Some really shite comments here. She was incredibly young when they asked her to dance this role. Of course she is not perfect. It was somewhat an experiment by Gergiev and she did exceptionally well for her age and experience. She was one of the youngest ever to dance this incredibly difficult role. Cut her some slack, folks! Being mean in your armchair is easy.
Alina, you are my favourite ballet dancer and you were a really good Odile. I can't understand people that left bad comments to you! The orquestra was bad, yes, but you weren't! I love all your performances and this one wasn't an exception! Please, continue being who you are!
Alina , your performance is incredible, your triple fouettés so smooth such a delight for the eye; you dance very difficult part with absolute lightness and your long legs are as beautiful and controlled as they are long and strong. Just perfect performance. Your partner is also so good and with polished moves; both make a great dance couple! BRAVO, EXCELLENT, AMAZING, WOW
Практически все комментарии написаны по-английски... Дорогие русскаязычные, нам точно стоит больше интересоваться нашим собственным академическим искуством. Ну сделал оркестр пару ошибок, это же не фондовая запись, а живой звук, живое исполнение... Бывает. не стоит так корнцентрироваться на каких-то пусть и досадных, но всё же мелочах! Посмотрите какие прекрасные артисты, какой у них высокий исполнительский уровень, какя грация и пластика, какая лёгкость! Школа-то у них замечательная! И руки у балерины - как две реки, как крылья птицы, такие нежные, женственные, такие гибкие.. Технически хорошо подготовлены оба солиста... А актёрски - нет предела совершенству... Актёрскому мастерству и им, и многим другим исполнителям можно учиться всю жизнь... В России для этого есть все возможности. Радует уже то, что русский академический балет есть на свете, у него есть не только славное прошлшое, но и достойное настоящее, и великое будущее! Вот что я думаю, глядя на этих танцовщиков.
I feel like some of the issues here are definitely due to the orchestra. This is probably the fastest rendition of this I've ever heard. I'd think that since Somova has very long limbs, she probably has a hard time controlling them which is quite apparent in her fouettes. Still, very enjoyable, beautiful dancer and people need to chill when it comes to ballet. Sometimes being picky really destroys enjoyment.
Although indisputably beautiful, it seems as though she moved ALOT on her fouettes. Of course, staying in one spot is an incredible task but her sloppiness came out alot I guess because of her great speed....I would love to see a little more control.
She's using her arms better and better, pulling back from the way she used to almost over-articulate. Still do not like fouettes done this way: if you can't turn on a dime, it accentuates the problem, and when you just throw in doubles whenever and they're off the music anyway, it seems counterproductive. I'd rather see 32 clean singles. That said, the orchestra seemed to just fall apart in the coda, the instruments not balanced and the tempo accelerating exponentially, could not have helped
While I think a lot of the comments in this thread about Somova are mean and uncalled for, I do agree that she's a hugely overrated ballerina and has been promoted above other, far more talented dancers. Someone in the Mariinsky Ballet administration must really like her because she's really not a principal level dancer.
Oh my at the orchestra :-( seriously terrible. As a professional musician I found myself covering my ears . Did they actually tune before the performance?
I find Alina's movements very staccato , static and un musical , and I am being nice, tell me please what is the attraction ? I'm dumbfounded that the same presigious school who produced Tereshikina and Ekaterina Osmolkina spit out Alina .
I agree with you completely. Flexibility and a well-proportioned body don't a dancer make. Apart from, IMO, being a very hollow performer, she has some strange mechanics to dancing.
Yeah, she is not the performer of for example Susan Jaffe level at all. Some of the extreme plasticity can slow a dancer down, hurting the overall flow, if they are not intelligent in how they use it. With some of these ultra-form dancers unfortunately you see not the technique serving the art but the other way around, and strangely enough even though her extension is 'wow', the overall impression is .. boring. Does not make for the most pleasant experience from a viewer's perspective. It is a fine balance where every subtlety of motion needs to be finely tuned to the music and the role, not just the rules of 'how to correctly move your arms and legs' and that's where the performer's intelligence comes in. In the selection criteria they should use overall talent in addition to only physical form and ability. Just an honest observation. BTW, I have almost the same issues with Zakharova as well. She is intriguing to look at as a freak of nature (in a good way obviously), but not as a performing ballerina in the classical sense, in the sense of putting you in an exhilarated mood from living the experience of the role with the performer (don't know how best to express it). And i am in no way downplaying the importance of classical perfection, on the contrary - that is all part of what i'm talking about. Again, imho Susan Jaffe was probably one of the best examples of a thoroughly intelligently beautiful balleriana. She also somehow managed to also look very wholesome and fresh and extremely fine in form in every performance.
havenization se você detectou os erros pq não vai lá no Mariinsky pede um contrato e faz melhor que ela? Ai, minha falta de paciência com coachzinho de ballet do youtube tá tanta que nem vou traduzir (aproveita que tu é manjadona no ballet e vai aprender o português pra traduzir isso aqui flw flw)...
