#Ekaterina Kondaurova

[miss-mollys-ballet-blog]

Ekaterina Kondaurova in Romeo and Juliet.

[ballet-symphonie]

There's plenty of criticism for the young generations, the likes of Denisova, Sergeenkova (from BT), Khoreva, Ilyushkina (from MT), etc, and saying how they don't compare to the old(er) generations, Zakharova, Obratsova, Krystanova, Kaptsova,Novikova, Kondaurova... etc etc. So I'm wondering, how did the old generations do when they were new graduates around 20 years old? Were they having the same issues back then as these new dancers are having now (technical sloppiness? lack of artistry? lack of preparation for big roles?...) How do these young gen dancers compare to them when they were young?

The obvious comparison is Zakharova, this is the woman who was admitted directly into the graduating class at VBA and never spent a second in the corps. She has still set the record for speed and made principal at 18. Absolutely ridiculous. But then again, she came out of school looking like this. While she certainly didn't have the emotional depth and soulful lyricism that she developed later, she had beautifully sustained lines and nearly impeccable turnout.

Many of today's graduates have similar body types to her, but nowhere NEAR her precision or control of those extraordinarily long legs. The level of emotional depth perhaps wasn't quite there, but the technical proficiency is simply insane. But even then, that's her Nikiya at age 20...we've seen far worse in recent years.

Kondaurova is a totally different case. It's difficult to find old performance videos of her...likely because she wasn't doing anything that people deemed worthy of filming. She was not considered a prodigy at graduation, at 26 years old she was still a second soloist and it took her 12 years to get to prima- with some serious lobbying by her coaches and outside choreographers. Today's 'star' grads aren't fighting like Kondaurova. No one wanted to give her classical roles, she and her coach, then Chenikova had to battle for her to be given chances. It's maddening because we have 20-year-old first soloists and 22-year-old primas and no one bats an eye. Ratmansky was quite impressed with her, "She is more spontaneous on stage than most of her colleagues. And everything that often looks like improvisation is actually well rehearsed." That's a key difference between her and a lot of today's grads, she put in the work to appear so spontaneous and carefree- not to look technically perfect.

While there are minimal videos, I can definitely see how much she improved in the early years of her career. The clarity of pointework, stability of turnout, and general presence are much improved in the later video.

Krysanova is someone who I think had a well-paced career, but by today's pace, it looks like she was sleepwalking. She graduated BBA with a handful of prizes, and she had attention from the start. She did 3 solid years in the corps and then took another 5 years to get to prima under the detailed preparation of one of the Bolshoi's best coaches: Svetlana Adyrkhaeva. Again, Ratmansky pushed and praised her along with Osipova and she was a principal at 26- the youngest at the time. She was and continues to be, the go-to ballerina at BT for new choreographers, featured in premiere after premiere because everyone wants to harness her versatility, but that took time to develop. The older videos of her are quite good, but not mind-blowingly so in my opinion.

Obratzsova did indeed graduate to a big fuss and her star only continued to rise. She is similar to the current age of graduates, as she got loads of big roles early. By reading old reviews, there's pretty much an overwhelmingly positive consensus. She was a sensation to audiences with her Juliet, the youngest ever to dance it at MT, expertly guided by Ninel Kurgapkina. Her confidence and lightness was just irresistible, you couldn't not fall in love with her. From day one, she had the charm, the poise, and the style. Her presence was what got her roles, despite being a bit undersized. If she graduated today, I'm not sure she'd have the same opportunities. Similarly to Iliushkina, she won the gold medal at Moscow, and while reports suggest she went against administration in doing so, she proved that she could handle herself in a huge variety of repertoire. Only three years after graduating, people like Carla Fracci and Pierre Lacotte were creating work specifically for her, inside and outside of Mariinsky. This current young generation is definitely less sought after, with the exception of Khoreva, for freelancing/media/creations- although a lot of that can be blamed on COVID and then the war.

Marina Vasilyeva really struck gold in 2002 with both Novikova and Obratsova in the same class. Novikova arrived at the theatre with splendid port de bras and an organized presentation, in addition to snatching the top prize at the Vaganova International Ballet Competition in her graduating year. Additionally remarkable is her phrasing, looking blissfully effortless in addition to the intricacies of her upper body even from a young age. Every step was always clear, although not quite as luminous as she later became. I think today's graduates should be watching more videos of her and taking note of her fluidity. It took her far too long to get to principal, but she was a first soloist in 6 years, a well paced timeline in my opinion.

