#kondaurova

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Vladimir Shklyarov, Ekaterina Kondaurova and Alina Somova (principal dancers at the Mariinsky Theatre) have been named Honoured Artists of Russian Federation. I know these Soviet titled don’t mean much to the rest of the world, but they are a pretty big deal in Russia. Congratulations!

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Ask Responses: Tough Questions #3

Do you think that either Vishneva or Kondaurova are jealous of Maria Khoreva’s quire rise? Weren’t they both either bashing the younger generation (Vishneva) or bashing people getting promoted quickly without working their way up (Kondaurova)? Weren’t Vishneva and Zakharova promoted after only a year? Yes, it’s longer than Khoreva’s waiting time, but I don’t think anybody would have bashed them like this. So why Khoreva? And maybe Vishneva feels competition to be Kovaleva’s best student ever.

I’ve received some tough questions recently (six of the, to be exact). I find these particular questions challenging for a number of reasons: some subject matters are potentially controversial; my personal opinion on certain subjects is not especially nice and I’m cautious when it comes to sharing it; or I simply don’t have enough information to give a good answer. Either way, I will do my best to answer these questions honestly.

To clarify: Diana Vishneva warned the younger generation of dancers about the dangers of social media and putting all their eggs in that particular basket; Ekaterina Kondaurova criticised younger dancers for steamrolling their way into the company. Kondaurova’s comments were made around the time Khoreva joined the Mariinsky and shot through the ranks, so it’s been assumed that the comments are directed at her. 

“Ballet has become mediacentric, but I am worried that very young dancers gain fame too quickly. It’s not right: public interest will fade, while the time one should have invested into becoming a serious artist will have been lost.”

— Diana Vishneva

I can’t imagine that either Vishneva or Kondaurova are jealous of the younger dancers (I’d be really disappointed if they were), but Kondaurova’s comments really annoyed me at the time because they were mean-spirited and unnecessary. I wrote about this at length here and here.

Yes, Vishneva and Zakharova were promoted very quickly, but this practice wasn’t as common as it is today. Dancers tend to progress in their careers relatively quickly now, and they are certainly given major roles earlier, which isn’t necessarily a good thing (can lead to injury; they may not be emotionally or physically ready for the role; etc.)

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You should read the La Personne Kondaurova interview. She drops some serious truth bombs about the success of recent grads— god bless Ekaterina.

I did read it, and I actually disagree with Kondaurova. Ambition and reverence aren’t mutually exclusive. The current generation of graduates has a lot to be criticised for, but I think that Ekaterina’s remarks in this case are unreasonable.

I don’t doubt that Khoreva, Bulanova, Shakirova and other notable graduates who skipped the corps and went straight for the solos are very ambitious, but I don’t believe for a second that they are entitled, arrogant or irreverent towards the company and its legacy, which is what Kondaurova seems to imply.  

Most recent graduates get solo opportunities – this is standard practice and a good way to let new company members show what they’re capable of - though not all of them manage to hold on to the solos or progress beyond corps de ballet. Those few who have really shot through the ranks had studied either under Kovaleva or Udalenkova. Both of these great teachers not only provide the highest level of classical training imaginable, but they also instil an unwavering love and respect for the Mariinsky in their students. Some of these graduates are also devoutly Christian, and their conduct and moral upbringing are beyond reproach. When Khoreva says that the Mariinsky was her only choice, despite seven other job offers, and that dancing with the company is an honour, I believe her.

There is also the matter of the company’s future. Remember when Grigorovich fired Plisetskaya, Maximova, Bessmertova and some other greats from the Bolshoi to make room for the younger generation of dancers? Seems like a d*ck move, but in reality those are the actions of a man who values the company’s survival over the pride and vanity of its stars. Kondaurova is nearing retirement. So is Tereshkina. The three jewels of the Mariinsky – Lopatkina, Makhalina, Vishneva – are gone. The company needs fresh blood and dancers they can nurture to stardom. Khoreva and Shakirova (as well as other recent grads) are the Mariinsky’s future. Fateyev needs to do anything and everything in his power to secure these (and other) assets. I applaud him for actually being invested enough in his new recruits to come up with a career plan for them (this is something Grigorovich did for Tsiskaridze, by the way). This should be standard practice. I’m sorry if this hurts Kondaurova’s pride, but the company is more important than she (or any one dancer) is.

