The Unofficial Information Exchange (UIEX) tickertape was whirling around at Warp 6 this morning after knowledgeable street analysts predicted that Olga Smirnova would dance in La Bayadere at ABT's performance on the evening of May 28th.
This would follow her highly anticipated appearances at YAGP's events at the Koch Theater where she is expected to dance Balanchine's Diamonds Pas de Deux with Semyon Chudin on April 11th – to taped music, unfortunately.
Olga, a top 2011 Vaganova graduate of Professor Ludmila Kovaleva's class – as was Diana Vishneva 16 years before – doesn't have much experience dancing the role of Nikiya. She performed excerpts at her graduation and on Russian TV, but only danced two Bolshoi performances to date. Parts of the demanding assignment have proved problematic for her, such as this most unlovely turned-in position while going around in the developpe promenade from 2011 and again in 2012,
2011 2012
but maybe ABT's Irina Kolpakova, one of the few remaining direct descendants of Vaganova and a graduate in her last class, can fix that on Olga – please. This town is already filthy rich with misplaced, ear-whacking extensions. We could use a few more ballerinas who can give us some of the old time religion.
It will be a pleasure to welcome Olga to the Met season but the rest of the riff-raff and unreliable imports (except Matvienko) really need to take a hike and get out of the way of our own soloists.
20 responses to “UIEX: Olga orbiting in ABT’s star system”
She has been doing that since school, I doubt her subpar turnout and occasionally iffy placement problems will improve that much now. Vishneva was a more complete dancer when she graduated from Vaganova, than Smirnova was and is today. But Smirnova will be the next Russian principal at ABT for years to come, technical warts and all.
She has been doing that since school, I doubt her subpar turnout and occasionally iffy placement problems will improve that much now. Vishneva was a more complete dancer when she graduated from Vaganova, than Smirnova was and is today. But Smirnova will be the next Russian principal at ABT for years to come, technical warts and all.
I forgot to add that Smirnova did have the same turned-in developpe a la seconde such as photos you showed, last year as Nikiya in Bolshoi tour to London. My English friend went to all the Bayadere shows as it’s her favorite ballet. She said while Smirnova was generally lovely, she ruined part of that loveliness with ugly, bowed-in positions, most memorably her developpe a la seconde. She was shocked that a much touted ballerina did that in a performance not once but repeatedly.
I forgot to add that Smirnova did have the same turned-in developpe a la seconde such as photos you showed, last year as Nikiya in Bolshoi tour to London. My English friend went to all the Bayadere shows as it’s her favorite ballet. She said while Smirnova was generally lovely, she ruined part of that loveliness with ugly, bowed-in positions, most memorably her developpe a la seconde. She was shocked that a much touted ballerina did that in a performance not once but repeatedly.
It’s when the respect for the craft and confidence in the value of the art lose out to the desire for applause for gymnastics that we see these abhorrent extensions. They are an appeal to the lowest common denominator of audience that doesn’t know the difference between a cheerleader and a ballerina, and doesn’t care. Every time I see this sort of stunt, I lose respect for the dancer and I lose respect for the director and coach who permit it to occur.
It’s when the respect for the craft and confidence in the value of the art lose out to the desire for applause for gymnastics that we see these abhorrent extensions. They are an appeal to the lowest common denominator of audience that doesn’t know the difference between a cheerleader and a ballerina, and doesn’t care. Every time I see this sort of stunt, I lose respect for the dancer and I lose respect for the director and coach who permit it to occur.
Also, Genna, thanks for pointing out that Olga danced the role on tour in London in addition to her two performances in Moscow.
Also, Genna, thanks for pointing out that Olga danced the role on tour in London in addition to her two performances in Moscow.
It is true that Olga Smirnova has this cold, commanding aura on the stage that instantly demands your attention. Charisma of the cool sort I would say. The one time I saw her I was impressed with her lush port de bras, yet unimpressed with certain aspects of her technique, most notably her somewhat messy legs and feet. Most likely she is very much aware of her limitations in turnout, and as a result tries to compensate by turning out at the knees and ankles. Anyways makes for a strange look.
I think it might be too premature for her to start guesting internationally at this time in her young career. She of course is at a crossroads right now as far as advancing her style and technique to another, higher level. Smirnova graduated from Vaganova when it had reinstated the program to 9 years. She was closer to 20 by the time she graduated, and the extra year prepared all graduates for professional level work. In Smirnova’s case that was very true. Bolshoi was able to lure her away from the Mariinsky because it promised her multiple lead roles immediately, unlike the Mariinsky who only promised her Giselle or possibly Aurora second year into the tenure there.
At 23 years of age this year, she is at risk of stunting her development of solid technique. She should really be trying to shore up those inconsistencies, maybe try to improve on turning those hips out or at the very least settling for lower extensions so that she could hold turnout at the hips. Once a ballet dancer gets past a certain age, improving turnout and in effect improving form and placement are quite impossible. I had teachers who told us it’s impossible past the early 20s.