Nina Kaptsova really had a strong start to her career. She was dancing solo roles from her first season at the Bolshoi. In 1999, only 3 years after graduating, she was nominated for the prestigious Benois de la Danse prize. A year later, she won it. Even so, she wasn't named principal until 2011. These dancers are simply part of a different timeline, it seems like it's becoming more and more common to see dancers graduate and become principals in 5 years or less, particularly at the Bolshoi.

[tikitania]

Pharoah's Daughter at the Mariinsky

I'm excited to see the Mariinsky's new staging of The Pharaoh's Daughter, especially the set and costume design. I love a big 3-act ballet! I've been following the Russian ballet forums and there's a lot of speculation as to how much of Ratmansky's restaging of Petipa's choreography remains now that Tony Candelario is spearheading the project. (I suspect quite a lot.) However, the sets and costume were well underway before the Russian invasion of Ukraine and it seems that Robert Perdziola is still finishing his work on the set design. Given that an American is designing this…I'm hoping for the best. (aka, no body sprays, tanning or even blackening skin "for accuracy" which is the argument that the Russians make.) AND casting has been announced! Of course, it's Vika, Kimin Kim and Renata in the premiere! Happy to see one of my faves, Alexandra Khiteeva, featured in a soloist role. (She's been dancing a LOT lately, which I love but it also makes me worry about an injury.) Quite shockingly, Kristina Shapran, is in the cast. I hope to see her gorgeous dancing more!

[gorbigorbi]

Ekaterina Kondaurova as Girl, “Leningrad Symphony", music by Dmitry Shostakovich, libretto and choreography by Igor Belsky, design by Mikhail Gordon. As part of the program “Commemorating the Lifting of the Siege of Leningrad” (“The Young Lady and the Hooligan" by Konstantin Boyarsky, “Concerto DSCH” by Alexey Ratmansky and “Leningrad Symphony”), Mariinsky Ballet, Saint Petersburg, Russia (January 27, Mariinsky II)

Photographer Yulia Mikheeva

[purasvagancias]

Ekaterina Kondaurova

[thefaceclaimfinder]

Ekaterina Kondaurova

White

Born 1982

5’8

Cis female

Brown hair

Blue eyes

[bloodhag]

Act III, Black Swan - Pas de Deux

[steebtiny]

Ekaterina Kondaurova and Roman Belyakov in Angelin Preljocaj’s Le Parc (Mariinsky Ballet)

[melmothblog]

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!

[miss-mollys-ballet-blog]

Ekaterina Kondaurova

[ballet-symphonie]

i would kill to see kondaurova in the petite mort pas de deux

I WANT THIS. The trouble with Kondaurova is its so hard to find her a partner who's tall and strong enough enough to dance with her and emotionally vulnerable enough to match her on stage. Choreographically, there's a lot of partner work in that ballet that is difficult to do with similarly sized people, and casting usually favors more medium-height girls for the main two pas de deux. I'd want her dancing with someone outside MT.

[tikitania]

It's been a long few weeks at work. I wanted to spend some time studying La Bayadere reconstructions, but decided that I just needed some to watch a beautiful Odette. Ekaterina Kondaurova never disappoints.

One of my all time favorites. Video: Balletomane M

[gorbigorbi]

Ekaterina Kondaurova as Juliet Capulet, “Romeo and Juliet ” music by Sergei Prokofiev, libretto by Andrian Piotrovsky, Sergei Prokofiev, Sergei Radlov and Leonid Lavrovsky, based on the tragedy by William Shakespeare, choreography by Leonid Lavrovsky, set and costume design by Pyotr Williams, Mariinsky Ballet, Saint Petersburg, Russia

Photographer Yulia Mikheeva

[balletroyale]

tereshkina and skorik are considered the two best performers of swan lake at the mariinsky. whose interpretation do you prefer?

I’d actually say Kondaurova is the best Swan at the Mariinsky. But I prefer Tereshkina to Skorik, the latter of whom has gorgeous lines but I just don’t see any stage presence. 

[harmonicthemes]

Le Parc - Ekaterina Kondaurova.  Photo by Svetlana Avvakum

[tutu-fangirl]

Ekaterina Kondaurova and Andrey Ermakov in La Bayadere x