#Vladislav Lantratov

[dance-world]

Ivan Vasiliev and Vladislav Lantratov

[balletomaneblog]

Casting is Out For Premiere of Lavrosky's Romeo and Juliet at the Bolshoi!

April 4th (opening night):

Juliet: Elizaveta Kokoreva Romeo: Daniil Potaptsev Mercutio: Daniil Lopatin Tybalt: Mikhail Lobukhin

April 5th:

Juliet: Evgenia Obraztsova Romeo: Artem Ovcharenko Mercutio: Alexei Putintsev Tybalt: Alexander Vodopetov

April 6th (matinée):

Juliet: Eleonora Sevenard Romeo: Denis Rodkin Mercutio: Mark Chino Tybalt: Nikita Kapustin

April 6th (evening):

Juliet: Svetlana Zakharova Romeo: Artemy Belyakov Mercutio: Dmitry Smilevsky Tybalt: Denis Savin

April 7th:

Juliet: Ekaterina Krysanova Romeo: Vladislav Lantratov Mercutio: Denis Zakharov Tybalt: Igor Pugachev

Very excited about some of the line-ups! I'm especially excited about Sevenard performing Juliet as well as the Kokoreva-Potaptsev pairing, and Krysanova-Lantratov will be lovely. But I'm not as crazy about Zakharova performing Juliet. I just don't see her as the youthful and sweet fourteen-year-old Juliet anymore. I know her and Krysanova are relatively similar in age, but for me I see Krysanova far more as Juliet. Still, it's Svetlana Zakharova, so I'm sure she'll pull it off.

Anyway, I'm very excited for this premiere!

P.S. Would love to see Vinogradova and Maymula as Juliet in this ballet at some point as well!

[miss-mollys-ballet-blog]

Evgenia Obraztsova and Vladislav Lantratov in Emeralds.

[lilie-petal]

Evgenia Obraztsova and Vladislav Lantratov in ‘Lady of the Camellias’

photography by Ekaterina Vladimirova

[patricedumonde]

Deep Dive: Maria Koshkaryova’s Debut as Gamzatti

21 October 2023 — Masha's debut as Gamzatti in La Bayadere was a shock to many, and for good reason. This role requires not just technical proficiency but also maturity, and heavy acting. To make things more interesting, she was side by side Ekaterina Krysanova who became principal in 2011 and Vladislav Lantratov who became principal in 2013. For a dancer who just graduated 4 months ago, this wasn't just a challenging task, it was also impossible.

That said, let's go through some scenes that could have easily been corrected prior to the debut.

On the left, Maria Koshkaryova and on the right, Eleonora Sevenard.

This might be a hot take, but despite male dancers not being the center of attention in a pas de deux, I actually fully expect them to lead (Like in ballroom dancing.) In the movement above, I expected Vladislav to at least initiate eye-contact with Masha; this way, Masha would feel more comfortable to look at him as well. You'll notice the difference with the partnering of Elya. Instead of the movements looking hurried, you can see that there is a slight pause when they look at each other.

Here, there is clearly a lack of blocking. Masha should have turned instead of shuffling back. This way she can 1. See where she should go and 2. Look confident in doing so. This was likely from a hasty preparation for the role. There's simply too many moving parts for her to learn.

On the bright side, I thought her Italian fouettés were good. Excruciatingly slow, just how I like them! The fouettés, she played it safe by going with all single turns and honestly, I thought that was a smart decision. Incoming explanation on why.

Falling off balance here wasn't an accident, it was a blunder. She went for the 2.5 turns instead of a clean 1.5 you see on the right side. The clip on the right is perfect. Good preparation, clear spot, and solid landing.

One of the things I love about Gamzatti is that you can add a lot of embelishment to every movement. Maybe it comes with time and experience, but instead of just switching profiles here, Masha could have really emphasized more with her hands. Literally, a swish and flick could have added a lot.

JUMPS. The height is there. The look to the audience on the second jump could have been held much longer. Most importantly, the arms should be more controlled. When Masha braces herself before each jump, it isn't clear if she's passing through first position or even at a bras bas. When there's too much change and lack of clarity with the arm movements, the jumps don't seem effortless.

