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  1. Austrian and French newspapers report that Manuel Legris will not renew his contract for Vienna Opera Ballet, so he won't stay after the year 2020. Comment in English here A new ballet director for the company at the Austrian city of Graz: Beate Vollack, now director at the small company at St. Gallen, Switzerland, and a former dancer with Bavarian State Ballet, will join director Jörg Weinöhl, who leaves after three years.
  2. Just to clear this up once again: all three Cranko story ballets - Onegin, Romeo and Taming - were recorded for German Television in den 1970s, all with Marcia Haydée. There were reruns in German television until the 1990s, but no videos or DVDs of these recordings were published. If you find DVDs of them, these are TV recordings made from video cassettes, but not officially released DVDs. I can't remember reruns of the ballets in a time where DVD recorders were available. It's not that German television did not want to show them, the Cranko Estate did not allow it.
  3. I don't think the Royal Ballet could film a Balanchine or Robbins ballet without a special contract (why is there no recording at all of Dances at a Gathering???). Every trust or estate of a dead choreographer (or composer or author) owns the rights to filming or further adaptations of the works of the artist. You make contracts for a certain amount of performances of a work, you are allowed to film it for rehearsal purposes and for a three or four minute trailer, but not to publish a DVD.
  4. Vladimir Malakhov was a wonderful Lensky, deeply moving, with all that Russian poetry and melancholy AND the high arabesques. And Vogel, of course. Evelyn Hart and Oliver Matz were a great couple as Tatiana and Onegin, they danced in Munich a lot. Here's my list of Onegins that never did the role: Zelensky, Mukhamedov, Malakhov. Vladimir Vasiliev.
  5. Stuttgart Ballet has done Onegin more than 600 times, they should know how to dance it - the roles and portraits were passed on from the original cast, Marcia Haydée still comes here often to work with the dancers on her former roles. Everybody who learns Onegin has seen it at least 20, 30 times before, dancing in the corps or watching from the wings. They saw the great performances of their predecessors, saw different interpretations and learned from ballet masters who know everything about the steps and their motivation. Vogel was superb, Badenes was superb, I'll keep my opinion about Amatriain to myself, but there are lots of people who admire her in the role. Alas, you're right, there were some (few) better performances at Stuttgart in the past - Sue Jin Kang and Jiri Jelinek for example, but compared to many other companies I saw, Stuttgart still has so many small details you don't see anywhere else. I never was a fan ob Kobborg's Onegin, by the way - Adam Cooper couldn't dance it technically, but he blew me away, I saw things like never before and never again. Wow, he was great.
  6. There are some excerpts on Youtube, please go there and look for: Onegin. Few fragments SMIRNOVA & LANTRATOV—Onegin, Final Pas de Deux Cranko's Onegin - final scene with Diana Vishneva as Tatiana, Marcelo Gomes as Onegin Onegin, Alessandra Ferri and Julio Bocca "Онегин" Большой Театр 26.11.2016 Vishneva as Tatyana 1976 Onegin (Konstanze Vernon and Yuri Vamos) Eugenio Oneguin | Pas de deux del espejo
  7. Onegin was filmed three weeks ago at Stuttgart, with the following cast: Tatiana - Alicia Amatriain, Onegin - Friedemann Vogel, Olga - Elisa Badenes, Lensky - David Moore, Gremin - Jason Reilly, Nurse - Marcia Haydée. No idea when the DVD will be published, but it should not take too long, I suppose. There are two existing official recordings of the whole ballet, the first was made in 1976 at Stuttgart with Haydée, Heinz Clauss, Joyce Cuoco, Egon Madsen and Jan Stripling for German television. Another one was filmed in 1986 at NBoC with Sabina Allemann, Frank Augustyn, Cynthia Lucas, Jeremy Ransom and Serge Lavoie. Then we have the two pas de deux filmed for the TV series "Ballerina" with Makarova and Reid Anderson in 1984. Alina Cojocaru and Filip Barankiewicz danced a pdd at the World Ballet Festival 2006, but I don't know if this recording is officially available.
  8. Here's an interview with Matthew Golding where he talks about leaving the Royal Ballet: https://www.attitude-devant.com/blog/2017/10/30/space-reserved-for-interview-matt-golding
  9. Here's a review of the Munich Shrew with pictures: https://www.ilona-landgraf.com/2017/10/a-patchy-beginning/
  10. Maybe the problem is that instead of a small name in the second line on a movie poster, Polunin with his talent and his gifts might have been the one ballet world star of his generation, if he had worked earnestly on roles, on style, on thoroughly building a dancing career over decades, or if he had worked with certain choreographers he likes. Surely it is nice to have a role in a Hollywood movie, good for him, but at the moment nobody believes Polunin will become a second Laurence Olivier or even a second Johnny Depp - whereas with his body, with his abilities he might have been a ballet star in the league of the great. We think that someone with his gifts should love ballet as much as we all do - but alas, he doesn't.
  11. I just learned that Stuttgart principal Jason Reilly will be part of the Project Polunin at the Coliseum in December. There may be a tattoo connection...
  12. For his Sleeping Beauty at Stuttgart, Jürgen Rose bought lots of silk saris in India, so each costume in the third act was made of one or more saris. For a new costume, you would have to use a similar, but slightly different sari. He is very fussy about fabrics and their colours which makes him one of the most expensive, but most sought-after designers here in Germany. If you consider the fabric choices of someone like Jerôme Kaplan who used polyester prints (at least it looked like that) for Ratmansky's Paquita reconstruction at Munich, I'm on Rose's side for every single Euro he spends...
  13. Onegin has different sets by Santo Loquasto, used by ABT and NBoC, Berlin State Ballet uses designs by Elizabeth Dalton (with Lensky in a lilac suit, I can't get over it...), and there's another new design by Pier Luigi Samaritani which I think they use at La Scala. Thomas Mika designed it for Universal Ballet at Seoul and for the Estonian Ballet.
  14. The Bolshoi got the original Jürgen Rose designs in 2013, I don't think there is a problem with the fabrics. I thought that problem concerned the Lady of the Camellias, where Rose changed the colours of some dresses for the Paris production. Neumeier does not allow to show his ballet without Rose's designs, whereas the Cranko estate allows to produce all three Cranko story-ballets in different designs.
  15. Rumors say that Mayerling will get new designs for a Stuttgart production in 2018 by Jürgen Rose, designer of Cranko's Onegin and Neumeier's Lady of the Camellias. That one Jürgen Rose whose Onegin and Romeo designs get replaced now and then because they are too expensive for some companies, so this should be rather beautiful and lavish.