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Enya
Inscrit le: 26 Aoû 2005
Messages: 1176
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 Posté le: Ven Jan 04, 2008 5:26 am Sujet du message: Le Ballet du Mariinsky à Pékin, Chine - janvier 2008 |
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朋友们，新年好！
New Year’s greatings from Beijing, China, with the ballets of Mariinsky. 
In order to have an overall view on the tour of Mariinsky in Bejing (Dec.25, 2007 – Jan.6, 2008), I copy from the playbill the final and complete casts of their ballet performances (Dec.31, 2007 – Jan.6, 2008) here:
Swan Lake
Dec.31
Odette/Odile:Alina Somova
Prince: Leonid Sarafanov
Pas de trois : Ekaterina Osmolkina, Irina Golub, Anton Korsakov
Jan.1
Odette/Odile: Viktoria Tereshkina
Prince: Daniil Korsuntsev
Pas de trios: Irina Golub, Olesya Novikova, Mihail Lobukhin
Jan.2
Odettel/Odile: Alina Somova
Prince: Yevgeny Ivanchenko
Pas de trois: Irina Golub, Olesya Novikova, Maxim Zyuzin
And for all:
Rothbart: Ilya Kuznetsov
Jester: Andrey Ivanov
Queen: Elena Bazenova
Tutor: Igor Petrov
4 Little Swans: Irina Golub, Elizaveta Cheprasova, Elena Shmil, Elena Yushkovskaya
4 Big Swans: Lelena Androsova, Ekaterina Osmolkina, Ekaterina Kondaurova, Anastasia Kolegova
2 Swans (in Act 4): Anastasia Kolegova, Ekaterina Osmolkina
Spanish: Polina Rassadina, Ryu Ji Yeon, Islom Baimuradow, Keren Ioanisian
Neapolitan: Yana Selina, Maxim Khrebtov
Hungarian: Ksenia Dubrovina, Anrey Iakovlev
Mazurka: Irina Prokofievna, Soslan Kulaev, Liubov Kozharaskaya, Sergey Popov, Maria Shevyakova, Kamil Iangurazov, Karianna Pavlova, Dmitry Sharapov
Jewels
Emeralds:
Jan.3
Pas de deux 1: Ekaterina Osmolkina, Maxim Zyuzin
Pas de deux 2: Anastasia Kolegova, Andrey Ermakov
Pas de trois: Yana Selina, Svetlana Ivanovna, Anton Kosakov
Jan.4
Pas de deux 1: Olesya Novikova, Maxim Zyuzin
Pas de deux 2: Anastasia Kolegova, Andrey Ermakov
Pas de trois: Yana Selina, Svetlana Ivanovna, Anton Kosakov (to replace Alexey Timofeev)
Rubies :
Jan.3 - Olesya Novikova (to replace Irina Golub), Leonid Sarafanov; Ekaterina Kondaurova
Jan.4 - Irina Golub (to replace Irma Nioradze who hasn’t come to Beijing at all for the tour), Anton Korsakov; Ekaterina Kondaurova
4 boys: Fedor Murashov, Alexander Kulikov, Anton Pimonov, Maxin Khrebtov
Diamonds:
Jan.3 - Alina Somova, Daniil Korsuntsev
Jan.4 - Viktoria Tereshkina, Yevgeny Ivanchenko
4 girls: Elena Adnrosova, Yana Selina, Daria Vasnetsova, Ekaterina Ivannikova
Le Corsaire
Jan.5, matinée
Conrad: Daniil Korsuntsev
Medora: Ekaterina Kondaurova (to replace Irma Nioradze)
Gulnara: Olesya Novikova
Ali: Anton Korsakov
Lankedem, a slave dealer: Mikhail Lobukhin
Birbanto: Islom Baimuradov
Pas de trois(The three odalisques): Irina Golub, Ekaterina Osmolkina, Anastasia Kolegova
Palestinian soloist:: Alisa Sokolova
Jan.5, soirée
Conrad: Ilya Kuznetsov
Medora: Viktoria Tereshkina
Gulnara: Ekaterina Osmolkina
Ali: Leonid Sarafanov
Lankedem, a slave dealer: Anton Korsakov
Birbanto: Islom Baimuradov
Pas de trois (The three odalisques): Svetlana Ivanovna (variation 1), Yana Selina (var.2) (to replace Irina Golub & Anastasia Kolegova), Olesya Novikova? (var.3)
Palestinian soloist: Ryu Ji Yeon
Jan.6
Conrad: Mikhail Lobukhin
Medora: Alina Somova
Gulnara: Anastasia Kolegova
Ali: Leonid Sarafanov
Lankedem, a slave dealer: Anton Korsakov
Birbanto: Islom Baimuradov
Pas de trois (The three odalisques): Irina Golub, Ekaterina Osmolkina, Olesya Novikova
Palestinian soloist: Ryu Ji Yeon
And for all:
Seid-Pasha: Vladimir Ponomarev
Dance of Pirates: Polina Rassadina, Alisa Sokolova, Maria Lebedeva, Andrey Iakovlev, Anatoly Machenko
Algerian soloist: Elena Bazhenova
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It’s not difficult to notice that Igor Kolb is absent from the casts!  In the original plan, he was supposed to take the title role in Swan Lake on Jan.2, and the title role of Diamonds in Jewels on Jan.4. It’s a great pity and a loss for us ballet fans in Beijing. Fortunately, I saw his interpretation in Swan Lake in Saint Petersburg in May 2006, perhaps this was a kind of early compensation…
But unfortunately, I could not manage to buy a ticket for any of the three performances of Swan Lake here, so, only Jewels and Le Corsaire for me.
