Ulyana Lopatkina / Ульяна Лопаткина "Diamonds"

Ballet: Diamonds
Dancers: Ulyana Lopatkina / Ульяна Лопаткина and Igor Zelensky
Music: Tchaikovsky
Choreography: George Balanchine
Performance Notes: Mariinsky 2006
Ulyana Lopatkina
• People’s Artist of Russia (2005).
• Recipient of the State Prize of Russia (1999).
• Prize-winner at the International Vaganova-Prix Competition (St Petersburg, 1991).
• Recipient of the following prizes: Golden Sofit (1995, 2015), Divine together with the accolade Best Ballerina (1996), Golden Mask (1997), Benois de la danse (1997), Baltika (1997 and 2001: the Grand-Prix for promoting the worldwide fame of the Mariinsky Theatre), Evening Standard (1998), Monaco World Dance Awards (2001), Triumph (2004).
• In 1998 she was awarded the honorary title of “Artiste of Her Imperial Majesty, the Stage of Sovereign Russia” and the medal Mankind-Creator.
Born in Kerch.
Graduated from the Vaganova Academy of Russian Ballet (class of professor Natalia Dudinskaya).
Joined the Mariinsky Ballet in 1991.
Principal Dancer since 1995.
Repertoire at the Mariinsky Theatre includes:
Giselle (Myrtha, Giselle); choreography by Jean Coralli, Jules Perrot and Marius Petipa,
Le Corsaire (Medora); production by Pyotr Gusev after the composition and choreography of Marius Petipa,
La Bayadère (Nikia); choreography by Marius Petipa, revised version by Vladimir Ponomarev and Vakhtang Chabukiani,
"Paquita" Grand pas (Soloist); choreography by Marius Petipa,
The Sleeping Beauty (Lilac Fairy); choreography by Marius Petipa, revised version by Konstantin Sergeyev,
Swan Lake (Odette-Odile); choreography by Marius Petipa and Lev Ivanov, revised version by Konstantin Sergeyev,
Raymonda (Raymonda, Clémence); choreography by Marius Petipa, revised version by Konstantin Sergeyev,
Michel Fokine’s ballets The Dying Swan, The Firebird (Firebird) and Schéhérazade (Zobeide),
The Fountain of Bakhchisarai (Zarema); choreography by Rostislav Zakharov,
The Legend of Love (Mekhmeneh Bahnu); choreography by Yuri Grigorovich,
Leningrad Symphony (the Girl); scenario and choreography by Igor Belsky,
Pas de quatre (Marie Taglioni); choreography by Anton Dolin,
Carmen-Suite (Carmen); choreography by Alberto Alonso,
George Balanchine’s ballets Serenade, Symphony in C (II. Adagio), Jewels (Diamonds), Piano Concerto No 2 (Ballet Imperial), Theme and Variations, La Valse, Scotch Symphony and A Midsummer Night’s Dream (Titania),
In the Night (3rd movement); choreography by Jerome Robbins,
Roland Petit’s ballets Le Jeune Homme et la mort and The Death of the Rose,
Goya Divertissement (Death); choreography by Alberto Alonso,
Anna Karenina (Kitty); choreography by Andrei Pokrovsky,
The Nutcracker (Pavlova and Cecchetti, fragment); choreography by John Neumeier,
Alexei Ratmansky’s ballets Anna Karenina (Anna Karenina), The Little Humpbacked Horse (Tsar Maiden), Le Baiser de la fée (Fairy) and Le Poème de l’extase,
In the Middle, Somewhat Elevated; choreography by William Forsythe,
Hans van Manen's ballets Trois Gnossiennes, Variations for two couples and 5 Tango's,
Le Grand Pas de Deux; choreography by Christian Spuck
and Marguerite and Armand (Marguerite); choreography by Frederick Ashton.
She was the first performer of one of the two solo roles in John Neumeier’s ballet Sounds of Empty Pages (2001).
Has toured with the Mariinsky Ballet throughout Europe, the USA and Asia.
Her retirement from the Mariinsky was announced on the company's website on 16 June 2017.
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Thank you kindly for watching,
Pam Boehme Simon for Graceful Beast Ballet
#ulyanalopatkina
#gracefulbeastballet
#pamboehmesimon

