мне почему то захотелось, что бы на Лопаткиной была не " пачка", а легкая из вуали юбка....да простят меня все наши выдающиеся балерины, низкий им поклон, но Лопаткина прекрасна!
The Rose Adagio from SB is probably my least favorite of the entire ballet. Even the best ballerina's seem to struggle with the technical requirements, and they already work very hard. But I love Uliana's dancing - she's compelling and one of my favorites.
This ballet was created in Russia. So, your comment that " russian style doesn't seem to fit this ballet" is rude, vulgar, senseless, offensive and most importantly not true. I think, you are simply jealous :)
Yes you're correct in saying she danced for one year with the Kiev Ballet, but training from a young age in a Russian school is never going to leave a dancer. If you compare Alina Cojocaru to other English dancers, she dances in a completely different manner. She isn't as restrained or hesitant, and the use of her upper body is far superior.
I love the harp cadenzas that begin this adagio, that no other ballet orchestra does, only the Kirov. Still, I prefer the British Rose Adagios, with Fonteyn's stamp on their musicality and their more classical positions in attitude. I miss in this Russian interpretation for example, Aurora bring BOTH arms to fifth high for each attitude balance. It looks sharper and more musical. I think British and French ballerinas look better in Sleeping Beauty, than Russian ballerinas.
@Nicole Mia remaining choreography of Petipa was basically created in SPB imperial ballet. though the ballet master at time was a French, a devoted student of him, Petipa stuructrized the method fit into Petipa pieces, Agrippina Vaganova. And this school has become the world standard of ballet teaching. it's only Vaganova-Kirov-Mariinsky ballerinas who can give Petipa aesthetics justice. you can see the same epaulement, cambres or positions in them as you find in the early 20th cetury pictures of Petipa staging. Sadly, Uliana here is not the strongest ballerina in the theater. if you look at Sizova, Lezhnina, Novikova, Somova or Kolegova, you can find the true beauty of this choreography.
I have indeed seen ballet dancers you named here and I tremendously respect some and think others more problematic. Being or not being a Russian should not a primary filter on judging a dancer, performance should be evaluated on a case to case basis. Apart from technological and schooling issues, a major problem with recent year MT dancers is the detachment from music score, and overcasting of diva ego, which is probably indulged by their idol status in the environment, and their unconditional fans.
+artdecochicgirl2 ok. i'll come back later and reply after i finish precautiously thinking about Cavs and seriously scouting Nets and check out how Indie will be. that's my priority now.
***** emphasis of Vaganova training has changed in time as you said and they were focusing on adagio much in recent years. i myself was discouraged so many times to see too much slowed down pieces by their principal ballerinas and lack of allegro driven repartoire. but in ballet world general, we don't have super fast ballerinas. they were bigger and longer in many theater compared to Vaganova or Dudinskaya days and they can't dance in super speed these days. and you know there are quite speed driven ballerinas in Mariinsky, though they are only casted in DQ lead roles in the best scenario and only can get to the second soloists position. still, most of the ballerinas who can vibrate in Petipa/Sergeyev repartoire are Vaganova trained ones in my eyes. because they have been the ones who were trained to have the entire body coordination to animate the characteristic of their roles. even pre-Vaganova Karsavina had those distinctive moves.in many cases, French school dancers have too much focus on their foot work too much these days and their upper body is too stiff, though i have my favourite in their history. so as Danish and Italians. though, since i saw the graduation performance of this year on public YT channel, i'm not quite sure where Vaganova school is heading.
+Mr. Lopez 2681 i can't agree with you like i can't as always. Sergeyev modified their repartoire to be apt to the propaganda of Soviet Union and some important aspects were terribly changed, he made some bad decisions but he protected their tradition as good as he could. i know you are the choreographic notes authoritarian but i doubt such coded texts are the proof of authenticity. they are just signs. with people's interpretation they came into lives. to learn what one arabesque means, you need coaches who knew it by step or more preferably the choreographer himself who knows what he envisions in it. that is the dynamic of performing art i believe. and i have same question as LightSpirit06 conserning Balanchine. reegarding Novikova, she is not the one always care about how high her legs hold. she is more of the one who cares how correct her lines or her movement is and innovative characterization of the roles she's dancing. that is the most important reason i estimate her this high. and i believe you and artdecochicgirl have very different opinion about Lopatkina or Dudinskaya.
