Bolshoi Ballet Director Makhar Vaziev Talks Future Plans and Rising Stars
Makhar Vaziev is no stranger to running world-class ballet companies. Yet after 13 years at the Mariinsky Ballet and seven leading La Scala Ballet, Vaziev's return to Russia as head of the Bolshoi in 2016 came as a surprise to many. Not only is the Bolshoi the rival to his former St. Petersburg employer, but his arrival also followed the scandalous acid attack on his predecessor, Sergei Filin. Now comfortably ensconced in his new Moscow post, Vaziev is intent on bringing the Bolshoi up to the standards he expects wherever he reigns. American audiences will have their first look at the company under his leadership this month at Lincoln Center, first in "Diamonds" and "Rubies" as part of the 50th-anniversary celebration of Balanchine's Jewels (July 20–23), then in Jean-Christophe Maillot's The Taming of the Shrew (July 26–30).How did the Bolshoi's participation in the Lincoln Center Jewels project come to pass?
I was informed about this project while I was still at La Scala. The idea was agreed upon before I moved to Moscow, and plans were already under way.
What dancers should we watch for?
Alyona Kovalyova, Margarita Shrainer, Anastasia Denisova, Xenia Zhiganshina, Elvina Ibraimova—these are the next generation of stars. We have a short artistic life and have to act quickly; if you wait one year, a certain dancer's chance may be lost. It's important to promote young dancers while there are great ballerinas in the theater, like Svetlana Zakharova, Ekaterina Krysanova and Olga Smirnova, so the younger generation has an example to look up to.
The Bolshoi's Olga Smirnova and Semyon Chudin in Balanchine's "Diamonds." Photo by Elena Fetisova/Bolshoi Theatre, Courtesy Bolshoi.
What are your plans for the company?
When I accepted this position, Vladimir Urin set a concrete task before me about what he wanted to see from the troupe, and we came to a mutual agreement about that. In terms of classical ballet, I prefer irreproachable, ideal form, and that doesn't change from theater to theater. What I demand of the dancers here today—the highest level of performing, both aesthetically and technically, among other things—is nothing new to them, but it's possible no one paid attention to it before. I was, am and will always be a product of the Leningrad-Petersburg school, but I don't like to compare the Mariinsky and the Bolshoi. The Mariinsky dancers may perform better in some areas, the Bolshoi in others. For me the most important thing is to find the balance between physical form and artistic content, and that dancers promote an intelligent stage culture that is tasteful, academic and stylized when need be.
Makhar Vaziev. Photo courtesy State Academic Bolshoi Theatre of Russia.
How is running the Bolshoi different from your previous positions?
La Scala was different because everything was new for me: new system, culture, values. Working in the Bolshoi or Mariinsky, you know there's a guarantee, the presence of the training behind the dancers, the Vaganova Ballet Academy and the Moscow State Academy of Choreography. After working abroad you start to miss that, though at the same time I'm very grateful for my "Italian period."
The Bolshoi is a huge empire with huge demands. You have to accurately understand what you're moving towards and why. Any decision you make has to be clear: Can you influence the artistry in order to further development? With more experience comes greater doubt. Don't forget that there's a difference in me now, too; nine years have passed since I left the Mariinsky.
Have you ever seen a performance and thought, "Wow, this was so good. Dance Magazine should really be writing about this!"? You're in luck.
We're collecting nominations for our annual Readers' Choice feature, and we need your help! We'll compile our favorite nominations, and then you'll vote on what should make it into our December issue. But for now, we want to hear about the most memorable dance you've seen so far in 2017.
Throughout the summer, we've been noticing beachside views and scenic waterfalls sprinkled in with all of the usual rehearsal and performance posts we see from ballet's biggest stars. But even while enjoying some sun and relaxation, dancers like Sara Mearns and Michaela DePrince prove that they never really take a break from ballet. Ahead, check out some of the cutest vacay pictures and videos our favorite dancers have been sharing this summer. Not only will they give you some future vacation inspo, they'll also have you itching to get back in the studio.
This fall, the University of Utah's School of Dance welcomes the first class of candidates to its newly reinstated Master of Fine Arts in Ballet program, currently the only ballet-specific MFA in the country. Geared toward those with professional ballet experience, it requires courses in pedagogy, choreography and scholarly inquiry. Melonie Murray, the director of graduate studies, says, "We want to support students in understanding ballet in a deeper way."
The 2017–18 Broadway season is just getting underway! But before we look ahead to new productions, let's recall what came before. Here are a few of the sparkliest shows that opened on the Great White Way in previous Augusts.
42nd Street (1980)
The cast of the 2001 revival of 42nd Street performing at the Tony Awards
If you need an example of traditional Broadway-style tap, this couldn't be any closer. The original production of 42nd Street ran for over eight years. That's a lot of time steps.
When I saw Kele Roberson dancing at New York City Dance Alliance Foundation's college scholarship audition, I only had to watch a deep plié before writing down a 10 out of 10 on his score sheet and scribbling a giant star next to his name. Before he even had a chance to show off his incredible lines, I was mesmerized by his nuanced grace in even the simplest of movements.
He walked away from that audition with NYCDA Foundation's Dance Magazine College Scholarship worth $25,000 to the college of his choice, which happened to be Juilliard, where he was planning to attend this fall.
But shortly after winning, it turns out, his plans changed. I caught up with him earlier today to find out what happened.
Yep, you read that right.
Alpaca dance classes are a thing, thanks to 313 Farms in Manitoba, Canada. Students can take classes like "Barn Barre," "Mommy, The Alpacas, & Me" and "Poppin' Pacas" while the animals roam—and you're welcome to stop and pet them mid-class.
"Having worked in a dance studio, I had quite a few students visit the alpacas and they loved being around them," says owner Ann Patman. "Most studios have no windows and even though the class might be great, you don't get any fresh air or see what's going on outside."
Nominations for our Readers' Choice Awards are underway, and you've been sending in tons of exciting ones.
As a reminder, we're compiling nominations in seven categories:
- Best Viral Video
- Most Moving Performance
- Biggest Choreographic Breakthrough
- Coolest Collaboration
- Best Dance Documentary
- Most Inventive New Work
- Funniest Performance
We'll choose our favorites, then ask you to vote on what will make it into our December issue.
Here are some of our favs so far: