In one of the most embarrassing acquisitions in its history, ABT has hired the classless, graceless, unballetic, obnoxious, grandstanding, stump-legged Ivan Vasiliev as its latest principal.
What a freakin' joke this company has become.
Now they've got three Ardani properties, all of whom walk out on employers as easily as they walk out the door to go to the grocery. Not one of them is a top classical dancer in the world today. And every one of them relies on cheap, vulgar, sloppy gymnastics to woo the ignorant audiences who think they're seeing ballet. What a freakin' joke ABT has become. It deserves every empty seat, every lost donor, every lost subscription, every bad review.
It is such a shame that the artists who have come up through ABT's ranks are subjected to having these embarrassing and inferior circus performers brought in and held over their heads as being superior.
It's time for ABT to close up shop.
48 responses to “McKenzie dives into the toilet to get his latest principal dancer”
Re-copied from the comments in the preceding post:
“At least NYCB is trying to impress us with beauty, unlike ABT which has just announced Ivan Vasiliev as principal dancer who will dance through 2013 season and tour with the company. Now I’m nauseous thinking Vasiliev/ Osipova billing in Swan Lake. Nevermind short clips on yt of Osipova as Odette were embarrassingly craptastic, and nevermind Vasiliev shouldn’t even be allowed anywhere in the vicinity of Siegfried’s costume. McKenzie seems hellbent on turning ABT into circus freak show with acrobats and gymnasts as star attractions. It hurts my heart to think a new generation of impressionable fans and students are taught to appalud this type of tackiest and most bombastic representations of Russian ballet. Kevin, why did you have to choose the two most acrobatic Russians to come out of circus school in recent memory? If you have to have foreign dancers, who in all fairness are big part of ABT’s history, why didn’t you consider many other find option s out there?”
Re-copied from the comments in the preceding post:
“At least NYCB is trying to impress us with beauty, unlike ABT which has just announced Ivan Vasiliev as principal dancer who will dance through 2013 season and tour with the company. Now I’m nauseous thinking Vasiliev/ Osipova billing in Swan Lake. Nevermind short clips on yt of Osipova as Odette were embarrassingly craptastic, and nevermind Vasiliev shouldn’t even be allowed anywhere in the vicinity of Siegfried’s costume. McKenzie seems hellbent on turning ABT into circus freak show with acrobats and gymnasts as star attractions. It hurts my heart to think a new generation of impressionable fans and students are taught to appalud this type of tackiest and most bombastic representations of Russian ballet. Kevin, why did you have to choose the two most acrobatic Russians to come out of circus school in recent memory? If you have to have foreign dancers, who in all fairness are big part of ABT’s history, why didn’t you consider many other find option s out there?”
Ardani and Ratmansky, who obviously are at the root of the problem here, may have told McKenzie that the RB’s Kevin O’Hare offered both Vasiliev and Osipova permanent contracts and if KM didn’t sign on the dotted line for Vasiliev, he was going to lose both dancers. That’s speculation, but the timing of the announcement with Osipova over at the RB where she is preparing her Trock version of Odette makes it seem like that may have driven the decision.
ABT has become Ardani Ball Twisting.
It makes me sick to my stomach to imagine either Osipova or Vasiliev in Swan Lake anywhere. The YouTube clips of her are so offensive and Trockish that they’re difficult to watch.
Ardani and Ratmansky, who obviously are at the root of the problem here, may have told McKenzie that the RB’s Kevin O’Hare offered both Vasiliev and Osipova permanent contracts and if KM didn’t sign on the dotted line for Vasiliev, he was going to lose both dancers. That’s speculation, but the timing of the announcement with Osipova over at the RB where she is preparing her Trock version of Odette makes it seem like that may have driven the decision.
ABT has become Ardani Ball Twisting.
It makes me sick to my stomach to imagine either Osipova or Vasiliev in Swan Lake anywhere. The YouTube clips of her are so offensive and Trockish that they’re difficult to watch.
That photo says it all.
That photo says it all.
