本当だ！イーラとカーチャだ。イーラ痩せているね。この時。

That's right ! But it's not a modern trend, it goes back to the beginning of ballet exercises. The trend has always been to increase the length and complexity of ballet exercises.

Peter Koppers wrote on 2019: Matilda Kschessinskaya “Yellow Pear” 3/4 variation can still be heard in the Vaganova Academy's production From Landé to Vaganova (the advanced girls doing centre work), as can the enticing, bubbly waltz that concluded The Pearl. Do you know which one?

@@Grunyaprotazova oh yes - Peter surely got that from me, but its incorrect....some years ago a Russian accompanist who played piano at the now defunct Kirov Academy in Washington DC sent me a list of individual numbers from Drigo's "La Perle", the list included notes on where some of these pieces have ended up in the modern-day Russian repertoire. I later learned that this "La Perle" was not Petipa's ballet of 1896, but rather a class concert staged for students at a Russian Ballet school in the 1980's (Perm Academy? I cannot now recall) where various, more easily accessible pieces by Drigo, etc. were used to create a ballet based on the themes of Petipa's "La Perle"...bits from Harlequinade, Talisman, Romance of the Rosebud (from Sergeyev's Class Concert), Enchanted Forest, even Ocean and Pearls pas de trois (not by Drigo) were used, but nothing from the actual "La Perle". Unfortunately I put these things online before I had better information, and it has since spread into the online ether. I was more naive in those days. The pieces you mentioned are without a doubt from Drigo's score for Petipa's 1904 "Romance of the Rosebud and the Butterfly". The slower waltz is one of the variations.

I don't quite understand your comment. What do you think is wrong with their arms ? While some traditions have of course been retained, specially from the french school (which St. Petersburg has always had stronger french influence, while Moscow has always gotten stronger italian influence), Agrippina changed the whole arm system, and almost surely, made the first modern arm system. Prior to her, there were many different variations that didn't reach our modern days (from all sources, russian teachers, french teachers, italian teachers, english teachers, etc., there are books and texts that depict and term different arms positions: Kosloff, Adice, Mascagno, Zorn, Charbonnel, etc.)

@@juanjosefarina it goes down, isnt it obvious

La bailarina del medio es Galina Mezentseva, las otras dos bailarinas son estudiantes de Aarnio

¿Cómo se llaman los estudiantes de Aarino?