About the performances, just wait for a while... 
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sophia
Inscrit le: 03 Jan 2004
Messages: 22163
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| Posté le: Ven Jan 11, 2008 10:47 am Sujet du message: |
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| Kevin Ng nous fait parvenir sa critique de la tournée du Mariinsky en Chine parue dans le St Petersburg Times: Chinese fans
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Enya
Inscrit le: 26 Aoû 2005
Messages: 1176
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| Posté le: Dim Jan 13, 2008 10:33 am Sujet du message: Jewels on Jan.3 & 4 |
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Some words about the performances. Sorry it turns out to be late…
Thanks to the opening of the new National Grand Theatre, where the Ballet of Mariinsky was invited as the first important guest company to heat the stage of the amphi-theatre for the first performing season, and we could enjoy three renowned ballets brought by Mariinsky – Swan Lake, Jewels and Le Corsaire. I went for two of them this time, Jewels on Jan 3&4 and Le Corsaire on Jan 5 (soiree) &6.
While watching the performances, I noticed that there were still some important changes to the casts, but there was neither announcement before the rising of the curtains nor modified casts on the playbill for audience I’ve made modifications to the casts in the previous post above and have marked them in red. For the casts of those performances which I was not able to enjoy, I have no idea…
Jewels
Jan 3 & 4, 2008
National Grand Theatre, Beijing
(Premiere at Mariinsky: Oct 30, 1999, St Petersburg
Choreography: George Balanchine, 1967
Staging: Karin Von Aroldingen, Sarah Leland, Elyse Borne and Sean Lavery
Scenery: Peter Harvey, 1967
Costumes: Karinska, 1967
Recreations of costumes supervised: Holly Hines
Original lightening: Roland Bates
Lightening: Perry Silvey)
Jewels is a ballet which is rarely seen in China, the National Ballet of China has never put this ballet on stage so far. Kirov (Mariinsky) brought it to Beijing for the first time several years ago, but I missed it. So this time, never let it go.
Mariinsky theatre considers Balanchine’s Jewels as an “ultimate” just as
| Citation: |
| “Petipa’s Sleeping Beauty – the ultimate artistic endeavour of 19th century ballet. Jewels is the ultimate portrait of 20th century classical dance, a presentation of the three main dance schools – French, Russian and American… Jewels is a metaphor for Balanchine’s artistic choreorgraphy (with the Russian Diamand, the French Emeralds and the American Rubies), is a metaphor of his strange, inexplicable sentimentality. Jewels is a lesson in 20th century neo-classical art, a lesson in the concentration of music, movement and style – the great teacher’s greatest lesson.” |
(Quotted from the album The Mariinsky Theatre Ballet, 2005).
For me, the concrete and complete impression of Jewels in my memory is on the DVD, the version presented by Paris Opera Ballet. What would be the differences between the interpretations of these two world prestigious companies? A lot of expectations were waiting for me.
Emeralds:
Among the three parts -- Emeralds, Rubies and Diamonds, I have a partiality for the first one, perhaps because of its mode, style and music.
