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I'm currently sitting in the train coming back home from my first ballet evening this season, the duo performance of Balanchine's " Scotch symphony" and Bournonville's "La sylphide". Maybe I've just been missing the theater, but I liked tonight's performance a lot. It was the first time I saw " Scotch symphony", actually it had its premiere in Denmark only now in September. It's a relatively small piece created to the music of Mendelssohn-Bartholdy after Balanchine's visit to Edinburgh in 1952. The ballet starts with the corps de ballet (men dressed in traditional scottish clothes and ladies in beautiful white dresses) dancing something that resembled folk dances with a slight military touch (maybe to remind us about Edinburgh tattoos). Here we could see the female soloist Eukene Saques, and she was excellent, dancing joyfully and skillfully with a great musicality (a short videoclip can be found in her instagram, eukene8). She was assisted by two dancers, Afonso Coelho and Philip Duclos, both very good. Then a main female sylph-like soloist, appeared (RDB's principal Emma Riis-Kofoed), along with the partner (Sebastian Pico Haynes). Who was she? Was it a mist from the scottish loch, a mystical creature or maybe an artistic image of scottish woman? They say, this ballet doesn't have any content, that is, one should just watch it and admire the beautiful dance but I couldn't help wondering, who is this guy following the beautiful girl? He also weared the scottish clothes though in different colours. Maybe it was somebody from the highlands trying to get the mystical girl from the lowlands? The scotsmen surrounding the sylph were reluctant to let him have her - to begin with. But the love won over. Both Emma and Sebastian danced extremely well and looked fine with each other. The music, dance pattern and interpretation were superb! Then came " La sylphide" well known to many ballet fans. The main role was danced by the principal Wilma Giglio, James was danced by the principal Jon Axel Fransson, Gurn by Lazaro Corrales, Effy by Victoria Bell and Madge by Esther Lee Wilkinson. The main duo was dancing beautifully, especially Jon Axel Fransson, but Wilma Giglio didn't impress me much though I can't explain why exactly. I think it was more about her artistic abilities but probably I just remember Ida Praetorius in this role much too well. I liked Gurn (Lazaro Corrales) a lot - he's not tall, so Victoria Bell suited him finely, but he created a very good image of the man who knows what does he want (unlikely James) and how to get it. Madge was great, very convincing and mean. Wonderful evening and I'm looking forward to many other performances this season!

Powerhouse Ballet will contribute to Dance Studio Leeds's "Celebration of Dance" on 25 Nov at the Chroma Q Theatre in Leeds with a scene from "La Sylphide" directed by Jane Tucker of Northern Ballet Academy. We would love to welcome as many of our members, friends and well-wishers from around the country to our show but they must order their tickets soon. Last year tickets sold out faster than a home match against United at the Etihad Stadium. Here is the link for the matinee performance: https://bookwhen.com/thedancestu.../e/ev-sfcr-20231125150000 And here is the link to the evening show https://bookwhen.com/thedancestu.../e/ev-sf07-20231125190000 We shall also contribute the same piece to York St John University's show on 10 Dec,

The big premiere of Hubbe’s newest (3rd?) La Sylphide will be this Saturday! Has precise casting been announced? (The website indicates dancers of three potential casts.) Is a telecast or streaming being planned? Thanks for any & all insights.

I really enjoyed this last night. From the one previous time I've seen it (on DVD) I'm not a huge fan of Nureyev's choreography. But thought the performances here were great. I was completely gripped by act 3 in particular - Cojocaru was incredible. But also something about the whole atmosphere made it feel even more intense than usual. This was another filmed version very clearly not meant for public viewing, with bits of the action apparently only available from what seemed to be some kind of security camera. Another angle showed the full orchestra playing while the dancing and the action unfolded in front of them. For me at least, this unexpectedly added an intimacy not usually present when watching filmed ballets. Perhaps more of a sense of being there. Another video I feel lucky to have been able to watch. https://m.youtube.com/watch?v=DvZS5LJQwqo

It was good to see the Bolshoi's La Sylphide- a ballet I haven't seen for years, with the most beautiful woodland set from Peter Farmer. We were told that Johann Kobborg was watching this, his production, from a cinema in London. Worth it anyway for Semyon Chudin with his lovely line, impeccable feet and that lopsided smile. Does anyone know what went wrong in the interviews? Anna Balukova (Madge) was being interviewed by Katie Novikova , but with her eyes constantly in the wings and a growing sense of unease, and then she cut the question short rather brusquely, it seemed, and dashed off. A bit disconcerting.

Does anyone have any thoughts on either of the double bills? Did anyone see it in Manchester or Milton Keynes? Is anyone planning to see it in London? I'm contemplating going, but not sure which one. I'd love to hear anyone's thoughts!

Has anyone seen this programme yet?

Following today's announcement that English National Ballet will be performing La Sylphide next season, and combining it with either Song of the Earth or Le Jeune Homme et La Mort (http://www.balletcoforum.com/index.php?/topic/14828-press-release-english-national-ballet-announces-its-2017-2018-autumnwinter-season/#entry204503), what else have you seen it combined with in the past? I can recall: The Lesson / Dances from Napoli (Royal Ballet) Troy Game (Scottish Ballet) I don't think London Festival Ballet performed it along with anything else when they did it in the 80s, did they? Actually, my mind's gone blank at this point. I'm sure I've seen it with something else. Suggestions as to what you think would make a good pairing would also be welcome ...