Has the whole ballet powers that be gone mad? Why is Osipova dancing Swan Lake at RB and La Scala and no doubt soon at ABT? I was one of the few who didn’t buy into the artistic integrity as reason for both of them bolting from the Bolshoi. I always suspected it was more about money and ability to dance wherever, whenever, and however they want, adherence to classical ballet tenets and loyalty to company be damned. Bolshoi definitely got better end of the deal in retrospect, while Kevins from RB and ABT like you said dive into toilet chasing after rejects from Bolshoi. There were reasons both were denied certain classical roles there and videos prove Bolshoi right.
Is it too much to expect a male principal dancer to have classical form or to not invent “new” steps everytime he goes onstage? Everything Vasiliev does seems to be so labored. He tries to muscle through the steps as if he’s in Olympic competition. No regard for line, finesse, or characterization. Ballet should be impressive in its beauty and ease of movement however difficult the technique or choreography may be. But Vasiliev tries to impress us with showing the muscles and difficulty of the process itself. Consequently his dancing lacks flow and instead showcases tricks that a circus performer can be trained to do well. It is impressive at times in its physicality but it is not ballet.
Osipova the few times I’ve seen her dance, is the mirror image of her boyfriend. Again, is it too much to ask for a principal ballerina who jumps with consistently pointed toes or straight knees? Or one who has classical form and uses good taste?
Just as few years ago I had hope that the impending retirement of Julia Kent and dancers of that generation would usher in a new era of homegrown talents or at least foreign dancers nurtured by ABT, now I am dejected at the prospect of future of this once venerable company.
Semionova the automatron gymnast, the power couple du jour of Osipova and Vasiliev, plus god knows who else, though I’ve been told it’s another Russian danseur, are going to make a mockery of politics in ballet. I feel for the Stella and other up and comers who see the writing on the wall. They are second rate in their own company, they should do an Obraztsova and defect to rival company. Is NYCB looking for principals?
Has the whole ballet powers that be gone mad? Why is Osipova dancing Swan Lake at RB and La Scala and no doubt soon at ABT? I was one of the few who didn’t buy into the artistic integrity as reason for both of them bolting from the Bolshoi. I always suspected it was more about money and ability to dance wherever, whenever, and however they want, adherence to classical ballet tenets and loyalty to company be damned. Bolshoi definitely got better end of the deal in retrospect, while Kevins from RB and ABT like you said dive into toilet chasing after rejects from Bolshoi. There were reasons both were denied certain classical roles there and videos prove Bolshoi right.
Is it too much to expect a male principal dancer to have classical form or to not invent “new” steps everytime he goes onstage? Everything Vasiliev does seems to be so labored. He tries to muscle through the steps as if he’s in Olympic competition. No regard for line, finesse, or characterization. Ballet should be impressive in its beauty and ease of movement however difficult the technique or choreography may be. But Vasiliev tries to impress us with showing the muscles and difficulty of the process itself. Consequently his dancing lacks flow and instead showcases tricks that a circus performer can be trained to do well. It is impressive at times in its physicality but it is not ballet.
Osipova the few times I’ve seen her dance, is the mirror image of her boyfriend. Again, is it too much to ask for a principal ballerina who jumps with consistently pointed toes or straight knees? Or one who has classical form and uses good taste?
Just as few years ago I had hope that the impending retirement of Julia Kent and dancers of that generation would usher in a new era of homegrown talents or at least foreign dancers nurtured by ABT, now I am dejected at the prospect of future of this once venerable company.
Semionova the automatron gymnast, the power couple du jour of Osipova and Vasiliev, plus god knows who else, though I’ve been told it’s another Russian danseur, are going to make a mockery of politics in ballet. I feel for the Stella and other up and comers who see the writing on the wall. They are second rate in their own company, they should do an Obraztsova and defect to rival company. Is NYCB looking for principals?
Sorry meant to say Julie Kent not Julia
Sorry meant to say Julie Kent not Julia
The acquisitions are undoubtedly being pushed by Ratmansky who has no loyalty to ABT’s own dancers and who wants to build an American Bolshoi using the most hideous aspects of the Moscow Bolshoi.
