the impression that she appears in it at some point. She has mentioned that she was interviewed for the film, in fact.
She doesn’t appear at all, and seems to be mentioned only obliquely (at one point near the end Filin says that no one has offered proof that he was demanding bribe money). Somebody else — don’t remember who — said that there were a lot of dancers without talent demanding bigger roles, but that could have been a reference to a lot of people. My only question is, why are there so many untalented dancers in the mighty Bolshoi?
Of course, certain elements of artistic talent rely entirely on the viewer’s perception. The other day I was reading Ballet Alert’s discussion of Womack. As is predictable, it went back and forth between those who think she hung the moon and those (one claiming to be Russian) who said that they, and the Russian audience, did not think much of her at all. There was one video posted of her black swan performance with some tiny company somewhere, with a miserable orchestra and a partner who appeared not to have graduated from any recognized ballet school…or any ballet school at all. In the same discussion of the same video, comments ranged from marveling at her musicality (which I admittedly didn’t see), to those who didn’t see the same thing I didn’t see. Some mentioned stiff port de bras (which I did see), and others mentioned tremendous command. To say she’s controversial is to make one vast understatement.
But it’s interesting to note that since she’s been promoted to principal, the discussion has gone almost completely silent. She may now be a big minnow in a small pond, but that pond is in the same neighborhood as the Bolshoi and lives in the same soil. Pretty hard to keep sniping. Then again, as someone pointed out, she never mentions her reviews.
Anyway, on World Ballet Day she issued a video that sounded like a 21 year old making a sophomoric mission statement. Note that no one asked, but she views herself as a leader, and she moans about her fellow dancers’ lack of extra-curricular conditioning regimes, and…and…and…
In a way it leads me back to Filin being a twit. Somehow being raised in that insulated little world of ballet doesn’t always make for great leadership qualities. Womack has a lot of maturing to do in a lot of ways, and she’d do well to watch that film again and really, really observe Filin.
P.S. to view Bolshoi Babylon online, you’ll probably have to pay a few dollars. I got to see it for free because I have Amazon Prime, so that’s another option. As for Womack’s WBD proclamation on Youtube, here it is: Womack Manifesto
I thank the commentors for their insights and urge you to read their remarks.
Rethinking Dmitrichenko August 29, 2016
I admit that I’m shaky on the history of the Dmitrichenko/Vorontsova/Tsiskaridze/Filin thing. I’m even more confused after reading the above-captioned article, in which Dmitrichenko more or less denies anything happened.
At the time of the acid-throwing incident, I was having trouble reconciling the repeated statement that Vorontsova was Dmitrichenko’s common-law wife. She was, after all, just 21. In the U.S., in states where common-law marriage is recognized. it takes seven years to establish a such a union. Of course, this is Russia we’re dealing with here, but…
Again I think of Joy Womack, and the endless controversy surrounding her time at the Bolshoi. Will we ever get to the bottom of it? Probably not. (However, I was struck by the similarity of Womack’s situation to that of another Bolshoi outcast — Vorontsova.) Again, this is Russia we’re dealing with here. Lies are huge, and become the truth. The problem is that there are so many of them that they seem to cancel each other. In the end, we are left with nothing.
At the time of the incident, I remember being shocked by the callousness of Tsiskaridze claiming that Filin either wasn’t really injured, or was faking the extent of his injuries — I forget which. But knowing the murky depths of Russian interpersonal politics…well, it’s impossible to arrive at a plausible truth that works for all the players. Even now, there’s an oft-repeated rumor that Filin has been seen driving a car. And he continues to work in ballet. That requires sight. Yet no less than the uber-honest Obraztsova says that yes, Filin’s injuries were and are real.
All that said — that is, the complete truth will never be known — I will focus on Dmitrichenko’s dancing (about which I know little except for a few videos), and his career.
There’s no doubt, based on the little I’ve seen, that Dmitrichenko has star power. He seems to be the ultimate drama king, riveting to watch. He definitely could have a career as a character dancer that would last decades.
The question of his career is the huge one, and it all hinges on whether or not the story of the acid attack and his involvement in it is even a bit true — and the extent of Filin’s support base within the Russian ballet community.
Dmitrichenko wants to get back into the Bolshoi. Filin is still working there (with students now, apparently, and not directly with the main company). Doubtless there are dozens or even hundreds at the Bolshoi who can’t stand each other, yet continue to work together…but attacking someone physically is another matter entirely. The current director, or whatever his title is, says that Dmitrichenko can audition just like anyone else. The question after that is how much influence Filin still has, and how much danger he would actually be in. (My guess is not much — even if Dmitricheko got back into the Bolshoi, why would he repeat such an attack on someone who no longer wields much power within the main company — but what do I know?)
Could Dmitrichenko go elsewhere? Who knows. Womack did, and so did Vorontsova, (and both have done well in their new environments), which proves that there are those in the Russian ballet world who are willing to thumb their noses at the Bolshoi. Of course, in Russia there are lots of other companies, and no doubt lots of strong souls like the director of Womack’s company. But there are not many companies where Dmitrichenko’s considerable star power wouldn’t be wasted on a vastly reduced audience.
This is a situation I’ll be watching with interest. Its outcome will give me a glimpse into the murky depths (and that’s what they are) of Russia’s ballet soul.