Pyotr Ilyich Tchaikovsky / Anna Nikulina - Dance of the Sugar Plum Fairy / 2014
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- Опубліковано 7 бер 2017
- P.TCHAIKOVSKY - "Dance of the Sugar Plum Fairy" / Nutcracker - Bolshoi Ballet 2014 / Life Extract
www.bolshoi.ru/en/persons/ball...
www.tumblr.com/tagged/anna-ni... - Розваги
We don’t need to start comparing people now, both girls worked very hard and both should be appreciated in their own ways ☺️
Guys every person who’s done the bolshoi version is an awesome dancer or they wouldn’t be casted as this part
😂😂😂
Well...😂
I think we’ve all been spoiled by Nina Kaptsova. I think all others, even good ones, pale in comparison.
Pale, is not enough 😒
💯% Kaptsova's is sheer perfection.
Cant agree more!
True I Agree 100%
Yeah but even if it's pale in comparison, Anna still put a lot of effort in and she did well enough
Absolutely love how silent she is on her feet. I’m makes her strong movements feel so airy and fairy-like
She was absolutely beautiful. Being a dancer my whole life I'm naturally critical, but she was beautiful, fantastic job!!!
Nobody should be complaining because this is an extremely difficult dance. The whole entire time the dancers are on the tips of their toes which must hurt A LOT, and there’s a lot of spins which must make the dancers extremely dizzy. This performance was amazing.
Her spins were...En Pointe! Many people are comparing this lady but I say comparisons are odious and this woman has, without a doubt, achieved a level of mastery which is in the very highest echelons of her craft. Literally we're talking about a hundred people OUT OF ALL HUMANITY THAT'S EXISTED could do what she did. What more do you people want?!!?
such a great remark
Seriously? There's a hundred women just at the Bolshoi now that could achieve a good performance of this piece, not to mention hundreds across the world in various companies, and hundreds going back in time. To me her dancing was good but she had little performance quality and little stage presence. Maybe it was an off performance for her, or maybe it is just her style. To each their own.
@@Mytallpalmtree
Are you sure that this is from 2014 ? I saw yesterday in cinema Nutcracker from Bolshoi Ballet and was the same scenery and costumes.
@M M
The Bolshoi Nutcracker has been exactly the same since 1970s.
@@MM-111 Bolshoi nutcracker is always like this , for many years.
Wow she dancer this so incredibly beautiful! Having dancer most of my life, I'm very critical, in this case I can't be. She couldn't be lovelier, what a joy to watch!!
BRILLIANT!
her face gives away how hard it is and she danced pretty heavily
Not being mean at all but definitely the best Sugar Plum Fairy was danced by Nina Kaptsova.
Absolutely!
Then maybe you all should go watch her video? It’s been years since you made this comment, and months since the last reply, so hopefully you’ve stuck to Nina and allowed us to enjoy the graceful dancing of this enchanting young woman.
@@unknownstranger6875 I can say whatever I want and most importantly, I can have my own opinion which still stands, Nina’s interpretation and understanding of the role is so much more mature than this woman.
SORRY NOT SORRY I CAN SAY WHATEVER I WANT. 😘
Sono d'accordo!
The poor little thing, under such scrutiny. I enjoyed it. I really did. It was beautiful. Yep!! I loved it. Gorgeous. The unkind critique made me watch it more intensely. I wasn't disappointed the second and third time.. now for the fourth.. Mmmm.. Beautiful!!!.
Thank you, so much better than any other company in the world ❤
Love this performance very well Svetalana
she it’s Anna Nikulina
After adoring her in Spartacus I just could not picture Anna in a pink tutu, but here she is!
So sweet ballet.
She is so good!.
Love it
Why am I getting the urge to make Christmas deserts?
Exelente performance🏵️🏵️🏵️🏵️
First part: Enchanting. Second part: WOW!!!
Maravillosa
Lovely.
it reminds me of movie dead silence and i like the song for it i wish they had a dead silence 4 so they can put the sugar plum fairy song in it
👏👏👏👏👏🌺🌺🌺🌺🌺🕊💫
My god, her poor toes.
👏👏👏👏🌸🌸🌸🙌👐
Red m&m: ow.
Yellow m&m: so you think santa will like these red and green m&ms.