It’s time to renegotiate Ratmansky’s lucrative, longterm contract. He’s not producing enough quality choreography for ABT while he’s running around the world peddling his ideas to everyone else. No other company he choreographs for allows him to reject their dancers and import some freakin’ junk to premiere in and dance his works. It is disgraceful the way ABT has allowed him to kick its dancers off to the side. It is disgraceful.
The acquisitions are undoubtedly being pushed by Ratmansky who has no loyalty to ABT’s own dancers and who wants to build an American Bolshoi using the most hideous aspects of the Moscow Bolshoi.
It’s time to renegotiate Ratmansky’s lucrative, longterm contract. He’s not producing enough quality choreography for ABT while he’s running around the world peddling his ideas to everyone else. No other company he choreographs for allows him to reject their dancers and import some freakin’ junk to premiere in and dance his works. It is disgraceful the way ABT has allowed him to kick its dancers off to the side. It is disgraceful.
Ratmansky has been regressing as a choreographer for couple of years now. There were glimpses of inventiveness and brilliance at start of his choreography career, but now he’s just riding on his reputation and as you said, a dealmaker. Lawd, are we to expect more of the unevenness of his Firebird for years to come? His muse Osipova was the weakest of the leads in it, are we also to expect this sort of collaboration years to come? I shudder at the thought.
I don’t have problem with foreign artists. But the ghetto-ization of homegrown dancers who are more talented than overhyped Russian imports is just vile. It’d be another thing if dancers being invited to join ABT were as good or better, but that is not the case. There is nothing someone like Sarah Lane can do but continue to dance the variations she’s cast while Semionova and Osipova dance the leads. Ardani and the shadiness involved in artist swapping or promotion should be put out into the open for donors and longtime fans/ subscribers to see.
Ratmansky has been regressing as a choreographer for couple of years now. There were glimpses of inventiveness and brilliance at start of his choreography career, but now he’s just riding on his reputation and as you said, a dealmaker. Lawd, are we to expect more of the unevenness of his Firebird for years to come? His muse Osipova was the weakest of the leads in it, are we also to expect this sort of collaboration years to come? I shudder at the thought.
I don’t have problem with foreign artists. But the ghetto-ization of homegrown dancers who are more talented than overhyped Russian imports is just vile. It’d be another thing if dancers being invited to join ABT were as good or better, but that is not the case. There is nothing someone like Sarah Lane can do but continue to dance the variations she’s cast while Semionova and Osipova dance the leads. Ardani and the shadiness involved in artist swapping or promotion should be put out into the open for donors and longtime fans/ subscribers to see.
Agree wholeheartedly. Ratmansky has been manufacturing dances instead of creating choreography, and he’s been recycling ideas.
I, too, love ABT’s foreign artists who have come up through the school, junior company, and corps and wish that a lot of them (along with the American dancers) would get more opportunities, e.g., Luis Ribagorda, Luciana Paris, Gemma Bond, Yuriko Kajiya, Renata Pavam. But this business of bringing in foreign dancers to start at the top when they are inferior to the company’s own is killing the company.
Yes, I agree that Ardani seems shady and manipulative. Who would be surprised to learn of money laundering or tax evasion?
Agree wholeheartedly. Ratmansky has been manufacturing dances instead of creating choreography, and he’s been recycling ideas.
I, too, love ABT’s foreign artists who have come up through the school, junior company, and corps and wish that a lot of them (along with the American dancers) would get more opportunities, e.g., Luis Ribagorda, Luciana Paris, Gemma Bond, Yuriko Kajiya, Renata Pavam. But this business of bringing in foreign dancers to start at the top when they are inferior to the company’s own is killing the company.
Yes, I agree that Ardani seems shady and manipulative. Who would be surprised to learn of money laundering or tax evasion?