CONT: Personally, I do not really like Lopatkina in the role of Aurora, as I think she is much better suited to ballets such as Swan Lake. Look at Evgenia Obratzsova if you don't like Russian Aurora's. Her dancing is very similar to that of Alina Cojocaru in my opinion.
You want to know what it should have been danced as it was, the Royal Ballet style was brought to them by pre-Soviet Russian artists. And POB, still strictly carrying out classical traditions and noble tastes. Mariinsky is so far off after all these decades.
I agree. Interesting also that dancers like Fonteyn were later reinvigorated by the pre-Soviet teacher, Volkova, when she came to London in the 40's. Soviet Russia developed in its own idiosyncratic way, and they can't claim to be any truer to the original than anyone else.
That tutu is ridiculous over-powers her. And one would have thought she would have looked at each prince in the balances. much too sophisticated performance-no young girl at all!
She’s not a technician on everything. She doesn’t have the balance to be able to hold those positions it’s very clear. Not all ballerinas can do everything.
When the ballet was created, the Russian school was directed by a French ballet master, and the style of classicism was significantly different from, if not opposite to, today's mannerism, which was created and developed in the enclosed Soviet. Weak legs and unnecessary upper body movement don't suit this ballet.
Thank you for posting the wonderful Lopatkina, glory of the treasure that composes Russian art.
One cannot help smiling when you see such grace and beauty on stage,how lovely was that performed ! Bravo.
Delightful presentation for Aurora, graceful, sweet and charming. Love her use of head and arms. And of course that lovely smile
Love the costumes and she is a stunning Aurora...thank you
She dances very gracefully, like in her own dream.
мне почему то захотелось, что бы на Лопаткиной была не " пачка", а легкая из вуали юбка....да простят меня все наши выдающиеся балерины, низкий им поклон, но Лопаткина прекрасна!
rose adagio my favorite part😍😍💜💜💛💛 #love #sleeping #beauty
It may be of interest to some viewers that amongst the princes there are Ruslan Skvortsov and Artyom Shpilevski, as I read in the titles.
That costume looks like the Princess Aurora’s dream costume from Vikharev’s reconstruction.
Divina!
The Rose Adagio from SB is probably my least favorite of the entire ballet. Even the best ballerina's seem to struggle with the technical requirements, and they already work very hard. But I love Uliana's dancing - she's compelling and one of my favorites.
Alina Cojocaru was russian trained
This ballet was created in Russia. So, your comment that " russian style doesn't seem to fit this ballet" is rude, vulgar, senseless, offensive and most importantly not true. I think, you are simply jealous :)
Yes you're correct in saying she danced for one year with the Kiev Ballet, but training from a young age in a Russian school is never going to leave a dancer. If you compare Alina Cojocaru to other English dancers, she dances in a completely different manner. She isn't as restrained or hesitant, and the use of her upper body is far superior.
I love the harp cadenzas that begin this adagio, that no other ballet orchestra does, only the Kirov. Still, I prefer the British Rose Adagios, with Fonteyn's stamp on their musicality and their more classical positions in attitude. I miss in this Russian interpretation for example, Aurora bring BOTH arms to fifth high for each attitude balance. It looks sharper and more musical. I think British and French ballerinas look better in Sleeping Beauty, than Russian ballerinas.
No way, I don't agree. British is never ever better, than Russians ballerinas.Not one!
😮🙌💯💥
@Nicole Mia remaining choreography of Petipa was basically created in SPB imperial ballet. though the ballet master at time was a French, a devoted student of him, Petipa stuructrized the method fit into Petipa pieces, Agrippina Vaganova. And this school has become the world standard of ballet teaching. it's only Vaganova-Kirov-Mariinsky ballerinas who can give Petipa aesthetics justice. you can see the same epaulement, cambres or positions in them as you find in the early 20th cetury pictures of Petipa staging.
Sadly, Uliana here is not the strongest ballerina in the theater. if you look at Sizova, Lezhnina, Novikova, Somova or Kolegova, you can find the true beauty of this choreography.
I have indeed seen ballet dancers you named here and I tremendously respect some and think others more problematic. Being or not being a Russian should not a primary filter on judging a dancer, performance should be evaluated on a case to case basis. Apart from technological and schooling issues, a major problem with recent year MT dancers is the detachment from music score, and overcasting of diva ego, which is probably indulged by their idol status in the environment, and their unconditional fans.
Nicole Mia Very well put.