Red m&m:i don't know i never met that guy, ahhh he does exist.
Santa claus: they do exist.
Red m&m, and santa claus faint.
Yellow m&m: uhhh santa.
How tall is she?
Regards my class
It's a song of beauty, perfection, and seduction.
Right. What about the dance ?
@@MM-111 Dance?
@@ExMachina70
Of course, don't you see how she dance ? 🤣
@@MM-111 Oh yeah, there was dancing too. Forgot about that part.
@@ExMachina70
🤣
Oh mine. This fairy looks like a coarse version of Nina Kaptsova's.
It is the same ballet company, and the same performance, with the same choreographer
+Madeline Ferrante Nina Kaptsova's performance was much more graceful and elegant though. But this performance wasn't bad either.
@@sst710 no it wasn't bad... it was awful 😢
@@madelineferrante8762 Yet a completely different level...less level.
I can't understand all these comparison between Nikulina and Kaptsova. If the Bolshoi directors chose her for the main role thare must be a reason. I also wonder how many of people who criticize her are able to do this at the bolshoi theater, with audience and knowing they are filming you and showing all around the world. Maybe it was the first time she was doing this ballet as the protagonist and she was really nervous, that is possibly why she didn't smile so much.
Surely you can understand why people compare two people, from the same company, performing the same dance.
No, Nikulina has that expression on her face all the time. Doesn't matter if she's Marie in the Nutcracker, Phrygia in Spartacus or Odette/Odile in Swan Lake, she has that same strained expression.
I don't think you're familiar with the Bolshoi if you're inferring its management pick the headliners solely based on merit. There's two primary reasons why she was picked. One, she shares a resemblance to Grigorovich's late wife, and understandably has his favour and support. Two, she has long limbs.
And no, this was not the "first time she was doing this ballet as the protagonist". Her debut performance for this exact role was 8 years before this one.
Koko Adam please don't talk to me as you're talking to an ignorant little girl. I perfectly know the bolshoi but i didn't know nikulina before this performance. It is strange but i've always just heard of her before this. I quite liked her in this performance, technically speaking. About smiling, maybe she's not used to. You can't force people to smile if they're unable. She dances well first of all and the facial expression comes second. I think she's fine in here. I just don't like comparison. If you don't like, don't warch videos about that and don't leave comments. This is just my opinion.
You're certainly doing a good job of appearing to be "an ignorant little girl". After all, it's you that struggles to understand and accept that in ballet, as in all things, comparisons will always be made. Particularly in situations where the choreography is exactly the same, as is in this Kaptsova-Nikulina situation. And no, you don't "perfectly know the Bolshoi" since you inferred that it's management pick people based on merit. That's a dead giveaway of someone who knows nothing about how the Bolshoi functions.
I didn't say anything about smiling, just her expression. If she cannot change her expression to suit the mood, then she's a poor performer. Like I've said before she has the same expression when she's performing Dance of the SPF as she does in Adagio of S & P as she does in Black Swan PDD. These are not debut performances either, so the inexperience argument is nought.
Grow up for once. If you cannot handle people comparing performances of the same choreography by two different dancers, then log off and disconnect from the internet. Take your own advice and "don't warch videos about that and don't leave comments".
@@kokoadam4546 I didn't mind her supposedly "strained" facial expression .. She was brilliant in conjuring up the super gracious SPF! To condemn or belittle her for "an unsmiling face" is "a dead giveaway" of malice and low morals.
vertigopull- You're well within your rights to think whatever you want of her performance as am I. I'm not fussed if you hold this display of mediocrity as one of excellence, that just speaks to your low standards.
Not sure why you're quoting "an unsmiling face" since neither myself nor Roberta stated that. If having a benchmark is considered malicious, so be it. By golly, all these performance arts schools must be chockful of people with "malice and low morals" if that's your standard.
Как чудесно она "плывет" плечами !"!!! Бесподобно!!!!!!!
After adoring Anna in Spartacus, I just could not picture her in a pink tutu, but here she is. She is so earthy in the former, but she does this very well too.
I like ten version where Nina K dances sugar plum fairy for some reason
Фея-драже)))) танец
This performance may only be achieved by a young woman who had mastered but perhaps not exactly conscious of the initial higher rate of changes which need to be integrated to achieve the required position not only at the right time with an accurate destination, but the path to be followed must contain a majesty and a grace that many people refer to it as artistic, when in fact it is all applied engineering described in detail by the mathematical rate of changes due to the forces initiated by her mind.