English National Ballet Song of the Earth & La Sylphide Romeo & Juliet / Akram Khan’s Giselle / Nutcracker National Tour Wednesday 11 October – Saturday 2 December 2017 Performance times and ticket prices vary www.ballet.org.uk Continuing its commitment to taking world-class ballet to audiences across the country, this autumn English National Ballet presents five productions on its national tour. Two works new to English National Ballet’s repertoire, Sir Kenneth MacMillan’s masterwork, Song of the Earth and August Bournonville’s La Sylphide recreated by Frank Andersen and Eva Kloborg, will be performed at the Manchester Palace Theatre (11-14 October) and Milton Keynes Theatre (17 – 21 October). First performed in 1965, MacMillan’s choreography for Song of the Earth was different from anything he had previously devised. Featuring three central figures, a Woman, a Man, and a Messenger, this powerful, moving exploration of life, death, and renewal is set to Mahler’s song cycle, Das Lied von der Erde, performed live by English National Ballet Philharmonic. These performances of Song of the Earth coincide with the 25th anniversary of MacMillan’s death. Devised by one of the world´s leading producers of Bournonville ballets, Frank Andersen and Eva Kloborg’s faithful version of the 1830s Romantic ballet La Sylphide sees James wake from a dream on the morning of his wedding to Effy to encounter a mysterious sylphide before him, setting off a fateful sequence of events. Song of the Earth and La Sylphide will also be performed at the London Coliseum in January 2018. Winner of the South Bank Sky Arts Award for Dance, Akram Khan’s Giselle comes to Liverpool for the first time, with performances at the Liverpool Empire Theatre (25-28 October). Hailed as “a masterpiece of 21st century dance” (Mail on Sunday), Khan’s Giselle is one of a community of migrant workers cast out of their jobs in a condemned garment factory. Last season over 40,000 people saw Akram Khan’s reimagined Giselle performed on tour. The world’s greatest love story, Rudolf Nureyev’s Romeo & Juliet returns this autumn with performances at the Bristol Hippodrome (21-25 November). Featuring inventive and passionate choreography, and set to Prokofiev’s famous score, performed live by the English National Ballet Philharmonic, these performances mark the 40th anniversary of the production, which was originally created for English National Ballet in 1977 to celebrate the Queen’s Silver Jubilee. English National Ballet had its most successful Nutcracker run on record last season, when over 100,000 people came to see the production on tour or at the London Coliseum. This year sees Wayne Eagling’s Nutcracker tour to the Mayflower Theatre Southampton (29 November – 2 December) before returning to the London Coliseum, continuing the Company’s tradition of presenting a Nutcracker production each year since 1950. Listings information: Song of the Earth / La Sylphide Manchester Palace Theatre Wednesday 11 October - Saturday14 October 2017 Press night: Wednesday 11 October 2017 For more information, see: www.ballet.org.uk/song-sylphide Song of the Earth / La Sylphide Milton Keynes Theatre Tuesday 17 October - Saturday 21 October 2017 Press night: Tuesday 17 October 2017 For more information, see: www.ballet.org.uk/song-sylphide Akram Khan’s Giselle Liverpool Empire Theatre Wednesday 25 October - Saturday 28 October 2017 Press night: Wednesday 25 October 2017 For more information, see: http://giselle.ballet.org.uk Romeo & Juliet Bristol Hippodrome Tuesday 21 November - Saturday 25th November 2017 Press night: Tuesday 21 November For more information, see: www.ballet.org.uk/romeoandjuliet Nutcracker Mayflower Theatre, Southampton Wednesday 29 November - Saturday 2 December 2017 Press night: Wednesday 29 November 2017 For more information, see: www.ballet.org.uk/nutcracker Booking fees may apply. About English National Ballet English National Ballet has a long and distinguished history. Founded in 1950 as London Festival Ballet by the great English Dancers Alicia Markova and Anton Dolin, it has played a major role in the growth and history of ballet in the UK. Today, English National Ballet is renowned for taking world-class ballet to the widest possible audience through its national and international tour programme, offsite performances at festivals including Glastonbury and Latitude, its distinguished orchestra English National Ballet Philharmonic, and being a UK leader in creative learning and engagement practice and delivery, building innovative partnerships to deliver flagship programmes such as English National Ballet’s Dance for Parkinson’s. Under the artistic directorship of Tamara Rojo, English National Ballet has gained new acclaim as it introduces innovative new works to the Company’s repertoire while continuing to honour and reinvigorate traditional ballet.

Hi all. I managed to snag a last minute ticket to the RDB performance of La Sylphide/Etudes next Friday as part of my also last minute spur-of-the-moment trip to Copenhagen! So I thought I'd start a thread in case (1) anyone else is going and fancies saying hello or (2) anyone has any insider tips of things to do in Copenhagen (or, for that matter, Malmö)! I've never seen RDB before, but I notice the website mentions they have some dancers from England. I can't spot them on the website though. Anyone know who they are? Is there anything else worth knowing about RDB or this production beforehand? I am very excited.

Hi there, I am looking to take someone to see La Sylphide but can't seem to find where or when its showing. We live in London but can travel to Europe if its playing close by. Can anyone direct me in the right way please? Thanks, E

Read it and weep. http://www.gramilano.com/2014/09/royal-danish-ballet-break-tradition-homoerotic-la-sylphide/

Did anyone else see this at the cinema this afternoon? (or live, for that matter ). I was surprised to see how different a "feel" it had from the Royal Ballet version, which is presumably pretty much identical, which was performed a few months ago: it struck me as being rather less Romantic and less obviously Bournonville in style - or was I just not picking it up so much from the figures on a 20-foot (or whatever) screen?