In my opinion the orchestra played a terrible coda, especially when Alina was doing the 32 fouettés. Anyway, even if she's a good dancer, I prefer other Vaganova's former pupils and she cannot be compared with the fantastic Sarafanov!
Her arms are ok, it's her fingers that are completely distracting. She's a bit unmusical, can't keep her chin down, and plops around the stage like she's wearing flippers. As for her fouettes, I can't say much about them that hasn't been said already. I don't hate her, I'm just making observations. Poor Leonid, she's no Olesya.
it's a pity her technique is so weak. Her expressiveness is improved a lot, She is more mature and in control, her fouettes are improving (still a bit bad but better than years ago), but her arabesques and attitudes are really really wrong and i find myself worrying about her legs almost a la seconde rather than enjoy all the rest. She is a beautiful girl and a good ballerina, but she has not the quality of a great artist.
Some really shite comments here. She was incredibly young when they asked her to dance this role. Of course she is not perfect.
It was somewhat an experiment by Gergiev and she did exceptionally well for her age and experience.
She was one of the youngest ever to dance this incredibly difficult role.
Cut her some slack, folks!
Being mean in your armchair is easy.
I like her hair brown, very romantic.
Alina, you are my favourite ballet dancer and you were a really good Odile. I can't understand people that left bad comments to you! The orquestra was bad, yes, but you weren't! I love all your performances and this one wasn't an exception! Please, continue being who you are!
Alina is perfect
Bravo Alina!
Alina , your performance is incredible, your triple fouettés so smooth such a delight for the eye; you dance very difficult part with absolute lightness and your long legs are as beautiful and controlled as they are long and strong. Just perfect performance. Your partner is also so good and with polished moves; both make a great dance couple!
BRAVO, EXCELLENT, AMAZING, WOW
Практически все комментарии написаны по-английски... Дорогие русскаязычные, нам точно стоит больше интересоваться нашим собственным академическим искуством. Ну сделал оркестр пару ошибок, это же не фондовая запись, а живой звук, живое исполнение... Бывает. не стоит так корнцентрироваться на каких-то пусть и досадных, но всё же мелочах! Посмотрите какие прекрасные артисты, какой у них высокий исполнительский уровень, какя грация и пластика, какая лёгкость! Школа-то у них замечательная! И руки у балерины - как две реки, как крылья птицы, такие нежные, женственные, такие гибкие.. Технически хорошо подготовлены оба солиста... А актёрски - нет предела совершенству... Актёрскому мастерству и им, и многим другим исполнителям можно учиться всю жизнь... В России для этого есть все возможности. Радует уже то, что русский академический балет есть на свете, у него есть не только славное прошлшое, но и достойное настоящее, и великое будущее! Вот что я думаю, глядя на этих танцовщиков.
Браво супер все танцуют
The funny thing is that you can do nothing like her and you're trying to find just the mistakes and not the good things about her.
Alina ❤❤❤
They are both mazing dancers and Alina is greatly missed!
I feel like some of the issues here are definitely due to the orchestra. This is probably the fastest rendition of this I've ever heard. I'd think that since Somova has very long limbs, she probably has a hard time controlling them which is quite apparent in her fouettes. Still, very enjoyable, beautiful dancer and people need to chill when it comes to ballet. Sometimes being picky really destroys enjoyment.
The Orchestra play the music in a very strange manner as it were written by Stravinsky.
what happened to the orchestra in the end??
Although indisputably beautiful, it seems as though she moved ALOT on her fouettes. Of course, staying in one spot is an incredible task but her sloppiness came out alot I guess because of her great speed....I would love to see a little more control.
She's using her arms better and better, pulling back from the way she used to almost over-articulate. Still do not like fouettes done this way: if you can't turn on a dime, it accentuates the problem, and when you just throw in doubles whenever and they're off the music anyway, it seems counterproductive. I'd rather see 32 clean singles. That said, the orchestra seemed to just fall apart in the coda, the instruments not balanced and the tempo accelerating exponentially, could not have helped
No offense, but this dance company should REALLY fire this orchestra!
すごーい
舞台でメプチン吸うことができる
瞬間がある😺
While I think a lot of the comments in this thread about Somova are mean and uncalled for, I do agree that she's a hugely overrated ballerina and has been promoted above other, far more talented dancers. Someone in the Mariinsky Ballet administration must really like her because she's really not a principal level dancer.
kabardinka1
Alina is absolute principle ballet dancer and she proves her title.
ALINA IS MUCH BETTER NOW!!!
That Orquetra was a little off 😊
Oh my at the orchestra :-( seriously terrible. As a professional musician I found myself covering my ears . Did they actually tune before the performance?
yes, they did
She has great performances but here she comes out very stiff. He can do a lot better. The orchestra sounds terrible.
I find Alina's movements very staccato , static and un musical , and I am being nice, tell me please what is the attraction ?
I'm dumbfounded that the same presigious school who produced Tereshikina and Ekaterina Osmolkina spit out Alina .
I agree with you completely. Flexibility and a well-proportioned body don't a dancer make. Apart from, IMO, being a very hollow performer, she has some strange mechanics to dancing.
This is not her best performance. Dancers are human beings. Sarafanov is always Sarafanovful!! Lol
havenization agree. Her dancing sees almost sloppy.
Yeah, she is not the performer of for example Susan Jaffe level at all. Some of the extreme plasticity can slow a dancer down, hurting the overall flow, if they are not intelligent in how they use it. With some of these ultra-form dancers unfortunately you see not the technique serving the art but the other way around, and strangely enough even though her extension is 'wow', the overall impression is .. boring. Does not make for the most pleasant experience from a viewer's perspective. It is a fine balance where every subtlety of motion needs to be finely tuned to the music and the role, not just the rules of 'how to correctly move your arms and legs' and that's where the performer's intelligence comes in. In the selection criteria they should use overall talent in addition to only physical form and ability. Just an honest observation. BTW, I have almost the same issues with Zakharova as well. She is intriguing to look at as a freak of nature (in a good way obviously), but not as a performing ballerina in the classical sense, in the sense of putting you in an exhilarated mood from living the experience of the role with the performer (don't know how best to express it). And i am in no way downplaying the importance of classical perfection, on the contrary - that is all part of what i'm talking about. Again, imho Susan Jaffe was probably one of the best examples of a thoroughly intelligently beautiful balleriana. She also somehow managed to also look very wholesome and fresh and extremely fine in form in every performance.
havenization se você detectou os erros pq não vai lá no Mariinsky pede um contrato e faz melhor que ela? Ai, minha falta de paciência com coachzinho de ballet do youtube tá tanta que nem vou traduzir (aproveita que tu é manjadona no ballet e vai aprender o português pra traduzir isso aqui flw flw)...
she needs to relax her hands
Tempi is fast
In my opinion the orchestra played a terrible coda, especially when Alina was doing the 32 fouettés. Anyway, even if she's a good dancer, I prefer other Vaganova's former pupils and she cannot be compared with the fantastic Sarafanov!
quien sera mas elongada... ella o zakharova?.... chan... igual prefiero a a sveta
Her arms are ok, it's her fingers that are completely distracting. She's a bit unmusical, can't keep her chin down, and plops around the stage like she's wearing flippers. As for her fouettes, I can't say much about them that hasn't been said already. I don't hate her, I'm just making observations. Poor Leonid, she's no Olesya.
***** she wasn't that bad
I just have to say this: Her left foot at 12:01 isn't even really pointed :\
Разве это Алина Сомова?
Да
お父さんじゃないんだからさタオル毎日毎日毎日毎日毎日かえろって
H
it's a pity her technique is so weak. Her expressiveness is improved a lot, She is more mature and in control, her fouettes are improving (still a bit bad but better than years ago), but her arabesques and attitudes are really really wrong and i find myself worrying about her legs almost a la seconde rather than enjoy all the rest. She is a beautiful girl and a good ballerina, but she has not the quality of a great artist.
this was some terrible ballet right here!
Wonderful ballet
Alina is very rigid, weak technique, port-de-bras oh, no...