On the first day, I was just fascinated by the scene right after the rising of curtains. The first variation, presented by Ekaterina Osmolkina, was in such a manner of fluidity, lyric, poetry and musicality. I saw her live performance once in St Petersbourg, casted as variation 1 in the Pas de trois of Swan Lake, where I was deeply impressed by her flexibily, extension, musicality, expressive upper body and beautiful lines. It was so delightful to see her again. She conveyed exactly the messages of expressing the mode of music, “aspiration et résignation”, “doutes et convictions”, as described by Miss Violette Verdy, the ballerina selected by Balanchine to create this role originally. Osmolkina’s emotional port de bras told all the words. I prefer much more Osmolkina interpretation than that of Laetitia Pujol of POB. We had Olesya Novikova on the second day, quite “mignonne”, always with bright smile, but her port de bras was not very convincing, her steps were not so fluent as those of Osmolkina.
The seconde variation was interpreted on the two days by the same dancer Anastasia Kolegova, whom I’ve never seen before, and who was so suprising to me. I was totally absorbed by her style of purity, sincerity, tranquillity, elegance and simplicity, like a snowflake. Each step and movement was accomplished easily and lightly by her beautiful and expressive arched feet, and was fitted into the music perfectly. Her port de bras was even better than that of Osmolkina who was excellent enough already. An idea came into my mind suddenly that her nature was just like a piece of diamond and she should take the leading role of “Diamonds”, however she was not so casted. Compared with POB’s Claire-Marie Osta who takes the same role on DVD, Osta’s steps on point are clearer and cleaner and lighter than those of Kolegova, however, Kolegova possesses more beautiful and longer lines, better port de bras and port de tete and better arabesques and turns. As a whole I have to say I prefer Kolegova a little bit more.
The two male dancers, Maxim Zyuzin and Andrey Ermakov accompanying these two charming girls in Pas de deux 1 & 2 correspondingly, were not matching the level of their partners, from the view of techniques and expressions, common and dull. It’s not difficult to say how much I like the representation of POB’s Mathieu Ganio and Kader Belarbi for the same roles.
Pas de trois was presented on the two days by the same dancers as well: Yana Selina, Svetlana Ivanovna and Anton Kosakov. So disappointed with Anton Kosakov, if you have seen the brilliant presence of Emmanuel Thibault in this Pas de trios before. And so happy with Svetlana Ivanovna whose steps were so gentle, agile, slim and graceful. I saw her performance once in St. Petersburg as the leading role of Garderobe Girl in “The Overcoat after Gogol” (Choreography by Noah D Gelber, 2006), one of the programs in a Tripple-bill dedicated to the 100th Anniversary of Dmitry Shostakovich (the other two were “The Yong Lady and The Hooligan” and “Leningrad Symphony”). I still remember clearly her wonderful presentation in the dreaming scene of the hero Akaky Akakievich (by Anton Pimonov), where she acted as a personification of Akaky’s new “overcoat” in the dream. She was floating all the time in the air supported by two boys, to imitate the waving of an overcoat. What lithe and flexible arms, shoulders, legs and waist! Yana Selina looked enthousiastic and agreeable, a good presence as well.
Mariinsky’s Emeralds ends up in the music of “Final” extracted from Faure’s music Shylock. I was waiting for the last piece “La mort de Mélisande” followed by “Final”, which should be presented by the 7 dancers of the two Pas de deux and the Pas de trios. However the curtain was just fallen, all was over, this small piece I love so much is missing from Mariinsky’s version! I’m a little bit confused… is this small part cut at all in Mariinsky’s version, or only cut for the performances in Beijing? Any friends here could help to answer my question? Many thanks in advance
Rubies
I was expecting very much about Leonid Sarafanov’s Rubies. After the performance, I realized I had expected toooooo much. He was energetic and enthousiastic as usual, with his amazing brisk and athletic jumps and turns, however he seemed not very apt to Balanchine’s parodying steps and movements, like the swing of hip and waist, the stilted body and poses. Everything went fine in terms of techniques, but something looked bizarre in terms of feelings and temperamants. Olesya Novikova looked as “mignonne” as in Emeralds, with a style more suitable to a more gentle and classical role rather than an exaggerated role like in Rubies. Another pair on Jan 4 was Irina Golub and Anton Korsakov. Irina Golub handled Balanchine’s American style steps with ease more likely, her movements and expression convinced me with the messages of ardeur and seduction. On a sharp contrary, Anton Korsakov was pale into insignificance, he was even worse than his appearance in the Pas de trois of Emaralds, awkward and heavy steps and movements, motionless expression, low spirit like a bullied student reprimanded by his teacher… why not another dancer to take this role?
