sun 19/01/2020

Scotch Symphony/ In the Night/ Ballet Imperial, Mariinsky Ballet, Royal Opera House | reviews, news & interviews

Scotch Symphony/ In the Night/ Ballet Imperial, Mariinsky Ballet, Royal Opera House

Scotch Symphony/ In the Night/ Ballet Imperial, Mariinsky Ballet, Royal Opera House

Maybe it takes US choreography to uncover the greatest Russian ballerinas

The finest distillation: Uliana Lopatkina and Daniil Korsuntsev in 'In the Night'All images courtesy Mariinsky Theatre

Great Mariinsky ballerinas are a breed apart, even from Bolshoi women. They take the stage with a consciousness of entitlement that’s thrilling to watch, and when this almost sacred sense of mystique and grace instilled in St Petersburg comes with vivid expressive distinction too, then there really is nothing like it. Even if three American 20th-century ballets might not be thought the likeliest territory to make such discoveries, what a night for ballerinas last night was. Viktoria Terëshkina and Alina Somova are on their way to joining the peerless Uliana Lopatkina at the high table.


A glorious evening; my only quibble was that "Imperial" was so "underdressed". Bring back those tutus!

I LOVE  mariinsky ballerinas, especially Lopatkina. But watching the Diamonds pdd w/Farrell &Martins (DVD) is a vry diff experience from watching Uliana & Zelensky perform it (on YouTube) Farrell & Martins look modern,not classical perfection. 2 entirely différent interprétations

If the Scotch Symphony was commonplace as led by Anastasia Matvienko on Thursday, it was the triumph of Friday's triple bill danced by Maria Shirinkina. Since they gave this second soloist David Hallberg as a partner, the Mariinsky clearly know they have something special on their hands with this artist. Tasked with bringing an ambiguous combination of village girl and sylph to life, Shirinkina flourished and floated dreamily in the wake of the music while nailing her part’s idiosyncratic confection of sincerity, peril and fun.

I also love Maryinsky ballerinas. However, Tereshkina in 'Ballet Imperial' looked scary in every respect from Warrior Princess demeanour to scarlet lips, slanted, piercing eyes and stabbing pointes. The Maryinsky should rename 'Ballet Imperial' to 'Piano Concerto Number 2' as New York City Ballet did when Balanchine decided the women should wear nighties instead of tutus.

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