Slightly off topic, but since I wasn’t following ballet at that time: How was the situation and atmosphere when established dancers like Malakhov, CarreƱo, Alessandra Ferri or even Ethan Stiefel from NYCB became either permanent guests or permanent principals with ABT? My impression is that most of them became beloved dancers at the company, so what exactly is it that is different now compared to then, in your opinion? The quality of these mentioned dancers, their number, the quality of the ‘home team’ or a combination of this?
Slightly off topic, but since I wasn’t following ballet at that time: How was the situation and atmosphere when established dancers like Malakhov, CarreƱo, Alessandra Ferri or even Ethan Stiefel from NYCB became either permanent guests or permanent principals with ABT? My impression is that most of them became beloved dancers at the company, so what exactly is it that is different now compared to then, in your opinion? The quality of these mentioned dancers, their number, the quality of the ‘home team’ or a combination of this?
It was a totally different atmosphere. ABT was not in good artistic shape when Baryshnikov took over – especially the corps which had more than a few tubbies in it. He established a school and began developing really wonderful dancers and he imported Ferri and Bocca to strengthen a deteriorating/aging principal team. He was hell-bent on building from within and was able to accomplish a lot with Susan Jaffe, Christine Dunham, Leslie Brown, Cheryl Yeager, Cynthia Harvey, Julie Kent, Wes Chapman, Robert Hill, Amanda McKerrow and many others. He made a lot of progress in ten years – progress that did not rely on his own stardom.
Today the dancers that arrive at ABT’s doorstep are phenomenal pre-professionals with considerable stage experience via competitions and strong local ballet organizations or conservatories like the Harid Conservatory, Kirov school in Wash DC, or the University of North Carolina School of the Arts. The talent is so rich that ABT should be embarrassed to even think that it has to import dancers at a principal level, especially un-classical ones.
When Stiefel arrived, nobody cared where he came from because he was all New York. Carreno and Malakhov didn’t cause any resentment mostly because no one had yet caught on to the fact that McKenzie was wasting talent and failing to develop the extraordinary dancers that walked through the door. And, we needed Carreno. We didn’t really need Malakhov and his draw was narrow compared to Carreno.
A major problem is McKenzie’s inability to develop and maintain an artistic staff of the size and quality needed to build the company organically. If he’s on an importing binge, why not import a few permanent ballet mistresses and masters to do what obviously he is unable to do himself?
It was a totally different atmosphere. ABT was not in good artistic shape when Baryshnikov took over – especially the corps which had more than a few tubbies in it. He established a school and began developing really wonderful dancers and he imported Ferri and Bocca to strengthen a deteriorating/aging principal team. He was hell-bent on building from within and was able to accomplish a lot with Susan Jaffe, Christine Dunham, Leslie Brown, Cheryl Yeager, Cynthia Harvey, Julie Kent, Wes Chapman, Robert Hill, Amanda McKerrow and many others. He made a lot of progress in ten years – progress that did not rely on his own stardom.
Today the dancers that arrive at ABT’s doorstep are phenomenal pre-professionals with considerable stage experience via competitions and strong local ballet organizations or conservatories like the Harid Conservatory, Kirov school in Wash DC, or the University of North Carolina School of the Arts. The talent is so rich that ABT should be embarrassed to even think that it has to import dancers at a principal level, especially un-classical ones.
When Stiefel arrived, nobody cared where he came from because he was all New York. Carreno and Malakhov didn’t cause any resentment mostly because no one had yet caught on to the fact that McKenzie was wasting talent and failing to develop the extraordinary dancers that walked through the door. And, we needed Carreno. We didn’t really need Malakhov and his draw was narrow compared to Carreno.
A major problem is McKenzie’s inability to develop and maintain an artistic staff of the size and quality needed to build the company organically. If he’s on an importing binge, why not import a few permanent ballet mistresses and masters to do what obviously he is unable to do himself?