Here's a clip of Elya in the same part of the variation and she chose to be more consistent. (This is the part where the author realizes that she is a big fan of cleanliness and clarity which extends to her preference of risk-averse dancers)

Let's move on to arguably the hardest part, which is why I won't dwell on it too long. I will stand by my earlier statement, I cannot believe they would let her go against Ekaterina Krysanova, who is 20 years her senior. Especially in a confrontation scene like this, the disparity is palpable. Masha needed more confidence here and instead, it looked a bit apprehensive.

On the left, she should have been more "in your face" and she should have invaded Ekaterina Krysanova's space a lot more. After the first arabesque, that must have been 2-3 feet, she should have approached much closer than that.

Throughout this scene, I felt that Masha's facial expression remained unchanged. At the beginning, Gamzatti should be more accusatory and by the end, she should be full on, taunting. In all fairness, I can somewhat see it in the movement.

I saved this for last as it really stood out to me. The fall did not make sense. However, it would have made a lot more sense if she already came from a kneeling position! I would have preferred if she decided to beg on her knees, AND THEN fall in the manner that she did. It just seemed physically weird because of the way Ekaterina pushed her.

Honestly, this is all I am willing to go over. The first person to blame here would be whoever casted this. The second, maybe, would be her coach who agreed with that decision.

I see that the consensus here is that this debut is premature, and it is. Masha is a talented dancer. If you have seen her other debuts and felt that she was unprepared, surely it makes sense now, right? Imagine learning all those new roles on top of learning the entirety of Gamzatti's in La Bayadere.

C'est impossible.

[beyourselfchulanmaria]

30/12/18 Svetlana Zakharova Monologue, basket and death of Nikia 

💞 超愛這齣異國芭蕾舞劇的舞者的印度服飾 ✨ 明庫斯：「神殿舞姬」Minkus : La Bayadère 🩰 #LaBayadère: a heart wrenching and unforgettable moment of grace and poetry 一個令人心碎且難忘的優雅和詩歌時刻... 故事發生在傳奇而神秘的印度，講述了一個關於愛、死亡和復仇審判的故事。 Marius Petipa’s exotic ballet, set in legendary and mysterious India, is a story of love, death and vengeful judgement. Yuri Grigorovich’s sumptuous recreation of Petipa’s choreography, with breathtaking sets and costumes designed by Nikolay Sharonov, stars Svetlana Zakharova as the Bayadère Nikiya, Vladislav Lantratov as Solor and Maria Alexandrova as Gamzatti whose alluring presence challenges Solor’s love for Nikiya. The Bolchoi Theatre Orchestra is conduced by Pavel Sorokin. 

[scholarlyhobbit]

Stunning lines and so much emotion from Svetlana Zakharova and Vladislav Lantratov in the Bolshoi Ballet's production of The Lady of the Camellias." Every little gesture and pose communicates the agony and ecstasy of love and inevitable loss. Just beautiful. . . . 🏷️ #ballet #ballerina #svetlanazakharova #vladislavlantratov #bolshoi #ladyofthecamellias #pasdedeux #pointe #balletlife #dancelife #balletlife #balletdancer #dance #dancer #loveballet #balletlove #worldwideballet #balletworld #balletinspiration #balletaddiction #balletphotography #balletpost #dancephotography #balletmen #балет #светланазахарова #владиславлантратов #большойтеатр https://www.instagram.com/p/CoYerZPsVCD/?igshid=NGJjMDIxMWI=

[dozydawn]

The Bolshoi Ballet’s Emeralds from Jewels, 2013.

Evgenia Obraztsova, Vladislav Lantratov, Yanina Parienko, Igor Tsvirko, Ana Turazashvili, and Anna Tikhomirova.

[books0977]

Maria Alexandrova and Vladislav Lantratov in Nureyev, Russian Ballet Icons Gala 2018, February 2018. © Marc Haegeman.