Hopefully the added work load as guest artist will make her want to improve. If she doesn’t clean up these problems, injuries will likely become an issue in the coming years.
It is true that Olga Smirnova has this cold, commanding aura on the stage that instantly demands your attention. Charisma of the cool sort I would say. The one time I saw her I was impressed with her lush port de bras, yet unimpressed with certain aspects of her technique, most notably her somewhat messy legs and feet. Most likely she is very much aware of her limitations in turnout, and as a result tries to compensate by turning out at the knees and ankles. Anyways makes for a strange look.
I think it might be too premature for her to start guesting internationally at this time in her young career. She of course is at a crossroads right now as far as advancing her style and technique to another, higher level. Smirnova graduated from Vaganova when it had reinstated the program to 9 years. She was closer to 20 by the time she graduated, and the extra year prepared all graduates for professional level work. In Smirnova’s case that was very true. Bolshoi was able to lure her away from the Mariinsky because it promised her multiple lead roles immediately, unlike the Mariinsky who only promised her Giselle or possibly Aurora second year into the tenure there.
At 23 years of age this year, she is at risk of stunting her development of solid technique. She should really be trying to shore up those inconsistencies, maybe try to improve on turning those hips out or at the very least settling for lower extensions so that she could hold turnout at the hips. Once a ballet dancer gets past a certain age, improving turnout and in effect improving form and placement are quite impossible. I had teachers who told us it’s impossible past the early 20s.
Hopefully the added work load as guest artist will make her want to improve. If she doesn’t clean up these problems, injuries will likely become an issue in the coming years.
Here is a video of Smirnova dancing the Bayadere pas at her graduation performance:
http://www.youtube.com/watch?v=3m4XQLYNjK4
Here is a video of Smirnova dancing the Bayadere pas at her graduation performance:
http://www.youtube.com/watch?v=3m4XQLYNjK4
I had a ballet teacher, very well trained, who used to say “your turnout is your turnout,” explaining that you can’t change the structure of your bones. The only thing you can change is to strengthen the muscles that initiate and hold the turnout, so that you achieve the maximum turnout of which you are capable. I thought that one of the prerequisites for admission to the Russian schools, and to many other professional schools as well, is a really good turnout, close to 180 degrees. So how did Smirnova slip through the cracks? Does she know someone who knows someone?
I had a ballet teacher, very well trained, who used to say “your turnout is your turnout,” explaining that you can’t change the structure of your bones. The only thing you can change is to strengthen the muscles that initiate and hold the turnout, so that you achieve the maximum turnout of which you are capable. I thought that one of the prerequisites for admission to the Russian schools, and to many other professional schools as well, is a really good turnout, close to 180 degrees. So how did Smirnova slip through the cracks? Does she know someone who knows someone?
Russian ballet has, unfortunately, succumbed to the American poor taste where a dancer gets the leg up high regardless of whether it is turned out properly. POB’s Sylvie Guillem, who is often blamed for popularizing excessive extensions in the 20th Century, employed extremely high extensions in La Bayadere, but at least her legs were perfectly turned out within her misaligned hips. (Ref: around 2.30 of http://www.youtube.com/watch?v=m9Nv_1dX2Q0 ) It’s unlikely that you would have seen Smirnova’s bad form in a Nureyev-run or Baryshnikov-run company. What she does in La Bayadere doesn’t represent evolution in ballet; it just represents bad taste and bad choices.
Russian ballet has, unfortunately, succumbed to the American poor taste where a dancer gets the leg up high regardless of whether it is turned out properly. POB’s Sylvie Guillem, who is often blamed for popularizing excessive extensions in the 20th Century, employed extremely high extensions in La Bayadere, but at least her legs were perfectly turned out within her misaligned hips. (Ref: around 2.30 of http://www.youtube.com/watch?v=m9Nv_1dX2Q0 ) It’s unlikely that you would have seen Smirnova’s bad form in a Nureyev-run or Baryshnikov-run company. What she does in La Bayadere doesn’t represent evolution in ballet; it just represents bad taste and bad choices.
On another topic, it is very hard to balance and do a promenade a la seconde with your partner keeping your upraised arm behind your head as shown in the 2011 photo. I hope the position got adjusted for the lovely Olga Smirnova before the promenade, as it would be teeth-gripping work to promenade en pointe in the photo-captured position. She is in complete reliance on her partner’s positioning her arm properly.
On another topic, it is very hard to balance and do a promenade a la seconde with your partner keeping your upraised arm behind your head as shown in the 2011 photo. I hope the position got adjusted for the lovely Olga Smirnova before the promenade, as it would be teeth-gripping work to promenade en pointe in the photo-captured position. She is in complete reliance on her partner’s positioning her arm properly.
True what you say, J.
True what you say, J.