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Found 35 results

  1. 'La Bayadère meets La Fille Mal Gardée' With Maria Alexandrova and Vladislav Lantratov, Principal Artists of the Bolshoi Ballet and Students of London Russian Ballet School 7.30pm 26th April 2019, Cadogan Hall Book Tickets Maria Alexandrova and Vladislav Lantratov in Raymonda for 'Romantic Revolution', London Palladium, September 2017 An evening of Classical Ballet with Contemporary Asides LRBS Young Lambeth Performers will perform on stage with the Bolshoi Artists. Over 130 children from Lambeth will attend the performance for free. Join us and the Principal Artists of the Bolshoi Ballet in an evening of La Bayadére, La Fille mal Gardée and contemporary asides.
  2. Not sure if this is the right place to post this news, in which case a moderator will move it, but I don't think anyone has listed the Bolshoi Live ballets to be seen next season. They will be: 2019 Raymonda, 27 October Corsaire, 17 November Nutcracker, 15 December 2020 Giselle, 26 January Swan Lake, 23 January Romeo and Juliet, 29 March Jewels, 19 April Apologies if someone has already posted.
  3. 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.
  4. Paris Opera Ballet: Thanks, Bruce! I'm not sure what the geographic spread of these outside France is, but thought we should record it anyway.
  5. The casting for the Bolshoi’s summer season at the ROH is now posted on the ROH website. Some unexpected pleasures, and a few (not unexpected) disappointments.
  6. Bolshoi Ballet has announced their 2018/2019 season. https://www.bolshoi.ru/upload/medialibrary/725/72599b4c8a3b4ea2d93a70ad6cdb64bf.pdf Their tours, La Scala in Milan, Riga Latvia, Brisbane Australia and London. London tour is 25 JULY – 17 AUGUST 2019 Royal Opera House and repertoire is TBA.
  7. The London Russian Ballet School is accepting applications for auditions for the vocational ballet course. Full-time training in the Professional Russian Ballet Method with outstanding teachers from the Bolshoi and Mariinsky theatres, plus a first class academic education. Applications are open for auditions for entry onto our full-time vocational ballet course with academic education. Auditions begin at the beginning of February 2019 and will continue throughout the month. Thereafter auditions may be arranged by request with the school. To apply, please visit: http://www.londonrussianballetschool.com/applications-auditions/ Send completed form to auditions@lr-bs.com or call 02074980498 for more info. LRBS is delighted to be able to offer 2 full scholarships for boys for our full-time vocational programme in 2018. These scholarships include world-class training in the Professional Russian Ballet Method for male technique, pas de deux, character and contemporary as well as top-level academic education (A Levels or GCSEs). For more information on the course please turn to the relevant section of the website and if you wish to apply, please see the information below or call the school.
  8. Start the Week, Radio 4, 21:30, Mon 12th December, about the Bolshoi, 'collision between art and politics'.
  9. We don't appear to have an overarching thread for next season's cinema ballet broadcasts, so here it is! Details of the Bolshoi season are here: Do we have the Royal Ballet details anywhere yet? I can't find them.
  10. The Bolshoi's season of live cinema transmissions started today with Le Corsaire. Please use this thread to discuss the performances. I have to say, I thought the production looked stunning on screen, and that the dancers were generally framed pretty well - no parts of bodies escaping the frame during the dancing. I was a little surprised to find two dancers being interviewed about the roles of Conrad and Medora and then two completely different dancers performing the roles, though! Oh, and I still covet those beautiful white tutus from the Jardin Anime scene, even more so having seen them up close
  11. At the screening of The Flames of Paris today the cinema screenings for next season were shown. November 11, 2018 LA SYLPHIDE December 2, 2018 DON QUIXOTE (repeat) December 23, 2018 THE NUTCRACKER January 20, 2019 LA BAYADERE March 10, 2019 THE SLEEPING BEAUTY (repeat) April 7, 2019 THE GOLDEN AGE May 19, 2019 CARMEN SUITE PETRUSHKA
  12. It has become clear via Twitter that a new Director for the Bolshoi Ballet from March 2016 was announced this morning - Makhar Vaziev, previously Director at the Mariinsky, and currently Director at La Scala ballet, Milan. (I make no claim to have the Bolshoi saga of the past two years at my fingertips but, as I recall, he will have fewer powers within the Theatre than his predecessors.) With luck, Ismene Brown will have an English translation of what has occurred in time for tomorrow's Links.
  13. Absolutely sensational cast for Nureyev http://www.bolshoi.ru/en/performances/1025/roles/#all Looks like the most ambitious ballet since Petipa's Sleeping Beauty.
