{"id":518,"date":"2008-04-02T13:29:24","date_gmt":"2008-04-02T20:29:24","guid":{"rendered":"http:\/\/www.artsjournal.com\/foot\/wp\/2008\/04\/olesia_novikova_check_her_out\/"},"modified":"2008-04-02T13:29:24","modified_gmt":"2008-04-02T20:29:24","slug":"olesia_novikova_check_her_out","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/foot\/2008\/04\/olesia_novikova_check_her_out.html","title":{"rendered":"Olesia Novikova: check her out"},"content":{"rendered":"<p><span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"><img loading=\"lazy\" decoding=\"async\" alt=\"novikova-kitri-DQ.jpg\" src=\"http:\/\/www.artsjournal.com\/foot\/novikova-kitri-DQ.jpg\" width=\"500\" height=\"363\" class=\"mt-image-none\" style=\"\" \/><\/span><br \/>\n&#8230;in the Kirov&#8217;s three-week season at City Center. As top shade in &#8220;La Bayadere&#8221; last night (led by doll-like Alina Somova), she moved with the wind at her back, like a prisoner of Dante&#8217;s Inferno, the weight of memory and hope flying away from her. Until she appeared, most everything had been so studied.<br \/>\nTonight, she leads in a tidbit from &#8220;Raymonda&#8221; (what&#8217;s with these tidbits? Would have much preferred one long ballet). Later in the season, she dances Nikiya in the &#8220;Bayadere&#8221; 3rd Act, the lead in &#8220;Rubies&#8221; and a pas de deux from &#8220;Diana and Acteon,&#8221; and some Forsythe.<br \/>\nThis is the first I&#8217;ve seen of Novikova, so I don&#8217;t really know how she&#8217;ll do in other parts, but am excited to find out.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8230;in the Kirov&#8217;s three-week season at City Center. As top shade in &#8220;La Bayadere&#8221; last night (led by doll-like Alina Somova), she moved with the wind at her back, like a prisoner of Dante&#8217;s Inferno, the weight of memory and hope flying away from her. Until she appeared, most everything had been so studied. Tonight, [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-518","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/posts\/518","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/comments?post=518"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/posts\/518\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/media?parent=518"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/categories?post=518"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/tags?post=518"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}