The soloist for the 2 days was Ekaterina Kondaurova, she was cool and she had done a good job for this role, with her fantastic techiniques. However, I still prefer Marie-Agnes as this role…
Diamonds
This part should be a homage to Marius Petipa and to the glamour of the old Mariinsky Theatre as many people believe, it should bring us a splendid, magnificent and graceful atmosphere, a sense of purity and transparency. Eventually Alina Somova brought me a burning, sparkling and energetic impression, with her brilliant smile and acrobatical and exaggerated techniques -- arabesques nearly 170 degree, arabesques penchées more than 180 degree, grands jétés more than 180 degree, a la seconde nearly “at 6 o’clock” with her upper body tilted to another side slightly, and her very Russian style rapid and dazzling turns like pirouette and fouetté rond de jambe en tournant. Alors, what remained in my memory were all but her fancy and impressive techniques… but, where was the essence of diamond? Her partner Daniil Korsuntsev acted more like a head of pirates…
On Jan.4 we had another pair of leading role Viktoria Tereshkina and Yevgeny Ivanchenko, even more disappointed to me. Viktoria Tereshkina looked more mature than Alina Somova, but she seemd not in a good state and she was not very confident in this role. Her steps were very unstable and had dropped from point from time to time, even just a promenade on point. She lacked energy to finish her turns and jumps, she could not control her limbs properly to show a steady arabesque or attitude convincingly, all her arabesques penchées were not extended to the end but a bent leg, steps and movements were not in the rhythm of music because of drops. What on earth happened to her? I believe this was not her real capability as an experienced 1st soloist in Mariisky.
The final part of Diamonds “Polonaise” was unfortunately in a big mess, corps de ballet was not well sychronised, with arms and legs rising and falling alternately now and then. We noticed much better performances of girls than those of boys. It’s was quite surprising to me that every girl individually was so fantastic and excellent, but putting them together came out a not so harmonized scene, it was really a big pity.
Unlike POB’s version, Mariinsky’s scenary remains the same for all the 3 parts without any changes. I’m not sure if this was because of the tour that the scenary was reduced as much as possible for easy transportation, or in Mariinsky’s version is as such. So could any friends here tell us the truth?
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sophia
Inscrit le: 03 Jan 2004
Messages: 22163
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| Posté le: Dim Jan 13, 2008 1:05 pm Sujet du message: |
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Thanks for your report, Enya.
By the way, Kirov dancers must be really exhausted, as they had a particularly tight (not to say mad) touring program. They left Baden-Baden (where I attended a few performances) on Dec. 29th and their first performance in Beijing was scheduled on Dec. 31st. I suppose they didn't have a single day of rest. Most of the leading soloists were the same, including Somova, Osmolkina, Tereshkina, Korsakov... Only Lopatkina was not on the China tour, I think.
Concerning Osmolkina, I share your enthusiasm, Enya. She is an incredibly stylished dancer, one of the best examples of the Russian Vaganova school.
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Enya
Inscrit le: 26 Aoû 2005
Messages: 1176
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| Posté le: Mar Jan 15, 2008 9:37 am Sujet du message: |
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Thank you, Sophia, for sharing the information of Mariinsky’s tours and your view on Osmolkina. It’s true that they were quite exhausted due to tight schedule of tours, they didn’t have enough time to have a good rest. And they also had a big party with the National Ballet of China and drunk till very late in the evening, or to say, till very early in the morning, in the interval of such a tight arrangement of performances, this might contribute more or less to Tereshkina’s performance
And now Le Corsaire --
Le Corsaire
Jan.5 &6, 2008
Choreography: Pyotr Gusev based on the composition and choreography of Marius Petipa
Premiere of Pytor Gusev’s version (in St Petersburg): 29 April 1987, Kirov, Leningrad
(World premiere: 23 Jan 1856, Theatre Imperial de l’Opera, Paris, choreography by Joseph Mazilier
Premiere in St Petersburg: 12 Jan 1858, Bolshoi Theatre, choreography by Jules Perrot and Marius Petipa after Joseph Mazilier)
Le Corsaire is one of the three classical ballets which were mounted for the National Ballet of China (the former Central Ballet of China) by Pytor Gusev, who helped to lay a foundation for Chinese classical ballet in late 1950s and early 1960s. The other two are Swan Lake and Giselle. We often say that the version of Le Corsaire danced by the National Ballet of China (NBC) is the same as that of Kirov, however, I noticed a fact this time astonishingly that the NBC performed this version about 24 ~ 28 years earlier than Kirov/Mariinsky, as described in the playbill (as well as my album of The Mariinsky Theatre Ballet 2005) that the premiere of Pytor Gusev’s version at Kirov was on 29 April 1987! I can’t fix the exact date of the premiere of Le Corsaire by the NBC, because all documentations in my hand are not sufficient to support me to do so. What I could tell is that the NBC put this ballet on stage for public around year 1959 ~ 1963.