As far as “having options” goes… Consider this: Kondaurova joined the company eighteen years ago. Some of the dancers she criticises hadn’t even been born then. Russia and the ballet world were a different place, so when she speaks of her experience as a graduate, she is talking about a world that doesn’t exist anymore. The rules have changed. I don’t doubt for a second that most students currently studying at Vaganova dream of dancing with the Mariinsky and sharing the stage with its current primas. But neither do I doubt that they dream of having a fulfilling career, making their mark on the ballet world or simply being able to pay rent. Ambition is good. In fact, it’s essential for survival. But, as I wrote above, ambition and reverence are absolutely not mutually exclusive.

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An excerpt from Ekaterina Kondaurova’s interview with “La Personne”:

When I joined the company [in 2001] things were different to the way they are now. I understand that it’s natural, and that generational clash is unavoidable. Generations change, as do sensibilities. But my generation... we didn’t enter the theatre as stars, as if saying: “Here we are. We’re here to dance. Everyone needs to get out of our way.” It was never like that. When we were training at the academy, we dreamed of maybe one day joining the Mariinsky and having this opportunity to perform side by side with the dancers who, at the time, reigned over this legendary stage. I feel that nowadays graduates lack this servile* attitude. When they join the company, their first priority is to learn what roles they will be performing and whether or not they will be getting any solos. If they aren’t given solo roles, they can, at times, choose a different company. Recent graduates genuinely believe that they have options [editor’s note: Ekaterina is very proud of the Mariinsky and doesn’t recognise any other company as an alternative]. Consequently, the theatre’s management is forced to look for ways to hold on to young artists. For example, they lure them in with certain roles, and work out a particular students’ future career path and development plan, so they would agree to join the company. I find that preposterous. When I was a fresh graduate, I saw this theatre as a holy place and considered coking here a great honour.”

I disagree with Ekaterina’s statement completely. Parts of it sound utterly ridiculous to me. Here’s why.

*I struggled to translate this word. In Russian, it has a religious connotation and basically means “ultimate obedience”. 

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Ask Responses: MISC

If Maya Plisetskaya was not a soubrette ballerina, what type of ballerina was she? What’s a soubrette ballerina and what are the different types of ballerina?

I don’t think Plisetskaya can be pigeonholed. She was unlike anyone else and completely ahead of her time. 

I don’t hear the term soubrette used very often. In fact, I don’t think the typecasting or emploi are really given much thought anymore, though some people, like Tsiskaridze, are very strict about emploi and believe that, by and large, a dancer should only perform the roles they are suited for. The dancer’s height, mannerisms and style all play a role when it comes to determining their emploi. This is why he never danced Basilio, though many people believed that he’d fit the role perfectly. Nikolai, however, was a lyrical dancer through and through, whereas Basilio requires explosive energy. 

Soubrettes are usually short, energetic, naughty and full of life. This is a comedic emploi. I think the term originated in Commedia dell'arte, more specifically from the character of servetta (a serving maid willing to assist her mistress in all sorts of affairs and naughtiness).

I remember some people have asked about dancer's toes in pointe shoes. Recently there's been a picture on instagram floating around from the Australian Ballet Ankle Study that shows how they stand on pointe, have you seen it?

Thank you, I knew about this but had completely forgotten to post it. La Trobe University has been doing some interesting research in partnership with the Australian Ballet. Unfortunately, I can’t seem to find the image you’re referring to but La Trobe’s research is interesting and I’d recommend checking them out. Also, let’s not forget that it was the physio team at the Australian Ballet who brought David Hallberg back from the brink of oblivion. Those guys are miracle workers and La Trobe trains a lot of them.

When I saw how tall Kondaurova is, I was shocked! I knew she was tall but I didn’t think quite so much. Isn’t Alyona of a similar height but didn’t get offered a job by Mariinsky for it?

Apparently (according to the message below), Kondaurova is 177cm (5ft8in). Alena is closer to 180cm (6ft), so her height would be more of an issue for Mariinsky, as it’s a smaller company and there are few men who could successfully partner her.