I noted her introduction, simple and effective in testing herself through initiating the right test movements in her extreme limbs. At 0:08 she flicks and impulses her fingers and her hand, such that she would test her ability to make her fingers follow any frequency she desired, all through an impulse function or a flick which contains all the frequencies necessary to produce the right emotional effect. She raises her arms as she impulses her fingers in a graceful manner, balancing her upper limb extensions to keep a perfect balance. At 0:14 she commences testing her lower limbs and again she flicks and impulses her toes and feet ensuring knowledge of the flexibility required for what is to come. She does all this while standing in the same position, as her interest was her harmony as far as local movements without body translation. Once this was ascertained, she began translating at 0:24 coupling translation to cover the ground with local stability and damping at the right moment.
From 0:45 she couples and harmonizes her upper and lower limbs and her beauty is in sequencing a series of unsymmetrical movements which tend to be more exciting than symmetrical ones where the extension of the arms balances the extension of the lower limbs in a three-dimensional manner, keeping harmony through not using any transient measures, but a flow which at times proceeds continuously without any change in the rate of change. There are times when she pauses to mediate the difficulties of the next stages, and when she lightly hops to be followed by actions that need both power and energy for actions in the same position without having to cover too much ground. The lifting of the foot above the head and to knee height is all done with grace but at times she seems to be a little hesitant. At 1:29 she translates on her toes in such a manner of synchronization not as far as movement is concerned but in the manner, her head is made to keep the same level that any Chinese high-class woman would envy in her deportment. At 1:42 it seems that she had terminated all the testing she required and set off on a dynamic performance where all the dynamics performed in a local position were now to be performed in translation. The rhythm that followed was well coordinated with harmony and an ever-accelerating movement where at 2:08 she initiates the more active movements to reach a climax with an ever-increasing faster action, which requires perfect coordination between mind and limbs. While the inertia of the torso is perfectly used I cannot help admiring the dancing hands and feet, which though they are fast-moving they still contain all the grace and majesty of a gentle lady.
As far as I am concerned this young woman has a scientific exactness and a precision due to the fact that she can handle information ahead of the accelerations which can only be achieved by the thought of mind. Meanwhile, all this scientific perfection leads and results in a refinement of grace beauty of movement, appearance, and manners, tasteful in opulence form, deportment, and presentation. She showed restraint without losing grace. She is mathematically, scientifically, artistically, and perfectly engineered with an intelligence that could read her potential in whatever direction she would care to view her beauty. Some people call this art and ballet............. but it is all the beauty of applied engineering which can be analyzed and simulated mathematically which would benefit all artists if they care to go deeper in what makes art better! Better knowledge of applied engineering to let the spirit and soul of any human-run free from any inhibitions. These are the tools that make all art better.
Uhhhh... Its a ballet dance, not a science project
Madeline Ferrante, Madam, whether you see or experience this action, in an active manner and alive in real dynamic human movements at a theatre or in this video as a lot of orderly electronic sequential digital pulses, please close your eyes and ears and all that remains active, in silence and unseen, is science and engineering. Open your eyes and ears and your own mind changes the science and engineering that always existed without your presence, into what you call emotional ballet dance. It is your own emotional components in your mind that create what you call a ballet dancer but it is all supported by science and engineering, whether you accept it or not, even in your absence.
What you experience when looking at the real thing or the video and also in my writing which you are reading are all engineering and electronic digital pulses produced in a selected combination and permutation and it is your own mind changing it into information that tickles and titillates your fancy and emotions after your human sensors, in the form of eyes and ears send it over to your brain which your formal education drugged your mind to interpret and create related emotions and not its science and engineering contents. Pity, and be careful as all art is a form of drug trafficking and it is only contained in the human mind and not external to it, as what exists outside the human mind, well that is all science and engineering. Please accept the fact that the human brain itself is operated through long years of evolved scientific principles and practical engineering and it is the emotions set up by the memory contained in the mind that sets up the pleasures which many people call art. What functions exist in the universe and in the evolved human brain and body are all explained with science and engineering.