  14. Dancers joining the Bolshoi Ballet corps this season are: Alyona Kovaleva, Olga Ladina, Alyona Ledyakh, Anastasia Strakhova, Elizaveta Khokhlova, Ilya Vladimirov, Artem Kalistratov, Andreï Koshkin, Modeste Skorodumov, Jacapo Tissi (ex-La Scala) and Kamil Yangurazov (ex Mariinsky & Stanmus). The last is married to Yulia Stepanova who seems to be the only dancer promoted thus far. (Bolshoi often announces promotions in waves rather than all at once.) In case anyone hasn't heard, Stepanova was moved up from soloist, past first soloist and leading soloist, to principal dancer. Pretty much unheard of from what I can tell. Hopefully Vaziev is only waiting for an opportune moment to promote Anna Tikhomerova, Slava Lopatin and maybe even Igor Tvirsko, to mollify those who feel that Bolshoi style is at risk with the spectacular promotion of yet another Vaganova grad (Smirnova, Obraztsova and Zakharova being the other 3). I have my fingers crossed that nobody is considering the broken glass in the pointe shoes revenge strategy described by Mary Allash in Bolshoi Babylon -- there are bound to be a lot of dancers unhappy with Stepanova's elevation after only one year with the company. Yet, that is Vaziev's style (remember Alina Somova's meteoric rise under Vaziev's guidance at Mariinsky) so they probably should just get used to it. Speaking of revenge, no sign of Dmitrichenko yet. It's hard to tell which dancers have left. The website is in flux and sometimes the English and Russian content offers quite a bit. For example Merkuriev no longer appears on the company list in either language, but his Russian bio can be found and he is still listed in the Don Q cast. Hopefully this will be straightened out soon.
  15. Does anyone have any idea when the Bolshoi or the Mariinsky Ballet companies issue their programmes for the later half of the year? My dd is lucky enough to be going to both Moscow and St Petersburg in October and would love to go to the ballet, but when I have looked online it just says to be advised later in the year. Because she is going with college we will need to request that she be allowed to go in advance and I don't want to find out too late and her miss the opportunity. If I had some idea I could talk to college staff and at least broach the subject. Can anyone help?
  16. Paris Opera Ballet and The Bolshoi are to collaborate with New York City Ballet in 5 performances next summer, 20-23 July 2017, to celebrate 50 years of Balanchine's trilogy Jewels. POB will dance Emeralds, NYCB Rubies and the Bolshoi Diamonds. Later in the run NYCB and the Bolshoi will swap. Each company will use it's own costumes, so Lacroix for POB, Karinska for NYCB and Zaitseva for The Bolshoi. Should be a fantastic treat to see this!! http://www.nytimes.com/2016/11/30/arts/dance/celebrating-balanchines-jewels-with-an-international-flair.html?smid=tw-nytimesarts&smtyp=cur
  17. If anyone went to see The Golden Age today and wants to discuss, please use this thread. Thanks.
  18. The line up for the Bolshoi cinema broadcasts is as follows 2016 16 October - The Golden Age 6 November - Bright Stream 18 December - Nutcracker 2017 22 January - Sleeping Beauty 5 February - Swan Lake 19 March - Contemporary Evening (Hans Van Manen (Frank Bridge Variation); Sol León & Paul Lightfoot (Short Time Together); Alexei Ratmansky (Russian Seasons)) 9 April - A Hero of Our Time Furtehr info http://www.pathelive.com/programme/the-bolshoi-ballet#programme
  19. I didn't realise that we hadn't got an overarching thread for next season's cinema broadcasts, so I'll start this one off with a quote from Duck's posts in the thread on next year's French season:
  20. Since I'm sure quite a few people on this forum will have been to tonight's performance already, could someone give me an idea of running time, please? (Plus of course discuss the production if you like )
  21. Well, the Bolshoi's 2016 season started tonight at the Royal Opera House with their new production of Don Quixote. For those who were there, please report back!
  22. Hi Just returned from the opening night of Swan Lake with Olga Smirnova and Denis Rudkin. It was a different experience to the last Swan Lake I saw with the Bolshoi a few years ago but still enjoyable. Smirnova was so elegant and the Corps were amazing. I was in Row M of the Orchestra Stalls and the experience was different to being in the first rows as I normally am. Lots of curtain calls for Denis and Olga. Did anyone else from here go? What did you think? p.s. The smoked salmon sandwiches were nice but not worth 11 quid! p.p.s. The Black Swan Champagne cocktail was definitely worth it!