Thank you for giving your view on this. I wondered because I keep reading that all this isn’t anything new, it has always been like that, and then it is pointed towards the dancers I mentioned. Personally I couldn’t really take a stance on this because I didn’t follow anything back then and could only base my opinion on the feeling that I like all of these dancers and their style much better than I will ever like Osipova and Vasiliev. So when did this shift really become meaningful? Already with Malakhov and CarreƱo, even though people were not yet bothered? Or with Stiefel, even though he was much liked? Do you think it played a role that there wasn’t so much of a perceived ‘star attitude’ coming from these dancers?
I think a true classical dancer with tasteful artistry here or there even at principal level wouldn’t bother me so much as long as those already within the company still get their chances at performing and being nurtured. Otherwise, no one could ever change companies. But in this case, the stylistic difference is bothersome when it appears to show preferences towards that style that I consider not very tasteful, and at the same time those talents from within are overlooked while the AD turns to exactly that circus style. So it is not just that the talent is overlooked, it is also the fact that at the same time there is this preference of a style I do not appreciate. Therefore, it is not just one thing, but something is happening on various levels at once.
Thank you for giving your view on this. I wondered because I keep reading that all this isn’t anything new, it has always been like that, and then it is pointed towards the dancers I mentioned. Personally I couldn’t really take a stance on this because I didn’t follow anything back then and could only base my opinion on the feeling that I like all of these dancers and their style much better than I will ever like Osipova and Vasiliev. So when did this shift really become meaningful? Already with Malakhov and CarreƱo, even though people were not yet bothered? Or with Stiefel, even though he was much liked? Do you think it played a role that there wasn’t so much of a perceived ‘star attitude’ coming from these dancers?
I think a true classical dancer with tasteful artistry here or there even at principal level wouldn’t bother me so much as long as those already within the company still get their chances at performing and being nurtured. Otherwise, no one could ever change companies. But in this case, the stylistic difference is bothersome when it appears to show preferences towards that style that I consider not very tasteful, and at the same time those talents from within are overlooked while the AD turns to exactly that circus style. So it is not just that the talent is overlooked, it is also the fact that at the same time there is this preference of a style I do not appreciate. Therefore, it is not just one thing, but something is happening on various levels at once.
Bad, bad news. Is Kevin even capable of announcing a promotion to principal that does not involve Ardani money? Sorry, I’ve lost what little respect I had before this.
Bad, bad news. Is Kevin even capable of announcing a promotion to principal that does not involve Ardani money? Sorry, I’ve lost what little respect I had before this.
A highly educated European man of my acquaintance, who is married to a woman who knows a great deal about the world of opera, told me that organized crime in the former Soviet countries has taken to “sponsoring” the careers of singers, in an attempt, I suppose, to try and give itself a respectable veneer, fool some people and distract attention from what is really going on.
The world of classical dance in this day and age is, in many ways, not far removed from the world of opera.
A highly educated European man of my acquaintance, who is married to a woman who knows a great deal about the world of opera, told me that organized crime in the former Soviet countries has taken to “sponsoring” the careers of singers, in an attempt, I suppose, to try and give itself a respectable veneer, fool some people and distract attention from what is really going on.
The world of classical dance in this day and age is, in many ways, not far removed from the world of opera.
OLI – you hit the nail on the head. You need look no further than David Koch who uses the arts to cleanse his profile while trying to advance Tea Party causes that seek to destroy the country – not to mention his destruction of the environment.
Then there is “I just love the Russians” ABT sponsor Theresa Khawly who owns the much-maligned Victoria Health Care Center in New Jersey, a long term care facility (nursing home), cited by the state for gross deficiencies and described as disgusting and filthy by customers.
You hit the nail on the head, OLI!
OLI – you hit the nail on the head. You need look no further than David Koch who uses the arts to cleanse his profile while trying to advance Tea Party causes that seek to destroy the country – not to mention his destruction of the environment.
Then there is “I just love the Russians” ABT sponsor Theresa Khawly who owns the much-maligned Victoria Health Care Center in New Jersey, a long term care facility (nursing home), cited by the state for gross deficiencies and described as disgusting and filthy by customers.
You hit the nail on the head, OLI!
