#nina kaptsova

[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]

i just found out in one of the recently graduate profile and currently bolshoi corps darina moseeva that she is coached by nina kaptsova

What a lucky dancer to have Kaptsova as a coach! Here she is as Aurora:

[miss-mollys-ballet-blog]

Nina Kaptsova in The Nutcracker.

[balletomaneblog]

is it safe to say that sofia maymuka kindaaaa remind me nina kaptsova?

Ahhh yes you are so right!! Kaptsova is a little less . . . fragile looking in her dancing if that makes sense. She feels more anchored. But yes, they both have a similar kind of classic elegance. And also a springiness and energy to them! Maymula is such a bright young dancer and Kaptsova is one of my all-time favorite Bolshoi ballerinas so thanks for this comment!!

[mtdtsxhoef]

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[patricedumonde]

It looks like Varvara Kuryatova (another BBA 2024 graduate) is also being coached by Nina Kaptsova. I saw some footage of her as Neva in Pharaoh's Daughter and thought she looked quite lovely.

I saw those too and fully agree! Can’t wait to see more from Kaptsova’s girls 🥰 I’m sure she’s a wonderful coach.

[thewanderlast]

Nina Kaptsova - Dance of the Sugar Plum Fairy

This is one of my favorite variations the way she ends it with this face :D is amazing. 

[dors-ee]

I am working on Levi birthday and on my winter solstice project the "celebration" but in the meantime here some Petra as Kitri from the ballet Don Quixote, act 3 variation.

For the variation : here it's the long version. A very very good real life representation of it would be Iana Salenko, from the Staasballet of Berlin, here a link : https://m.youtube.com/watch?v=cUuT9pipZ_I There are several videos of several performances of her in that variation. it's just my personal fav here.

For the other version of that variation if anyone is interested, Olga Smirnova is good, Nina Kaptsova too.

[danzadance]

NINA KAPTSOVA & IVAN VASILIEV - "Spartacus" (Music by Aram Khachaturyan) https://youtu.be/89hzJnLAAfk?si=wvpgvl3hlcjJQjsE

[victoriafirebug]

Pyotr Ilyich Tchaikovsky Dance of the Sugar Plum Fairy - Ballerina  Nina Kaptsova

[balletroyale]

The Nutcracker: Sugar Plum Fairies 

[ballet-symphonie]

I drove myself up a wall yesterday testing out some combos and your post on Italian fouettés ended helping me up a bit with some of the odd moments where you go “oop i don’t feel that you know how to fully go through the choices made” to yourself 😅 It did get me thinking, there is a fairly common variation where you do a singular and I can’t remember it for the life of me for some reason

Glad my post helped you out, italian fouettes are tricky. At the moment, the only variation I can think of with a single Italian fouette is the Bolshoi's Sugar Plum/Princess Masha?

Please remind me as I'm sure I've forgotten something super obvious.

[tikitania]

hi! I often see dancers being described as soubrettes, and I think I know what that means just based on the names of dancers being described as soubrettes (correct me if I'm wrong, but short and charismatic and maybe couquettish?) but what are the alternative types for those who don't fall into the soubrette category? is there a whole lexicon of names for performer types? I would love to know if there are existing ballet vocabulary words for descriptions like "leggy adagio types" or whatever because that just sounds silly

To be honest, I don’t know if there are other labels. I’ve only read about soubrette! Given that most dancers are in the long-limbed category, I think Russia (in particular) has singled out soubrette dancers who tend to be more petite, fast jumpers and turners. Think of Amour in Don Quixote. (Obratzsova is my fave here.)

[miss-mollys-ballet-blog]

Nina Kaptsova and Ruslan Skvortsov in The Golden Age.

[balletomaneblog]

Just felt like revisiting this iconic performance with Christmas around the corner. Nina Kapstova is THE Sugar Plum Fairy. 

[books0977]

Nina Kaptsova and Igor Kromushin in Onegin, Bolshoi Ballet, June 2017. © Damir Yusupov.

Nina Kaptsova performed the role in Onegin that evening and poured every emotion into the final spine-tingling moments of the ballet. In the 3rd act, many years after the first childhood scenes, Tatiana has become a gracious and loving wife to her caring, protective husband, Prince Gremin, nicely performed by Igor Kromushin. Dressed in a gorgeous red ballgown, their gentle duet of plunging arabesques and swirling turns showed her happiness and satisfaction with the aristocratic life she is now leading. Everything for her is serene and fulfilling.