  23. What a glorious night at the ROH, I didn't want it to end. Lantratov's performance was once again a revelation. He seems to pack a veritable armoire of personas he can just pick and choose at will. He transformed himself from the 'tenderness and gentleness' displayed in Monday night's Swan Lake to the 'Polunin-esque' cad required of him in this role. He exuded passion with every move, and proceeded to tame the fiery dragon that was Krysanova tonight - no mean feat. Ekaterina stormed on stage like a tornado, creating mayhem along her path. The sweat visible on her striated back, demonstrating the physical and emotional efforts involved in her superb portrayal of Katharina. The highlight for me was the scene at Petruchio's home, where he continued to subdue Katherina's feistiness. Once accomplished, the four-play and love scene ensued. Tumultuous and passionate, I was lost in the moment, awe struck. I could go on. The only disappointment for me was Chudin as Lucentio. Although technically proficient, his characterisation was more of a library assistant than anything else. He seemed out of his league courting the wonderfully coquettish Smirnova. Tonight was one of those performances I'll lock into my memory bank as a future reference point of excellence.
  24. Saw no one has yet lifted this topic off, so I thought I would jump in. I wrote a review of the production itself the last time round so I will leave that to historical record. In many ways I thought last night's outing was more fair to the the variety of Ratmansky's choreographic outlines - and certainly Burlaka's 'Dramatic Conception' - such as it exists in this particular 're-imagining'. Indeed - and perhaps more to the point - it was the Bolshoi Ballet Company - itself - as a whole - that here now shone minus its originating - and focus stealing - 'Vasipova' effect, as thrilling as that historic moment in balletic time was. That is perhaps ironic given much of the Bolshoi's own history ... but there is no question but that it is more fitting just now. (The Shrew of the last two nights has made that vividly clear. This is a Company set sail with a differing - if not an entirely different charge.) In many ways I felt that Ekaterina Krysanova bettered her predecessor as Jeanne in that she seemed a tad more comfortable in the many character dance aspects and was certainly determined in her character observations throughout. Her stare as she progressed forward at the end pierced through with steel. What a gloriously versatile artist this young dancer is. Certainly you could feel that in the clearly distinct differences in her own O/O framework. She is, in fact, the ONLY female principal who will have appeared in principal roles in ALL FIVE of the ballets being presented in London's 2016 Bolshoi season. This surely is HER season and hers - at least as far as I'm concerned - is very much a well deserved showcase ... as was it on this occasion for the dramatically thrilling Igor Tsvirko (looking - as arrayed here - every inch the Bolshoi's answer to John Travolta of yore) - who threw his own eye popping - both literally and figuratively - blaze into last night's mix as Philippe. Denis Rodkin was replaced 'due to injury' (as announced) last night by the arduously svelte Artem Ovcharenko and his real-life fiancee (it has been publicly announced they will be getting married later this month) the always enticingly exquisite Anna Tikhomirova - surely a principal in waiting. They dazzled as Mireille de Poitiers and Antoine Mistral and the oh, so difficult partnering of that central adagio - even inclusive here of a very small slip by Tihomirova which Ovcharenko make almost entirely unnoticable. Theirs was a heart-rendering love knot and oh, so very musically enhanced. Outstanding too - once again - in the role he originated - was that phenomenal character artist in a company of world leading character dancers, Vitaly Biktimiov. Once more he proffered a distinctly 'David-Niven-like' air as Gilbert, Captain of the Marseillais. How lucky we are to be able to watch his ever present and always uniquely stunning detail of his life enriching creations much as we are with our very own and equally vivid Gary Avis. Denis Savin once again brought keen heart to Jerome as did the effervescent Nina Kaptsova as Adeline (much as she had in the performance now incarcerated on DVD). I felt that Chudin - in an act of wholly unnecessary luxury casting - was a tad wasted in the role of The Marquis Costa de Beauregard - for short of his revelatory bristling brises - there is not a great deal of dance for this character and otherwise Chudin did appear somewhat out of place at times - (and the wig too certainly does him no favours much as it historically didn't a younger Wayne Eagling - who every year he seems to facially resemble more and more - in the RB's Nutcracker). This may well, of course, have been an appropriate character choice given that this role is largely written out as the proceedings progress; a bit like David Cameron after Brexit. That said I was entranced once more by the gloriously witty account Denis Medvedev gave as King Louis XVI in his one scene. During this you could well see why Stalin - zealously puffing smoke from his Bolshoi box - would reportedly guffaw with such bucolic mirth. Indeed at one point therein I thought I could hear the trace of his echo. In all though it was the stunning character dances - here in such an abundantly rich array - that tied this fanciful delight up with a distinctly charged ribbon. Georgy Gusev's precision in placement alone in the thrilling Marseillaise Dance almost cried out 'Liberte, egalite ... and certainly fraternite' and the adoring audience once again detonated in the explosive thunder of their admiration.
  25. Dance tabs have just put up a summary of casting for Bolshoi tour in London. Tickets are on sale from today. https://twitter.com/DanceTabs
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