[@isabelaandzico]

Absolutely beautiful. I’ve seen many performances of Diamonds and this is my favorite. Her technique is crystal clear, like a Diamond 💎 also Ulyana does an excellent job of keeping in mind the core of many Balanchine’s works: emotions are subtle so the dance can shine. As a professional ballerina trained in Russia 🇷🇺 Ukraine 🇺🇦 and Romania 🇷🇴, I understand how hard it can be to switch from Mariinsky/Bolshoi to NYCB styles. My first Balanchine experience was Valse Fantasie! Also, it’s important to highlight that Mr B created Diamonds as an homage to his training in the Motherland: Tchaikovsky’s music, allusions to pieces such as Diane et Acteon, La Bayedere and Swan Lake. 🇧🇷🇵🇹🩰👏🏻

[@PamBoehmeSimon]

Thank you, Isabela, for a wonderfully splendid comment. Thrilled to have you share your knowledge, expertise, and experience. I appreciate so very much your watching and for taking the time to write.

[@isabelaandzico]

@@PamBoehmeSimon what a lovely response. I’m new to your channel but have been binge watching ever since. I’m happy to share my experiences with others and my passion for ballet. I’m really grateful for the Bolshoi and everything I’ve been doing since my time in Moscow.👏🏻🩰

[@bobloblaw9679]

yes it is a nod to his russian training, but his russian imperial training. vaganova changed a lot when she made her syllabus and balanchine held onto some of that older, french training when creating his american dancers. that and the former imperial ballerinas who taught for him and helped pass on the style. he used to say that a ballerina should be like an angel---seeing the drama and circumstances of humans and being moved by them, but not letting those issues actually touch them. removed, but in a spiritual sort of way.

[@minissa2009]

I'm so used to Russians not getting the hang of Balanchine. I put this one because Lopatkina---and then sat there mesmerized for the whole pdd. Someone said she hardly looks at Zelensky, but I found they were weaving a story and the infrequent meeting of their eyes spoke volumes. There was passion there, but they were keeping it in check . Her fluidity and complete abandon in all of the off-center moves (read: Complete trust in your partner) were about as Balanchine as you could get. And the set didn't blind you! Exquisite, thanks for posting!

[@feedthebirdstuppenceabag]

Well said. Ulyana is generally not super emotional in the face and that's no problem for this role because Suzanne farrell wasn't either in diamonds. She had the same kind of expression that ulyana does. And she's the standard. Although I must say I think I like ulyana even more than Suzanne in this. Because she looks more clean and refined WITHOUT sacrificing the Balanchine-ness of it. Oftentimes Russians will sacrifice the tempo or playfulness or whatever in order to keep that strict form and synchronization, and high extensions. In rubies this is most obvious. But this particular diamonds pdd is perfect for the Russians like Lopatkina. It requires no tradeoff or sacrificing of any kind. She is absolutely stunning in this.

[@ИринаБорисова-г4ъ]

Ульяна необыкновенная!

[@williamdeng1870]

What a wonderful performance! Just beautiful!

[@chanellshahin151]

Lopatkina is very beautiful, no doubt. She is the best, Balanchine will be proud!

[@ЕленаСнежинская-в4б]

Божественные руки! Как жаль, какая потеря для мира, что ей пришлось уйти( Она уникальна, как уникальны Плисецкая и Максимова. Лопаткина завораживает своим танцем, дышать забываешь!

[@bobloblaw9679]

it is nice to see a ballerina trying to get the feel of this pas de deux right.

[@DavidLeBlanc]

The steady, measured pace of this dance is mesmerizing. It really draws me in and then it's over. This beautiful pairing certainly adds to that.

[@PamBoehmeSimon]

Mesmerizing is the perfect word for this.

[@philzmusic8098]

Truly one of the greatest performances of this PPD I have ever seen. She's up there with Farrell.

[@PamBoehmeSimon]

Wow, I knew this seemed an exceptional performance but that is high praise indeed. Thanks for watching and for taking the time to share. Great comment.