The very original Le Corsaire in Mariinky is the version of Jules Perrot and Marius Petipa as described in the album The Mariinsky Theatre Ballet 2005:
| Citation: |
| “This romatic drama of noble-hearted pirates was first choreographed by Jules Perrot. However, Marius Petipa later added an act with the Animated Garden Grand pas. The prima ballerina role of the Greek girl Medora took over from Conrad in importance. The imperial splendour, feminine charm and harmonious calm of the Grand pas rendered the stormy upheavals of the pirate story utterly pointless.” |
Compared with Jewels, Le Corsaire is naturally more popular to Chinese spectators. Thanks for the release of Kirov’s recording of live performance (1989) on DVD (starring by Altynai Asylmuratova, Faroukh Ruzimatov, Yevgeny Neff, Yelena Pankova and Konstantin Zaklinsky), we could compare the interpretations of this very same version (Gusev’s version) between the two companies, and now we have the opportunity to witness this ballet by Mariinsky.
On Jan.5 (soirée), we had Viktoria Tereshkina as Medora, Ilya Kuznetsov as Conrad, Ekaterina Osmolkina as Gulnara, Leonid Sarafanov as Ali. In Act 1, I was surprised to find that Viktoria Tereshkina appeared to be another dancer completely compared with her Diamonds in the last evening, what a remarkable change! She was not unstable anymore, her control of torso and limbs restored. Obviously she knew well this role therefore her representation fitted just right, she knew how to use her port de bras, épaulements and upper body to “talk”, to show her happiness with her girl friends playing on the sea shore; to express her grief, indignation and rebellion in the variation on the slave market; to reveal her pleasant surprise when she recognized disguised Conrald among the slave buyers. This was her right and normal play, I thought and praised. Well done! … Unfortunately, this situation was not able to last for long. From Act 2 to Act 3, she turned out to be changed again and she went back to the disappointing unstable state like last evening in Diamonds. For the famous Pas de trios (Medora, Ali and Conrad) in Act 2 the cave of pirates, she lacked control and energy for her variation; for the Grand pas of Animated Garden in Act 3, she was not able to finish even a satisfying attitude à deux bras while two girls handing over flowers to her on the two sides. Altynai Asylmuratova’s performance in 1989 (on DVD) was better than hers. Perhaps the last two acts are more technically and physically demanding, where she was not so adapted to such a demand during this tour in Beijing. In general, I was quite disappointed with her title roles both in Le Corsaire and in Diamonds of Jewels.
Gulnara as Medora’s closed friend by Ekaterina Osmolkina gave me a refreshing impression of emotional and enthousiastic interpretation full of grace, fluidity and musicality, from start to end of the performance. I would rather say this was a huge compensation for Tereshkina’s flaws. I was able to enjoy once again her amazing grands cabrioles derrières raised by Lankedem, her easy and exquisite attitudes en tournant, her particular style of fouettés… those gestures and movements are still lingering in front of my eyes when I type these words at this moment… I was wondering why not to cast her as the title role of Medora? Personnally I think her image, her adept skills and her ability of expression would be adequate for her to be a more agreeable and more ideal Medora. On the following day, she appeared as the 2nd variation in Pas de trois of the three odalisques in Act 3, no need to say more how excellent she was.
Ali is the right role for Leonid Sarafanov. Yes, we’ve already had remarkable images of Ali in Pas de trois in Act 2 by Rudolf Nureyev and Faroukh Ruzimatov deeply in mind, but this doesn’t prevent Sarafanov to create a fresh Ali: energetic as he usually is, jubilant, animate, vivid and vigorous, and needless to say his nimble and agile movements and his typical flying jumps which match well his own character of Ali. Although he dropped from the last two pirouettes à la seconde on the first day, he accomplished them marvelously on the second day: he did brief and dazzling pirouttes à la seconde at first, then changed to pirouettes en arabesques en plié while turning, then raised the leg from plié while turning and came back to à la seconde, and repeated again alternately pirouttes à la seconde - pirouettes en arabesques en plié - pirouettes à la seconde, finally a beautiful end, perfect! Bravo!!! From the second day I noticed how he dropped on the first day: while he tried to change his movements to pirouettes en arabesques en plié during the rapid turns, he lost his control for the legs, however, his reaction was so quick that following the trend of dropping leg, he immediately changed his movements into assemblé soutenu en tournant and avoided an obvious catastrophe, a clever dancer!