The mind only stores schooled hallucinations of experiences created by permutations of pretty engineering actions which may be explained by theoretical science. Politics, religious matter, philosophy, and art are intangible and only concepts in nature, but their support structure is all science and engineering. I do hope that that fact does not disappoint you too much. Learn to enjoy the engineering in addition to art and you live a fuller enjoyable deeper life
Considering the shape contours, hence accelerations and velocities on the body curves which enhance elegance and grace, those on the legs of Anna Nikulina seem to be more majestic than those of Nina Kaptsova. The raising of the leg in the backward direction, using the back muscles, this action seems to show some difficulties to both Anna Nikulina and Nina Kaptsova. Raising the leg in the front direction using the front muscles does not seem to give any difficulty to both these great ballet dancers. There is a slight difference, but in general, they both do well in what they do well and they do not do so well in those motions where the body structure does not permit the use of numerous radial and circumferential and height positions, accelerations and velocities. This includes the raising of the leg in the backward direction as compared to raising the leg in the forward direction.
The backward action only includes the leg forming a constant radius, forming a circle at the foot end, while the forward action, due to the fact that the knee can be folded, the trajectory of the rising foot is an elegant spiral which contains radial and circumferential and height with their higher order of rate of changes. It is these components that a ballet dancer has to work within what is a hinged structure of her body, were some hinges can only achieve acute angles. Both Anna and Nina have their stronger and weaker points, but the raising of the leg in the back direction using the back muscles seem to need reconsideration relating to the height reached and the velocities and acceleration/deceleration used to attain the height required.
After all this discussion about how science and mathematics and art are linked together, it is time to express my opinion in common language.
From the two videos showing the performance of Nina Kaptsova the video ua-cam.com/video/Wz_f9B4pPtg/v-deo.html and Anna Nikulina ua-cam.com/video/6dnKOjIRgOU/v-deo.html , considering the evidence given by the scientific and mathematical processes as far as the use of the higher rated of changes in shapes, contrasts and dynamic processes and the emotional artistic performance one can come to some conclusion regarding comparisons.
1. The entry procedure shows Nina keeping calm whereby Anna hastened her step a little but restrained it later.
2. At the start 0:08 the hand and foot motion of Nina were rather elegant because of the restraining of the velocity and acceleration factors used, while Anna did hasten the issue a little faster losing grace with both hand and foot motion entering the aggressive area.
3. The action of the head and hands and upper torso of both dancers were almost equivalent and I did not detect any substantial difference that would unbalance the equality in the performances. Both spirits were high and perhaps Nina smiled a little more showing confidence and that she was more calm due to her popularity rather than Anna who knew she had great competition and this is quite understandable.
4. Considering the contours of the whole body lines, it seems that Anna Nikulina provided more elegant and fuller, taller and longer smoother curves which were more continuous through the outline of the whole body, Nina appeared to be lighter in motion, but Anna seems to have more grace due to her taller and smoother body lines.
5. The raising of the legs towards the back direction had some misgivings in both dancers, and while they raised both legs according to which hip was moving forward, in the future both dancers need to operate on that style of the rear raising action on both legs. The forward raising of the leg was brilliant and graceful in both dancers.
6. In the sequence of raising the leg in the forward direction it appears that Nina Kaptsova used only her right leg while Anna Nikulina used both the left and the right leg with equal exactness. The better build of Anna Nikulina did not only include grace and elegance but included awe and was spectacular and impressive. I suspect that Nina Kaptsova was not equally at ease using her left leg as she was using her right one. For this action I would give a few more marks to Anna Nikulina.
Considering all the processes and actions covered, I would rate these two dancers on an equal bases as while Nina Kaptsova seems to be lighter on her feet, Anna Nikulina in her video was more spectacular on her longer legs especially at 1:05 on wards. It is most unfortunate that many people do not like rating people equally, but though I see minute lack of elegance in different space and time in both dancers, they both deserve to win the highest international acclaim.
