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#Bolshoi theatre
hauntedbystorytelling · 7 months
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Monday's sacrifice ~ Montags Opfer
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Portraits von Künstlern des Bolschoi-Theaters aus Moskau und St. Petersburg; um 1900 | src Jeschke Jádi Auktionen Berlin (JVV)
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winternymphaea · 8 months
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the bolshoi ballet's 'giselle'
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ballet-symphonie · 8 months
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Hi!!! I'm totally new to ballet and I know nothing about it, so I have a genuine question. I saw a video on YouTube that had Marianela Nunez, Natalia Osipova and Svetlana Zakharova as the best ballerinas in the world. Can you please explain to me what makes them so incredible? (I know nothing about technique so they all look out of this world for me) I would love to read a more in depth analysis from you❤
These three are perhaps the most popular ballerinas of the 2010s but the three couldn't be more different.
Osipova's strengths, especially as a young pro, were her outstanding virtuosity and endless, soulful energy. Look at old videos of her dancing Don Quixote at the Bolshoi or Mikhailovksy, her jumps seem to float with effortless rebound and the speed at which she can accelerate is also unique. She's fearless on stage and her risk-taking both technically and emotionally is always reinvigorating.
Zakhraova first gained acclaim for her natural facility and flexibility, her long hyperextended legs, arched insets, and tremendous mobility left audiences spellbound. Her turnout and cleanliness are often regarded as nearly textbook. Her lyricism and adagio prowess shine in roles like Odette/Odile from Swan Lake. She just has this regal, imposing aura that takes over the stage.
Nunez is a slightly different case. While she was certainly a prodigy, she wasn't a world star until later in her career and had a slower development compared to the two Russians. She's remarkable because she's showing the magic of what possible with pure technique and placement. Her balance and suspended quality of movement are inimitable. It's so hard to be that precise, and even more remarkably she's a better dancer now in her late 30s/early 40s than she was as a teen wizard. She just exudes a genuine love for the art form with every step- you see her smile and you fall in love too.
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green-ann · 5 months
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Moscow, November 2023
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opera-ghosts · 7 months
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OTD in Music History: Legendary composer, conductor, and virtuoso pianist Sergei Rachmaninoff (1873 - 1943) makes his first public appearance as a concert pianist, at the “Moscow Electrical Exhibition” in 1892. Among other things, he performed his own “Morceaux de Fantaisie” (Op. 3) -- a then-four-part piano suite which included one of the most famous pieces he would ever compose, the “Prelude in c#.” Rachmaninoff was paid 50 rubles for this appearance. That doesn't mean much to us today... so as a point of comparison, we can note that he was paid only *40* rubles (which was still approximately two months’ worth of wages for a common factory worker in Russia at that time) by a music publisher in exchange for the *copyright* to the entire “Morceaux de Fantaisie” set. Of course, had Rachmaninoff merely held onto the copyright in the Prelude in c# *alone*, it would have made him a fortune down the line… Rachmaninoff originally conceived of the “Morceaux” as a set of four pieces, but he ended up adding a fifth piece after reading an interview which Pyotr Tchaikovsky (1840 – 1893) granted to a Russian newspaper critic a few weeks after his debut public concert, in which he cited Rachmaninoff as one of the most outstanding young musicians in Russia. Rachmaninoff idolized Tchaikovsky, and was thrilled by this praise. As he later recounted: "I immediately sat down at the piano and composed a fifth piece (the ‘Serenade’) on the spot." Rachmaninov premiered this five-piece version of the suite at a subsequent concert appearance in December 1892, and two months later he also gave Tchaikovsky one of the first copies of the newly-published score to the set. (Tchaikovsky loved it.) PICTURED: A c. 1900 real photo postcard, showing a young Rachmaninoff as he would have appeared at the beginning of his international concert career.
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tolstoybitch · 16 days
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a rather old painting i made of svetlana zakharova (yes this is slowly evolving into a ballet blog hehe) ᡣ𐭩
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ninavictorovna · 1 year
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i love ballet, i want to go to vaganova
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cookiesandcaramel · 2 years
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patricedumonde · 10 months
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It’s official! The top 3 graduates of Vaganova are going to Bolshoi. This is really interesting as both Maria and Yaroslavna were trainees at Mariinsky last summer. I wonder what Yuri Fateev thinks.
This also means I only got 1/3 right as I guessed Maria would go to Bolshoi and the other two would be Mariinsky. 🙈
On July 6th, they will all be performing variations for Paquita Grand Pas. Best of luck to the three of them and I can’t wait to see them debut roles at the Bolshoi. 🥹
I will post more updates about other graduates in the coming days. Keeping my fingers crossed for all of them. Yulia Kasenkova and Lyudmila Kovaleva both had amazing students and with the top three going to Bolshoi, this means spots are open in Mariinsky.
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anjelalala · 7 months
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Yaroslavna Kuprina
"Do everything with kindness and love. If you approach everything with a bright soul, then any undertaking will succeed."
The poetic combination of first and last name, as if already at birth, determined the future strong connection of our today's heroine with the world of art.
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Photos by: Alisa Aslanova for Ballet Magazine Russia
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On Dec. 30, Moscow communists and Komsomol members celebrated the 100th anniversary of the USSR by holding an impromptu event with the laying of flowers at the memorial plaque, "In memory of the creation of the USSR," installed on the facade of the Bolshoi Theater. It was in its halls that the First All-Union Congress of Soviets took place. Via Union of Communist Youth
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tikitania · 6 months
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Have you watched Maria koshkareva’s gamzatti debut? What’s your opinion on it? I think she almost fell on the first set of pirouette when doing the variation in the second YouTube link I put below.