Jan.6, the last performance of Mariinsky’s tour. All tickets for this evening were fully booked at the very beginning of ticket reservation, there was not a single ticket to sell to public at all. As a victim of this bloody corrupt customs of ticket block-booking in China, a real ballet fan and a regular ballet spectator could not buy a ticket! Hardly could resist the temportation of the casts of this last performance (Alina Somova as Medora, Anastasia Kolegova as Gulnara, Leonid Sarafanov as Ali, and Pas de trois by Irina Golub / Ekaterina Osmolkina / Olesya Novikova), I made up my mind to take a risk to try to buy a second-hand ticket, eventually in the last few minutes, I got it.
Therefore I had the opportunity to see Alina Somova as Medora on the second day I think there is no need to repeat her amazing techniques anymore, all were well done and all were much much better than Tereshkina technically. In the aspect of expressions, we could say that she was still young and immature, however it’s always a pleasure to discovery a new and fresh figure on the stage, this was of course naturally incarnated in the typical style and character of Somova, a warm, delightful, lively and vivacious yong Greek girl Medora, while Tereshkina a more mature and emotional women. Overall, I prefer Somova’s Medora, and compared with herself, her Medora was better than her Diamonds.
Also a great pleasure to see Anastasia Kolegova as Gulnara, a different interpretation compared with Osmolkina. Kolegova’s Gulnara had a manner of calm and grace, a little bit similar to her expression in Emeralds. But Gulnara gave her an opportunity to demonstrate her aspect of outstanding but non-exaggrated technical skills (which is similar to Osmolkina but diffenent from Somova): perfect turnout of legs, more static (rather than dynamic of Somova) and elegant arabesques and attitudes and grand à la seconde, more acceptable fouettés rond de jambe en tournant as well as Osmolkina (for me, Somova’s old Russian style and rapid fouettés rond de jambe en tournant were terrible), crystal clear and clean and easy point steps, battus, ballonés, emboités and cabrioles with her perfect arched feet. I noticed that she was casted in “4 big swans” and “2 swans” (with Osmolkina) in Swan Lake on Dec.31/Jan.1/Jan.2, therefore I hope one day I could see her performance casted as the prestigious role of Odette/Odile in Swan Lake, and the same with Osmolkina.
As for the Pas de trois in Act 3, the two groups of dancers had done a good job, but I would say the second day fitted more to my preference.
Conrad (Ilya Kuznetsov) on the first day was more expressive but heavy technically, while on the second day Conrad (Mikhail Lobukhin) was more active and technically more handled with ease. Lankedem by Anton Korsakov for the two days was much better than his Emaralds and Rubies, although for the two days he had some difficulties to reveal the scarf covered on the head of Gulnara in the Pas de deux of Gulnara and Lankedem on the slave market. Birbanto by Islom Baimuradov for the two days was fantasticly dramatic, and the leading dancer of pirates Polina Rassadina was very exotic and expressive. For the two characteristic dances, I prefer the one in 1989 presented on DVD.
It was also interesting to notice some small changes in Act 2: when Lankedem discovered a dispute among the pirates, he gave Medora (Somova) a beautiful long-neck jar full of wine with sleep-inducing potion, Conrad drunk the wine then fell into a coma. When Conrad woke up, he found that Medora were abducted and was very angry, he called Ali. Frightened to death, Ali went down on his knees and begged for forgiveness. On the first day, Lankedem gave Medora (Tereshkina) a bunch of flowers with potion scattered inside as we all know this very well, Conrad smelt the flowers and fainted away. Ali came later to woke him up and told him what happened, then they ran out to persuit Medora.
To conclude my words, the last performance Le Corsaire on Jan.6 as a whole was the best one among the four performances I’ve seen during Mariinsky’s visit. Thanks to all artists of Mariinsky for bringing us the wonderful evenings, and hope them come back again in the near future!
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