Watch The Performance Here:
In this production, Grigorovich’s Drosselmeyer is a full-dancing principal character, today performed by Denis Savin.
He was marvelous in the way that he segued from the character acting into extraordinary technique.
It was all very seamless and kind of made you nervous about what this character might do next.
Spooky, charming, and one heck of a dancer.
After the Christmas tree grows gigantic with flashing lights, it then changes into a stunning snow-covered tree
and remains in the background for the rest of the ballet.
The entire company appeared stoked (with energy) for the performance.
There really was only one mishap when Victoria Osipova as one of the Indian Dolls unintentionally sat down on the stage.
She and her partner, Ruslan Pronin, seemed to be uncertain about each other from the start.
Daria Khokhlova and Vadim Kurochkin were the French Dolls who danced an inventive pas de trois with a cute rocking-lamb that
they pulled along on a pair of long ribbons.
The Spanish Dolls, Anna Okuneva and Andrei Bolotin, delivered some outstanding pyro-technical stuff:
she breezed through a combination of fouette, double fouette, tour en l’air with feet crossed, single pirouette from fifth.
Try it.
The mice in this production are an advanced strain that return during Act II to harass the principals.
Pavel Dmitrichenko was an exceptionally menacing Mouse King.
The little children are portrayed by the smaller corps women with the little “boys” in convincing short wigs.
Fritz was danced by Anna Proskurnina, who occasionally took a step or two in a way that was a dead giveaway that
she was really a ballerina.
Artem Ovcharenko and Nina Kaptsova were The Nutcracker and Marie, respectively.
Outstanding and perfectly cast in every way. Grigorovich likes to employ that step where the male principal
tour jetes and then passe developpes to the back – with good reason – it’s spectacular when the dancer keeps
the energy flowing backward as he executes it. Ovcharenko caught the step beautifully today.
His legs are extraordinarily long, his feet acutely arched, and he caught the balance on the developpe like
a surfer catching a big wave. Kaptsova gave a nearly flawless technical performance.
The cameras did not provide many close-ups of her face, so it wasn’t easy to see what was going on there.
But her movement was sublime. Haglund was disappointed with Kaptsova in a Spartacus DVD he once saw because
she didn’t measure up to Bessmertnova. But today, she was pitch perfect as Marie.
He was marvelous in the way that he segued from the character acting into extraordinary technique.
It was all very seamless and kind of made you nervous about what this character might do next.
Spooky, charming, and one heck of a dancer.
After the Christmas tree grows gigantic with flashing lights, it then changes into a stunning snow-covered tree
and remains in the background for the rest of the ballet.
The entire company appeared stoked (with energy) for the performance.
There really was only one mishap when Victoria Osipova as one of the Indian Dolls unintentionally sat down on the stage.
She and her partner, Ruslan Pronin, seemed to be uncertain about each other from the start.
Daria Khokhlova and Vadim Kurochkin were the French Dolls who danced an inventive pas de trois with a cute rocking-lamb that
they pulled along on a pair of long ribbons.
The Spanish Dolls, Anna Okuneva and Andrei Bolotin, delivered some outstanding pyro-technical stuff:
she breezed through a combination of fouette, double fouette, tour en l’air with feet crossed, single pirouette from fifth.
Try it.
The mice in this production are an advanced strain that return during Act II to harass the principals.
Pavel Dmitrichenko was an exceptionally menacing Mouse King.
The little children are portrayed by the smaller corps women with the little “boys” in convincing short wigs.
Fritz was danced by Anna Proskurnina, who occasionally took a step or two in a way that was a dead giveaway that
she was really a ballerina.
Artem Ovcharenko and Nina Kaptsova were The Nutcracker and Marie, respectively.
Outstanding and perfectly cast in every way. Grigorovich likes to employ that step where the male principal
tour jetes and then passe developpes to the back – with good reason – it’s spectacular when the dancer keeps
the energy flowing backward as he executes it. Ovcharenko caught the step beautifully today.
His legs are extraordinarily long, his feet acutely arched, and he caught the balance on the developpe like
a surfer catching a big wave. Kaptsova gave a nearly flawless technical performance.
The cameras did not provide many close-ups of her face, so it wasn’t easy to see what was going on there.
But her movement was sublime. Haglund was disappointed with Kaptsova in a Spartacus DVD he once saw because
she didn’t measure up to Bessmertnova. But today, she was pitch perfect as Marie.
The classic corps in the Snow and Flowers scenes were exquisite.
The cameras gave us a few glimpses of the stage from approximately the first or second balcony
and the formations were just stunningly beautiful.
Grigorovich’s PdD for the Nutcracker and Marie includes the same huge Bolshoi lift that
we will see in the upcoming ABT Nutcracker. It’s certainly wonderful if Ratmansky wants to include it as a tribute
to the great, great Grigorovich, and the audience will appreciate that.
After all, we hardly ever get to see these spectacular lifts.
However, the lift, as we saw today, is done by the Bolshoi in ONE piece – not pause, get set for five minutes, and then hoist the ballerina up as was done by two sets of ABT principals in last Wednesday’s rehearsal. If we’re going to honor Grigorovich by including his lift in our new Nutcracker, let’s do it right, Folks. In ONE piece, People. Mukhamedov could have done it with one hand.
The Bolshoi Orchestra wasn’t about to be outshone by the extraordinary dancers on the stage.
The music was magnificent, rich, and evenly miked so that we heard everything.
We had, in fact, a seat so good that you couldn’t have bought it in the theater. What a treat!
Haglund must bestow upon the Bolshoi and Yuri Grigorovich this
Waltz of the Flowers First Position Pump Bump Award for a splendid Nutcracker performance today
The cameras gave us a few glimpses of the stage from approximately the first or second balcony
and the formations were just stunningly beautiful.
Grigorovich’s PdD for the Nutcracker and Marie includes the same huge Bolshoi lift that
we will see in the upcoming ABT Nutcracker. It’s certainly wonderful if Ratmansky wants to include it as a tribute
to the great, great Grigorovich, and the audience will appreciate that.
After all, we hardly ever get to see these spectacular lifts.
However, the lift, as we saw today, is done by the Bolshoi in ONE piece – not pause, get set for five minutes, and then hoist the ballerina up as was done by two sets of ABT principals in last Wednesday’s rehearsal. If we’re going to honor Grigorovich by including his lift in our new Nutcracker, let’s do it right, Folks. In ONE piece, People. Mukhamedov could have done it with one hand.
The Bolshoi Orchestra wasn’t about to be outshone by the extraordinary dancers on the stage.
The music was magnificent, rich, and evenly miked so that we heard everything.
We had, in fact, a seat so good that you couldn’t have bought it in the theater. What a treat!
Haglund must bestow upon the Bolshoi and Yuri Grigorovich this
Waltz of the Flowers First Position Pump Bump Award for a splendid Nutcracker performance today
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