There are other issues one may expand on, but for this tread perhaps we covered enough areas to set people thinking about the depth of ballet dancing and the related music which includes other issues rather than the ten second glance of emotional substance. One area which is also interesting to include, is the colours selected and how to place colours adjacent to each other to create a desired emotion. In flags, the manner in which colours are placed would create a rate of change of colour as we sweep our eyes horizontally and vertically. One can find the second rate of change of the colours through a second mental sweep of the colours and a mental calculation. It is interesting that one colour area has no rate of change of colour so it is monotonous, while other mixing of colours would create a stronger effect due to the existence of rate of changes of colours at the edges. One can play a nice game with areas coloured with the same colour but changing in intensity. This also applies to the sound in music. It is fascinating to deduce that when the higher order functions of movements, colours, sound have accelerations, velocities and positions and other rate of changes that exist in the function, there are a pleasant emotions ranging from gentleness to aggression. Note that the " circular" and the " spiral" relations, be they scenarios edge lines curves, sound or colours, they had an infinite rate of changes linking the actions and they are functions which should be contained in anything that must be gentle and exciting, elegant and graceful. A person experienced in this relations of curves, sounds, colours could play a nice game with any audience, including politicians who like Churchill and Hitler managed to sway intelligent countries as Britain and Germany with the undulations of their speeches and the uniforms they selected for the occasion. Muammar Gaddafi tried, but he was not a " good ballet dancer" neither with his uniforms nor his speeches
Incidentally writing the accepted symbols of the alphabet and the numerals and differentiating them a couple of times in space assuming that the motion of the pencil is a constant velocity one can deduce the difficulties children find in writing these symbols. What was said about the rate of changes of scenarios, sound, ballet dancing and other dynamics also applies to the written symbols I am writing this comment with. If readers would differentiate what I am writing assuming I am writing all this with a pencil and all the trajectories are covered at constant speed, they would be fascinated at the shapes that emerge id they plot a sheet full of the differentiation of what I wrote. If they do that, well they could have a better idea the higher order functions that are ballet contains in its movements.
u again
Good old days of Balet..
Watch the solo piano transcription of Dance of the Sugar Plum Fairy: ua-cam.com/video/N8BeOiSvIhI/v-deo.html
She looks so tense
Anna Nikulina is not the best at classical choreography. She’s a bit stiff and her movements seem confined. But if you want to see her at her best, watch her dancing Yuri Grigorovich’s original choreography, like Ivan the Terrible or the Legend of Love. It really plays up her assets.
But this variation is done by Grigorovich, it's one of his iconic piece. She is trying so hard and makes me feel pain to watch. Recommend to watch Nina Kapsova ' s version, she is a piece of art.
It is funny how everyone in the comments suddenly turned out to be ballet experts 🤭
everything(including the background) is pretty much the same as nina kaptsova's performance it's just that anna nikulina is a bit too stiff but good job it isn't easy
Her face is kinda strained and she rushed in some parts. Her technique is great but it makes it a bit stressful to look at since she’s showing on her face how hard this dance is.
Perfect technique but she needs more smile.
I wouldn't say "perfect"....
Nina Kaptsova was way better, she's too stiff
Yeah, although this wasn't bad, Nina's performance was more elegant.
my thoughts exactly
Definitely! Nina is the best for this role!
Nina's version of this choreography is the best for me.
Robert Lee, Countertenor I just saw her in an old video as the Black Swan and she had the same problems she had here: too-straight and loose arms, oversplayed fingers, limp wrists, and uncontrolled facial expressions. To have the same problems in two performances (I’ve only seen two though) in separate years...that’s a no-no. She should have already improved as principal. Perhaps it was just nerves, perhaps she was injured here, we don’t know, so that might explain the facial expressions that look more like 😬😟 than a smile. But it really seems like her arms are her biggest problem. Nina’s movements were very well-controlled while Anna’s are flung about and inelegant, esp in 2:15. That part is the most obvious difference between her control and Nina’s. Even before I saw Nina’s I thought Anna was visibly struggling and lacked body awareness. Her elbows were too low and wrists too limp that the turns look inelegant and her movements looked imprecise. She dances great, her legs are beautiful to watch and her jumps are beautiful, it’s her arms that ruin the picture. I can see that she’s doing the choreography, rather than performing. There’s a big difference between those two.
🤍
I think that even though I liked Nina's better, she still did very well and that's all that matters.
we need robot ballet dancers. To do it perfect once so we can stop chasing perfection.
No, watch Nina Kapsova, she isn't a robot, yet she is a perfection, a different level.
@@JW-uq9yt seen it. Its as good as itll get no point trying to beat that one.