I don’t think the problem is that McKenzie hires in principals–every company will do this at some point. It’s the neglect of the company dancers coupled with the overwhelming amount of guests. No one cared when Vishneva was a guest because she was the only “guest” (Ferri, Bocca, Carreno, Ananiashvili all seamlessly integrated themselves into the company). This season we have 7 or 8 random people dancing with the company for no particular reason.
I dislike the un-classical nature of Osipova and Vasiliev and the fact that it trains audiences to expect and demand that kind of over-the-top “technique” (it’s not real technique), when it is, in fact, the antithesis of ballet. True bravura is a wonderful part of ballet–“technique” to just show off with no shading or variation is nasty.
I don’t think the problem is that McKenzie hires in principals–every company will do this at some point. It’s the neglect of the company dancers coupled with the overwhelming amount of guests. No one cared when Vishneva was a guest because she was the only “guest” (Ferri, Bocca, Carreno, Ananiashvili all seamlessly integrated themselves into the company). This season we have 7 or 8 random people dancing with the company for no particular reason.
I dislike the un-classical nature of Osipova and Vasiliev and the fact that it trains audiences to expect and demand that kind of over-the-top “technique” (it’s not real technique), when it is, in fact, the antithesis of ballet. True bravura is a wonderful part of ballet–“technique” to just show off with no shading or variation is nasty.
True, K. No one would object if Lopatkina came into town for a Swan Lake which would require a principal or soloist to step aside. But bringing in the circus and handing Vasiliev four straight performances of Ali while the uber-talented Joe Phillips, who has been preparing successfully for the role for years, had to stand aside, is gross neglect and incompetent management. That’s only one example, of course.
True, K. No one would object if Lopatkina came into town for a Swan Lake which would require a principal or soloist to step aside. But bringing in the circus and handing Vasiliev four straight performances of Ali while the uber-talented Joe Phillips, who has been preparing successfully for the role for years, had to stand aside, is gross neglect and incompetent management. That’s only one example, of course.
Absolutely, Haglund. I also truly do not see the much-mentioned great characterization he supposedly brings to this type of roles, or that he fits them so well as a ‘natural’. Well yes, in those roles it is less apparent than if he was to dance Siegfried, but still not what I’d consider artistically great.
Absolutely, Haglund. I also truly do not see the much-mentioned great characterization he supposedly brings to this type of roles, or that he fits them so well as a ‘natural’. Well yes, in those roles it is less apparent than if he was to dance Siegfried, but still not what I’d consider artistically great.
Thank goodness NYCB starts tonight.
Thank goodness NYCB starts tonight.
I cannot put him in the same ranks as Marcelo, David, Herman, etc. What a shame we lost Angel and Ethan, and in return got this.
I will concede that his tricks are thrilling and entertaining, but that’s about it. What kind of example does this show the upcoming generation of dancers, especially male dancers?
I am honestly worried for the future of classical ballet.
I cannot put him in the same ranks as Marcelo, David, Herman, etc. What a shame we lost Angel and Ethan, and in return got this.
I will concede that his tricks are thrilling and entertaining, but that’s about it. What kind of example does this show the upcoming generation of dancers, especially male dancers?
I am honestly worried for the future of classical ballet.
Hi Katie. Indeed, Vasiliev sets a horrible example for the upcoming generation of dancers. His sloppiness and impertinent gymnastics appeal to the tweenie-rinas and -rinos. Oftentimes at his performances, ABT will reserve the back rows of the orchestra for their screaming kids to make it sound like Vasiliev is an artist that ABT cannot live without.
Hi Katie. Indeed, Vasiliev sets a horrible example for the upcoming generation of dancers. His sloppiness and impertinent gymnastics appeal to the tweenie-rinas and -rinos. Oftentimes at his performances, ABT will reserve the back rows of the orchestra for their screaming kids to make it sound like Vasiliev is an artist that ABT cannot live without.