Kondaurova has stated she’s 177cm on her Instagram, FYI.

I love how Kondaurova’s height of all things has become such a contested subject on this blog.

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Ask Comments

A compilation of comments, rather than questions, which came through Ask recently.

Someone asked about Lada Sartakova recently. I just checked her instagram, and she has a story that shows, presumably her friends, in VBA uniforms in the hallway, so it looks like she's still there.

@goodgolly-missmolly88​: I saw the question about Kondaurova’s height. I’m 5’8” (172cm) and when I met her she was about 3 inches taller than me so 5’11-ish (180).

Just wanted to say I love your blog and it’s always been fun reading on what your ‘opinions’ of dancers are. I don’t think you need to actually dance to be able to appreciate dance much like you don’t have to be a painter to appreciate great works of art. Haters gonna hate. Keep up the good work!!

Thank you! I’m not really bothered by such outbursts. In fact, they amuse me. And you’re right, of course. You don’t have to be a dancer to appreciate ballet. The very notion is ridiculous.

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Fair enough.. Let me clarify my age point though. The way you remarked Kondorouva's age remarks, well it did have an ageist connotations.

Sorry if it came across that way, it certainly wasn’t my intention. To be fair though, Kondaurova opened her statement with acknowledging the generational clash that is currently occurring at the Mariinsky, so the subject of age was already on the table from the get-go. And to add some context: potential retirement plans were discussed in that same interview, so I had further reason to address it.

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Ask Responses: Ekaterina Kondaurova

Discussion continuing on from here and here.

@lasylphidedanslair: Regarding Kondourova. Her judgements seemed harsh, but then again she admitted that it was a generational issue. The older generation of dancers did not lived with the benefit of social media. Many recent graduates did get more exposure through social media, but it is hard to estimate how powerful this factor was in terms of any dancers career advancement. Social media can only go so far to possible create a hype and give more exposure but only in social media and the internet.

If a dancer is not talented well.. I agree that artistic directors tend to give solo roles to recent graduates to test them. It's nothing new. I was surprised for her sudden jump to first soloist position though. I have reservations with this sudden development given that her repertoire is still limited. This can be fixed in the future though. Khoreva is a promising dancer but only time can tell whether she will develop to her full potential. I hope she does.

As far as I can tell, Kondorouva had to fight her way to the top and her career beginnings seemed gruelling if anything can be told from the documentary she was in. Mariinsky was also in different position back then than it is now. I consider her along with Tereshkina (Vishneva also, but she hardly dances at the Mariinsky anymore) to be the most versatile of all Mariinsky female dancers. She is considered be a working horse of Mariinsky theatre.

I haven't had the chance to see her live yet, but to my understanding she excels both in contemporary and classical works. She is still in her powers, so i feel uncomfortable with your notions of her age. Yes, she is nearing retirement age, but what of it? Unless she says she is retiring herself then i dont think this happens anytime soon. Her interview reflected her opinions so I took it as it was, her subjective insights to some matters and recent developments, nothing more and nothing less.

This is a long one, so I’m highlighting and addressing the key points.

1. Generally, I agree with this statement, but it’s not applicable in this case. Of all the graduates whose careers were fast-tracked in the past five years, Khoreva is the only one with significant social media capital; the rest have little to none social media presence. Plus, Khoreva can back her “insta celebrity” status with actual talent.

2. Exactly. So what happens when she and Tereshkina retire? This is the very point I’m making. Fateyev needs to line up a new generation of stars and “workhorses”. 

3. Why? My comment about Kondaurova nearing retirement is an observation of a fact. I’m in no way correlating her age to her skill, talent or ability. Ballet careers are, unfortunately, short-lived, and we can’t deny the fact that the Mariinsky has recently lost the ballerinas who had defied the company for the last twenty or thirty years, and they will lose more in the coming years.

4. I disagree with her opinion, so I presented a counter-point. Many prominent ballerinas have spoken out critically about the “new generation” of dancers in recent years. Some of them make very good points, but Kondaurova calls into question their loyalty to and respect for the company. I take issue with that.

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