+artdecochicgirl2 ok. i'll come back later and reply after i finish precautiously thinking about Cavs and seriously scouting Nets and check out how Indie will be. that's my priority now.
***** emphasis of Vaganova training has changed in time as you said and they were focusing on adagio much in recent years. i myself was discouraged so many times to see too much slowed down pieces by their principal ballerinas and lack of allegro driven repartoire.
but in ballet world general, we don't have super fast ballerinas. they were bigger and longer in many theater compared to Vaganova or Dudinskaya days and they can't dance in super speed these days. and you know there are quite speed driven ballerinas in Mariinsky, though they are only casted in DQ lead roles in the best scenario and only can get to the second soloists position.
still, most of the ballerinas who can vibrate in Petipa/Sergeyev repartoire are Vaganova trained ones in my eyes. because they have been the ones who were trained to have the entire body coordination to animate the characteristic of their roles. even pre-Vaganova Karsavina had those distinctive moves.in many cases, French school dancers have too much focus on their foot work too much these days and their upper body is too stiff, though i have my favourite in their history. so as Danish and Italians.
though, since i saw the graduation performance of this year on public YT channel, i'm not quite sure where Vaganova school is heading.
+Mr. Lopez 2681 i can't agree with you like i can't as always. Sergeyev modified their repartoire to be apt to the propaganda of Soviet Union and some important aspects were terribly changed, he made some bad decisions but he protected their tradition as good as he could.
i know you are the choreographic notes authoritarian but i doubt such coded texts are the proof of authenticity. they are just signs. with people's interpretation they came into lives. to learn what one arabesque means, you need coaches who knew it by step or more preferably the choreographer himself who knows what he envisions in it. that is the dynamic of performing art i believe.
and i have same question as LightSpirit06 conserning Balanchine.
reegarding Novikova, she is not the one always care about how high her legs hold. she is more of the one who cares how correct her lines or her movement is and innovative characterization of the roles she's dancing. that is the most important reason i estimate her this high.
and i believe you and artdecochicgirl have very different opinion about Lopatkina or Dudinskaya.
I am surprised that huge tutu didn't knock the princes over!!!!!
I think I not sure she made this one
ok, will say it... what's up with those pants?
LMAO, agreed!
hdzmiriam 🤣🤣🤣
CONT: Personally, I do not really like Lopatkina in the role of Aurora, as I think she is much better suited to ballets such as Swan Lake. Look at Evgenia Obratzsova if you don't like Russian Aurora's. Her dancing is very similar to that of Alina Cojocaru in my opinion.
This is a gala performance , Sleeping Beauty was not in her repertoire.
Приятная неожиданность
この倍以上の王子さまがいたら！
もっとがんばって踊る！
わたしは🐈💕💕
少ないと手抜きするかも🐈
うそ😺
极致的美丽
Very close to perfect... so much better than the British Rose Adagios
OH PLEASE WHAT NONSENSE-FONTEYN KNOCKS THIS INTO A COCKED HAT!
Do you hate Russia?
You want to know what it should have been danced as it was, the Royal Ballet style was brought to them by pre-Soviet Russian artists. And POB, still strictly carrying out classical traditions and noble tastes. Mariinsky is so far off after all these decades.
I agree. Interesting also that dancers like Fonteyn were later reinvigorated by the pre-Soviet teacher, Volkova, when she came to London in the 40's. Soviet Russia developed in its own idiosyncratic way, and they can't claim to be any truer to the original than anyone else.
Beautiful dancers !!! But the orchestra....😬😬
@sayersre I respectfully disagree.
Um rude much my great grandma owns the studio
That tutu is ridiculous over-powers her. And one would have thought she would have looked at each prince in the balances. much too sophisticated performance-no young girl at all!
This is a gala performance , Sleeping Beauty was not in her repertoire.
She may be technician but a terrible interpretation-she doe look at the princes and boy do they have to right there! No disappointing!!
She’s not a technician on everything. She doesn’t have the balance to be able to hold those positions it’s very clear. Not all ballerinas can do everything.
This is a gala performance , Sleeping Beauty was not in her repertoire.
When the ballet was created, the Russian school was directed by a French ballet master, and the style of classicism was significantly different from, if not opposite to, today's mannerism, which was created and developed in the enclosed Soviet. Weak legs and unnecessary upper body movement don't suit this ballet.
Something wrong with the sound
Yes. The orchestra :-). But it could also be a sound problem, particularly at the start.