[@feedthebirdstuppenceabag]

I agree

[@____Ga]

This is the most beautiful version that I have seen! Both of them are spectacular.

[@PamBoehmeSimon]

i wholeheartedly agree.

[@НатальяЛадич]

Бриллиант - Ульяна Лопаткина! Браво!!❤❤❤

[@ЕленаСеребрякова-ш6щ]

Невероятная, абсолютная чистота танца, когда танец превращается в сверхискусство ,когда допета телом каждая нота Чайковская. Когда ты не видишь танец - ты видишь чистую музыку. Гений Чайковского, плюс гений Баланчина и гений Ульяны Лопаткиной.

[@ЛюдмилаБорисова-с8ж]

Такая красота!!! Дух захватывает.Ульяна - богиня.

[@한정혜-j5o]

the height of elegance! Thank you.

[@ЯремкоЮлия]

Сколько души! Браво! ❤️

[@emadulce2749]

Diamonds on stage! Beautiful Pam. Muchh love🍃⭐🌟🌛

[@cynthiafletcher9845]

Thank you, Pam!! Breathtaking!! They are both diamonds. 💙💙

[@virginiatyree6705]

Beautifully done. Thanks for posting.

[@s.v.s2771]

Happy birthday, Pam! Thank you for your love of ballet!❤

[@PamBoehmeSimon]

THANK YOU!! And, it is my pleasure. Always.

[@elianacaminada5019]

Estou pensando na maravilha de assistir Uliana Lopatkina dançar Jewels - Diamonds, de Balanchine, com a música maravilhosa de Tchaikovsky. Esta homenagem de Balanchine a Petipa e ao Ballet Russo Imperial não podia encontrar uma intérprete mais adequada que Lopatkina, em todo o seu refinamento e sem qualquer concessão ao público. E amparada por um bailarino soberbo como Igor Zelensky. Ambos expressam Mr. B. exatamente como ele pensava a dança. Bravo! Que privilégio. São coisas divinas, coisas de Deus!!

[@classicalaid1]

I saw the two of them perform in the West, in I believe 2000, at the onset of their international careers. Astonishign then and astonishing now.

[@theresa42213]

She;s a great dancer!

[@キティM]

現パリオペラ座の芸術監督のジョゼ・マルチネスさんが、ロパートキナのディアマンテを観て、初めてディアマンテの意味が分かったと言った話は有名です。ロパートキナさまを観れてしあわせです。

[@catherinecozzano2580]

I'm not so enthusiastic. She doesn't express any emotion. She hardly looks at her partner. She seems to be only concerned by her beautiful technique and looks at herself meaning "see how perfect I am?". The poor guy is completely left out. Sorry. But thanks Pam for posting it ❤.

[@catherinecozzano2580]

@@cellocat-sm8lx Right. But I think you can be sober and still more expressive. But it’s only my opinion.

[@PamBoehmeSimon]

I understand what you're saying Catherine and would agree was it not a piece by Balanchine. I would be willing to bet she performed it exactly as he meant it to be. He was notorious for telling his dancers to "just dance, don't emote." He wanted his choreography to speak for itself without the dancer creating some sort of "feeling" via facial expression, etc. Also, there is a famous Balanchine quote that kind of sums up just exactly what you said lol... "In my ballets, woman is first. Men are consorts. God made men to sing the praises of women. Women are not equal to men: They are better."

[@catherinecozzano2580]

@@PamBoehmeSimon Thank you for answering my comment. You’re right Balanchine was quite strict about expressing emotions, but I always found it a bit frustrating in spite of his great talent. 🌹

[@yvettemitchell2900]

@@PamBoehmeSimon Oh my, did he really say that, (obviously he did!) and it makes perfect sense, in this piece at least though i think he'd have something of a riot on his hands if he'd said that in todays 'age of equality 'lol!! Regardless , I thoroughly enjoyed the dancers,the music and the choreography, as well as your explanation of Balanchine's 'theory' because it pulled certain things together for me upon the second watching haha! Thanks for posting Pam , have a great day 💕

[@catherinecozzano2580]

@@PamBoehmeSimon Wow I didn’t know that quote. Hard to hear in today’s quest for equality. Lol 😂