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  1. I believe that the last time the Bolshoi performed La Bayadere in London was in August 2013? Since then attitudes towards this issue in the performing arts in many Western countries have surely changed (see for example only "non-traditional casting https://en.wikipedia.org/wiki/Color-blind_casting)? I simply observe that it was - for me - now in 2018 disconcerting to see the children in blackface. Would an English company use it without some reflection on whether it is appropriate in today's culture, I wonder?
  2. The US site Balletalert has a long thread about this issue, and refers to it as “black!face” I saw the Bolshoi perform La Bayadere at La Scala just over a week ago, and indeed the child performers appeared in “black face”. To say that it was disconcerting - at least for me - would be an understatement. But it did not seem to provoke any discomfort in the wider audience - or none that was noticeable. However, I cannot see that the company will be able to replicate this in their London performances - unless they wish to court serious controversy to the detriment of their performances.
  3. Bruce - I am assuming she will be invited to dance in Jewels.. scheduled for later this year.
  4. Bruce - I should have acknowledged the elegantly malign Carabosse - quite agree with you! Also, the company applauded the two leads at the curtain call - a very nice and telling touch, I think.
  5. Another visit to this production last night to see Alexandrova and Joseph Caley, substituting for Robison at apparently very short notice. After Cojucaru's tour de force on Friday I was unsure how I would feel about seeing a very different ballerina as Aurora, and one who - as my companion observed - probably did not look 16 when she actually was 16. However, I was very pleasantly surprised by Alexandrova's performance: she maximised all her considerable charm and stage presence to draw us in to her Aurora. Technically she was secure (of course) and - huge sight of relief - the supported pirouettes and fish dives were a complete success, for which Caley deserves huge credit as well. They gave a very good account of the final pdd. I think Caley is overall a pleasing dancer with a warm stage presence. He was too short for Alexandrova, but it worked out. I think this is a beautiful production: the costumes, scenery and lighting are in complete harmony. And finally I have to say that especially last night the company danced very well as a whole, clearly well prepared by their numerous coaches (!), with some very fine individual performances. If anyone is unsure about going, I would say it will be a very worthwhile outing given the overall good form of the company and the many qualities of the production and the orchestral performance (also very fine).
  6. BeauxArts

    Anyone else here a tennis fan?

    Congratulations to the unique Rafael Nadal on his unique and amazing achievement (not at all boring to me!) - 11 times champion of Roland Garros.
  7. BeauxArts

    Maria Bueno. R.I.P

    I am not sure that they did commemorate Maria Bueno, but I read that there was a special event today at RG to commemorate Jana Novotna, another elegant lady.
  8. I saw Cojucaru and Caley last night; Cojucaru's mastery of this role is extraordinary, as others have said. She was absolutely enchanting - radiating youth, beauty, joy and sweetness. Her total command of the choreography was remarkable. I felt privileged to see her. I also enjoyed Caley's warm stage presence and his commitment to the part. There were, however, some anxiety-provoking moments with the supported pirouettes: in the Rose Adagio the English Prince nearly let Alina fall down but somehow righted her, and there were a couple of tricky moments for Caley as well. in the grand pas.. I think some of the men may need some emergency additional coaching on this aspect!
  9. This is interesting, Bruce, as I think Jan M posted information a few days ago about Julio Bocca coaching on this production..looks like that has been a fruitful engagement! Am going to see this on Friday (Cojucaru) and next week (Alexandrova) and you have whetted my appetite for SB indeed!
  10. Alison - do you mean from an age-perspective? If so, Lantratov (29) dances the role of Onegin - and has been since around 2014 I think; Shklyarov (33) also made his debut this year. But Muntagirov certainly has time for this role.. and I would be very interested to see him in it, although he may not quite have at the moment the dramatic forces that these two can generate.
  11. This has been puzzling me too: shortly after his entrance the Prince salutes him - why? He is not in military uniform; there is a formal deference towards Rothbart which does not make sense, in my opinion.
  12. The Nureyev version is my favourite. The Georgiadis designs are splendid. I see the the Munich Staatsballet start their run of the Ray Barra version of Raymonda on Friday, 1 June. I am not familiar with that production. The decision of Fateyev (presumably) to cast Parish in the broadcast version was not that popular locally it seems, judging by comments from Russian ballet fans.. No issue taken With Tereshkina, although the best Raymonda is probably Novikova who continues to be given lead roles sparingly, much to the chagrin of her many admirers.
  13. I had the impression that Osipova had "adapted" some of the middle section of the preceding solo - I am wondering if this is a preventative/protective measure on her part. However, in all other aspects she was - as ever - technically assured. I do not think it is possible to compare her pique turns with the Copeland debacle... Osipova's were fast and on the music and she was in full control. As with Alison and Myddle above, I am really not engaged by this production. I am afraid that I really do not find the Scarlett additions enhance the drama. My reaction to quite a lot of it is that there is a lot of pastiche, and I do agree with Mark Monahan that a dramaturg would have helped. Swan Lake is an unforgiving ballet in terms of classical technique and exposes dancers like no other work. Whereas the RB was able to present a line-up of excellent casts in depth in Manon, the same cannot be said I feel about Swan Lake. I think that it has happened at the wrong time in the season, when the corps may be fatigued. I have been very underwhelmed by the two Princes I have seen -Bonelli and Ball: partly not their fault as although Scarlett gives the Prince more stage time, he does not actually give him anything to do, so for me it is a rather vapid role. I think Ball looks the part but - and perhaps nerves got the better of him - in the Black Act he did not, for me, deliver technically. I have found the Act 2 Odiles of Takada and Osipova the best part of the two performances I have seen. The designs are handsome but do not really mitigate the other issues that exist for me with this production. I have, however, been really impressed by James Hay as Benno: a true classicist. He deserves a Solor, in my opinion.
  14. Alison The Arte site says it will be available until 27.11.2018- should give you enough time to get home and watch it!