You can also find more videos on the telegram group of dr Alina (on ig)!!
https://youtu.be/InHr5fimy8M?si=HnGDcS4wtZwfMudc
https://youtu.be/omgkkg42PU8?si=fKE_qd6tdeQja-zY
First impression, not great. She looked unprepared. Again, this is part of the obvious Bolshoi problem: too much, too soon. Too many bobbles, messy arms, and jumps. Imagine a debut like that at Mariinsky? It would not be praised like hers was. It makes me worried for her debut in Jewels.
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cagdasyatirim · 6 months
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ballet-symphonie · 7 months
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I wonder why do bolshoi fast track so many dancers who doesn’t seem to be competent enough for a first or leading soloist ranking. For example Sergeenkova and Denisova… just watched some snippets from the recent Swan lake production and I don’t think they are capable of the role of o/o at all. And not just swan lake, but also other production as well. I may not be an expert in ballet and sound critical, but from a normal audience’s pov, if I’m paying that much money for a show, I would be disappointed with the quality of the main role.
I also saw natashik’s ig post on her disappointment on denisova’s o/o when usually she is an avid fan of bolshoi’s dancers. This just show the absurdity of the theatre’s management. Would like to know your opinion on why do they want to promote them even when they are not ready yet?
The whole thing is just corrupt. I think honestly, I'd only pay to see about 1/3 of BT's current primas. There was a period of time, before all the VBA hirings where the company was quite stagnant, the current primas were really in their prime but the next generation wasn't being developed. Now, everything is super rushed. That combined with the retirement of several prominent repetiteurs/ ballet mistresses, and the general decline of BBA/MRAX has resulted in a drastic drop in quality. To compensate, management is promoting flash over substance, in every way possible.
I agree with you, I wouldn't pay money to see Denisova as O/O. Natashik is generally pretty even keel with most of her takes, even sometimes too complimentary towards some- it takes quite a catastrophe for her to be this disappointed. Management has to do better. The dancers deserve better, she's not physically or emotionally ready to do these roles. But at the same time, the management will have little motivation to change because, in some ways, it's working. Sergeyenkova's Giselle, not till Oct 15, is already sold out online.
Even though I'm not their biggest fan, I'd rather see some of their more seasoned soloists like Shrainer or Vinograova even get some deserved chances a big name roles because while their legs might not be behind their heads, there's likely to be more genuine vulnerability on stage. Give the younger ones time to grow up on stage, rather than just putting them on every cast list imaginable
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thestreetdancer2023 · 17 days
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🇷🇺В результате Гергиев руководит Большой и Мариинский театры... 🇪🇸El resultado de asignar Gergiev a dirigir los teatros Bolshoi y Mariinski... (los artistas de Bolshoi realizarán espectáculos desde 7 hasta 12 de mayo 2024) 🇬🇧The result of asigning Gergiev to direct Bolshoi and Mariinsky theaters... (Bolshoi artists will do shows from 7 to 12 May 2024)
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opera-ghosts · 3 months
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Alexander Pirogov - Le veau d'or (Charles Gounod, "Faust")
Pirogov came from a family that boasted five sons. Four of them became singers, including Alexander's famous older brother, Grigori, also a bass. While the boys' father and grandfather both had fine voices, neither had pursued a professional career. At 15, Alexander's youthful voice simply disappeared one day. Although he was teased about the loss by his friends, his teacher insisted that someday Alexander would be singing at the Bolshoi. After the voice returned, Pirogov entered Moscow University and took singing classes at the Philharmonic School in Moscow. Following a period spent with a choral ensemble, he was engaged by the Zimin Free Opera in Moscow where, in two years time (1922 - 1924), he learned his craft and gained familiarity with several leading roles. In 1924, Pirogov was invited to join the Bolshoi. Soon he was heard as Gremin, Ivan Susanin, the Old Miller, Russlan, and Ivan the Terrible from the Russian repertory, in addition to such leading characters in Western opera as Don Basilio and Méphistophélès. The last named he reportedly learned in just two weeks. In 1929, Pirogov was honored by being assigned the title role in Boris Godunov; thereafter he was known as an unsurpassed interpreter of this mightiest of all Russian protagonists.
Establishing a reputation for hard work and meticulous attention to detail, Pirogov continued to sharpen and refine his interpretations. He arrived at the theater early, applying his makeup and stepping into costume long before he was summoned to the stage. Although many stories suggest an imperious presence in his personal affairs, others paint another portrait, revealing a friendly and outgoing approach toward his colleagues. Although he retired from the Bolshoi in 1954, Pirogov was the choice for Boris when the opera was filmed in 1955. He had already been awarded the Stalin Prize for his performance of the role and accompanied the film to Venice for the international film festival held there. Although the film was not a prizewinner, the Italian film academy struck a special medal to honor the singer.
After 1954, Pirogov spent most of his time in his native city, traveling to Moscow only for occasional appearances on-stage and in concert. When the Bolshoi was invited to La Scala in 1964, Pirogov was selected to sing Boris. However, after fishing in his beloved Oka River on a particularly hot day in late June, he returned home and retired for a nap. Awakening with chest pains in the middle of the night, he sent his son for a doctor, but by the time the physician arrived, the bass was already dead. Thus, Pirogov was denied the possibility of one final triumph.
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