Yes, let’s take the lowest common denominators (tweens and uninformed or new balletgoers) and make them the arbitors of standard and taste. It’s understandable and quite expected for tween dance students/ fans to be all about physical execution of ballet, extensions, flexibility, etc…. If you ever go on tumblr blogs about ballet, you’ll see a lot of “omg l want her extensions!” or “she’s my favorite dancer cuz she jumps so high!”. So young dancers and fans are already halfway there, they don’t need to have their unsophisticated taste be reinforced by types of dancers ABT is promoting.
We need grown-ups at the helm, an AD with true love and understanding of classical ballet as an artform not Barnum & Bailey entertainment. AD’s job is also to educate the balletgoing public. People may be entertained by gymnastics and circus at first, but over time those things get old and they just lose interest. This is partly why many say ballet is a dying art. There is less and less art or attempt at art in ballet amongst popular dancers today.
Yes, let’s take the lowest common denominators (tweens and uninformed or new balletgoers) and make them the arbitors of standard and taste. It’s understandable and quite expected for tween dance students/ fans to be all about physical execution of ballet, extensions, flexibility, etc…. If you ever go on tumblr blogs about ballet, you’ll see a lot of “omg l want her extensions!” or “she’s my favorite dancer cuz she jumps so high!”. So young dancers and fans are already halfway there, they don’t need to have their unsophisticated taste be reinforced by types of dancers ABT is promoting.
We need grown-ups at the helm, an AD with true love and understanding of classical ballet as an artform not Barnum & Bailey entertainment. AD’s job is also to educate the balletgoing public. People may be entertained by gymnastics and circus at first, but over time those things get old and they just lose interest. This is partly why many say ballet is a dying art. There is less and less art or attempt at art in ballet amongst popular dancers today.
OLI is 100% correct about the organized crime element in all of this. Having lived in Russia as an expat for years and observed the ‘doings,’ I can vouch for it. Look no further than Mr. Kekhman — the ‘impresario’ who took over the Mikhailovsky Theater to which Osipova/Vasiliev/Semionova now also belong (see the pattern?). Kekhman was recently indicted for shipping drugs with his banana crates. Need we say more? It’s a big ‘food chain’ and a lot of folks are making money. I just hope that ABT will not begin to hand-out bananas at intermissions, as has been done at the Mikhailovsky in the past.
OLI is 100% correct about the organized crime element in all of this. Having lived in Russia as an expat for years and observed the ‘doings,’ I can vouch for it. Look no further than Mr. Kekhman — the ‘impresario’ who took over the Mikhailovsky Theater to which Osipova/Vasiliev/Semionova now also belong (see the pattern?). Kekhman was recently indicted for shipping drugs with his banana crates. Need we say more? It’s a big ‘food chain’ and a lot of folks are making money. I just hope that ABT will not begin to hand-out bananas at intermissions, as has been done at the Mikhailovsky in the past.
Genna –
Thank you for articulating the problem so clearly.
ABT thinks that it is capturing a new audience by appealing to ignorance. All it is doing is driving away its faithful core audience that has had its fill of this nonsense.
Genna –
Thank you for articulating the problem so clearly.
ABT thinks that it is capturing a new audience by appealing to ignorance. All it is doing is driving away its faithful core audience that has had its fill of this nonsense.
Hi Natalie –
Free bananas at intermission? No chance of that happening here because they know we might throw them.
But seriously, would anyone be surprised if there was a business relationship between Kekhman and Koch? Koch’s company has a long business history in Russia during which it served Stalin’s efforts to build the country’s oil refinery capacity.
With a group like Kekhman, Koch, and Ardani all involved, you have to assume that there is money flying around under the table, so to speak, and that artistic decisions are being bought & sold and handed out as gifts. How sad.
Hi Natalie –
Free bananas at intermission? No chance of that happening here because they know we might throw them.
But seriously, would anyone be surprised if there was a business relationship between Kekhman and Koch? Koch’s company has a long business history in Russia during which it served Stalin’s efforts to build the country’s oil refinery capacity.
With a group like Kekhman, Koch, and Ardani all involved, you have to assume that there is money flying around under the table, so to speak, and that artistic decisions are being bought & sold and handed out as gifts. How sad.