@@Andytlp I only rely to your "robot" perfection comment
excuse-me I prefer Nina.She"s perfect.
Это не танец, а мучение
Сам то ты англичан не?
нет
nina kaptsova é a cara dela essa coreografia dessa variação, apesar da anna saber a coreografia, ela errou bastante nao nitido, mas nao querendo dizer que era pra ser igual, mas sla, nao e legal tentar fazer algo que é a cara de outra pessoa, se fosse pelo menos outra coreografia..
Weren't fluid arms supposed to be a trademark of Russian ballerinas? Hers look like a pair of chopsticks, so stiff.
It's a sugar fairy so her moves are meant to be sugar-like and 'stiff'... Her impersonation and dance were FLAWLESS...
That was good but The was not the entire production
Other people were on the stage and it was not all about her.
Hands are waaaay too stiff. The other Russian ballerina was better.
Pyotr lliyav tchicanova is did really well
... the other Russian ballerina was awarded status of Prima Ballerina back in 2012, and she deserves it
Palmtree Media exactly！nina is the best！
Isn’t this like the one Nina Kapstova did?
Да. Капцовой в подметки не годится
Stiff~
She's good, won't say she's not cuz that would be a lie... but when Nina did it...ugh, there's just no comparison.
Didn't know I watched this two month ago...and still feel the same
Completely another level
Ой, как плохо(((((
The choreography has nothing to do with the music
She's too stiff...but good job...it ain't easy 👏😏😂😭
Horrendous. After Vorontsova, Kaptsova , Maksimova and others, it pains to watch it. It is not Bolshoi level.
Agreed. Horriblely nervous to watch 😂, since when Bolshoi has fallen to this level????
I have rewatched this video after 2 year interval. Well, I must admit I was too hard on her. The problem is she seems to be very tensed snd nervous and it is quite conspicuous. This nervousness spoils her good techniques.
In general, not bad at all. I wish I had not been that hard on her.
Если честно, первый раз вижу такое никакое исполнение. Разочарование ((
Nina Kaptsova wannabee pft Nina is way better wow her toes bended so much i almost feel bad and shes giving away the pain by not smiling? 😂
That's basically how ballerinas always feel. They feel pain and hide it with a smile just to achieve their dreams of dancing art. And you think you're so 'cool' laughing about that? FYI, she's not a Nina wannabe. Nina didn't choreograph the song. And bended toes for pointe means you've really achieved alot in ballet. You could've just appreciated her dance, eh? i bet you can't even dance gracefully as she does.
4.41 seriously??? No one would pass an exame with what she did. Bend knee, stretch knee and pointes, this is a no no in ballett.
It's a stylized step. It's a little hop onto pointe. If you watch other ballerinas perform this version of Sugar Plum, you'll see that they all do the same thing. It's not "correct" technique, but I think it's meant to create the illusion of the dancer being very lightweight, like a fairy. Also, the little hop that results from her popping up onto her shoes like that fits right in tempo with the music.
@@jessahartley4714 I don't she was talking about the turning in the middle after the fortue, she did bend her knee during the move, it's not supposed to be like that.
Out of sync!
Omg, wtf was that??? Out of tempo, and awful position of pointes. Need to loose some weight too. Omg, Nina Kaptsova Rules
First of all, she doesn't need to lose weight. Her body is beautiful. If she lost anymore she would be unhealthy. Second, you really shouldn't criticize her performance. Let me remind you this solo combines the most challenging ballet steps: Italian fouettes, pirouettes, and hops en pointe-- and puts them right in the middle of the variation. When she gets to the diagonal section with the pirouettes, she is absolutely exhausted. On top of that, she has a crazy fast menege at the end of a two and a half minute solo. Everyone I've shown this variation to has said "That is literally the most difficult Sugar Plum solo I've ever seen-- almost excessively so." She trained for months and worked harder than she ever worked for this-- why do you feel the need to demean this beautiful, talented dancer?
Don’t criticize her for her wait her body is beautiful….why are we body shaming dancers I seriously don’t get it…we need muscle to dance it’s a thing
@@gracefelling3837 I got the wrong video 🙄 I wrote a comment on another video and somewhow it showed here, so forget this comment 😕
Not as great as nina kaptsova's