 Alexandrova, who dances the ‘Margot’ role in the Bolshoi cast even though she quit the company last year, wears a full skirt that flies above and around her legs as she is manoeuvred in extravagant lifts. The pas de deux, an elaboration of Ashton’s vision of enamoured Marguerite, is very much about the ballerina: Lantratov, in a polo neck, cummerbund and tights as Nureyev/Armand, has only a brief solo passage of histrionics.

[lovelyballetandmore]

Vladislav Lantratov | Denis Savin | Bolshoi Theatre

[gramilano]

Ten leading Bolshoi dancers suspended

Leading Bolshoi dancers have been suspended from upcoming performances in Moscow after participating in a gala in Uzbekistan.

Uzbekistan Gala poster with a photo of the Bolshoi Theatre and the company’s logo to the left Leading Bolshoi dancers have been suspended from upcoming performances in Moscow after participating in a gala in Uzbekistan. On their day off, the dancers were in Tashkent, the capital, at the invitation of the Foundation for the Development of Culture and Art of Uzbekistan. The Bolshoi dancers who…

[besoindedanser]

Ekaterina Krysanova and Vladislav Lantratov 

Rehearsal for The Taming of the Shrew

Photo by Elena Fetisova

[ekaterinakrysanova]

Ekaterina Krysanova and Vladislav Lantratov after Bolshoi’s The Taming of the Shrew

Photo via @ekaterinakrysanova_official tagged posts on IG

[miss-mollys-ballet-blog]

What is your opinion on the 2023 graduates that have been given a lot of soloist roles in the Bolshoi, Koshkaryova, Kuprina, Valiullina, Konovalova, and Netsvetaeva-Dolgaleva? And on the Mariinsky side of favored 2023 dancers, how do you feel about Kulikova and Karamysheva? If you’ve seen any videos of them, of course.

Disclaimer: I do not watch videos of them as students when saying my opinions of them as they are all at least a year into their professional careers.

I don't like Maria Koshkaryova, both her Swanhilda and Gamzatti debuts were incredibly underwhelming. She was lucky her Solor was Vladislav Lantratov because he saved her so many times during the grand pas. Her Kitri was definitely better though, part of which is due to the fact that she has had a bit more time to develop as a professional.

The only thing I remember about Yaroslavna Kuprina was after watching her debut in the Swan Lake pas de trois (last year I think), I really liked her hands. I haven't watched enough of her to form any real opinion other than that detail.

Out of all of them, Sofya Valiullina is probably my favorite. She is the only one who looks like she feels comfortable onstage and she doesn't come across as fake happy, she seems to be very much herself but in a very good way. I really like her in the Naiad and the Fisherman variation she does in Paquita, she just makes you smile!

I've never even heard of Polina Netsvetaeva-Dolgaleva tbh. I don't pay attention to students and it's even more difficult to pay attention to BBA students as they don't publish anything. I also don't follow them on social media.

I've only watched two videos of Kulikova, Princess Florine and Masha, and I don't like either variation so it's hard to separate that from her actual dancing. From what I remember of those two videos, she is a dancer who had slightly sloppy technique but has a cute stage personality. If she continues to improve her technique so the point where she is very comfortable enough that her entire personality can shine through, she has a lot of potential to be quite charming and fun to watch.

No idea who Karamysheva is.

[balletroyale]

Ekaterina Krysanova and Vladislav Lantratov in Romeo and Juliet (Bolshoi Ballet)

[ballet-symphonie]

Why Oxana Skorik gets lower rank partners? The other primas mainly dances with principals, but not her. I don't know if it's a preference of hers or something in the theater... anyways, hoping the best for her, she came a long way.

I would assume she and mgmt had a conversation where she was asked if she would be willing to dance with up-and-coming male dancers (most often she's paired with Nikika Korneev). She clearly accepted but I would guess that she didn't initiate this discussion because it's generally easier to dance with more experienced partners that you have worked with before. Dancing a full length with a new person requires much more work and time for rehearsals to figure everything out. Of course, it's also possible that she saw something in Korneev and was interested in dancing with him, there's no way for me to know that.

This interview with Maria Alexandrova and Vladislav Lantratov discusses that idea a bit, that bringing new artists on stage with a more experienced one is often a challenge but can make debuts more seamless and help the growth of young artists.