MAB

It's an opera.

Now there's a reviewer of whom I take no notice whatsoever.

I should like to make it clear that my post was in response to Nina G.'s, who is perfectly entitled to comment on any aspect of a review she chooses, and indeed it is unusual (and I imagine distasteful to some) to read critics singling out specific parts of the body rather than general mention of arms, legs, and so on. You clearly do not agree with my remark about Russians dancing Rhapsody but we are allowed to air personal opinions of that nature and I happen to believe they would bring a lot to that particular ballet. So I am "inattentive", to what exactly? I choose not to read your blog because of disrespectful remarks you have made there in the past and if I want a Russian review translated I have more authentic sources to refer to than a blogger,

Rhapsody with its Rachmaninov score cries out for a Russian company to dance it and the Bolshoi's Krysanova would be perfect in the leading role. As for this Kuznetsova, it would be interesting to know what her personal preferences are when reviewing the home team, could her mauling of Osipova be sour grapes that she is so successful away from the Bolshoi? Filming the show is standard practice in Russia and a lot of dancers arrange for someone to film them in order to study and improve on their performances. In general it is a practice I approve of, particularly when you consider that a great performance can only be seen by the tiny number in the theatre that night, filming a show and putting it on the internet makes the ballet a less elitist art form and gives the dancers an international platform for their talents.

She's right about Steven McRae

Funnily enough I was also thinking how much Ashton would have loved Osipova's performance.

I've always considered Dialogues des Carmélites one of the most powerful operas ever written, it ought by rights to be a staple of any rep, why it is so rarely performed is a mystery to me, though I will concede it is emotionally draining to watch. The singing and orchestral playing were superb when I went last week, but I preferred the production the ENO did a few years ago where there was more of a sense of time and place, The final scene with the swish of the guillotine's blade punctuating the Salve Regina is so incredibly moving I can quite understand why you were unable to applaud,

Always terribly sad when a company goes to the wall and hard working dancers find themselves out of a job, I had a friend in the company so very sorry to hear this. By the way I remember the very unhelpful remarks that Tamara Rojo made at the time of the company's inception, I felt they didn't reflect very well on her.

Holidays!!! Only 90 hours to go before I board the plane

You don't mention the cost Taxi, energy costs have risen 35% since May 2010.

Maybe if the ROH did something about their interminable intervals it would make it easier for people to get home at a reasonable time. I've a friend who travels down from the Midlands so it's someting I feel strongly about.

Both the RB and the Bolshoi have given Giselle with a preceding work in the past.

A new career for a fat ginger cat: http://www.bbc.co.uk/news/entertainment-arts-27507950

I think I must be alone in not really enjoying this triple bill at all, I just feel the three works together didn't quite gel. Serenade is a work i've been watching for too long perhaps as I can go back fifty years to when Nerina and Beriosova danced it and of course hair stayed pinned up in those days. Today I find it pretty dreary, although I thought the Bolshoi found some fresh life in it a couple of years back. Sweet Violets, despite some fine individual performances remains confusing, with its cast of disparate characters.. The beautiful Rachmaninov trio does seem to match the dramatic action, but as far as Scarlett's narrative works go, I much prefer his better thought out Hansel and Gretel. The Wheeldon was the highlight of the evening for me with some fantastic dancing all round but it was too little too late for as far as I'm concerned.

I find the above post overly political, especially the second paragraph, and patronising in the extreme. Although I left a secondary modern at age fifteen to go out to work, I have always known the correct pronunciation of Terpsichore and as someone who has been visiting Greece regularly for over forty years, I also understand the Greek alphabet despite not being taught it in school.

Thank you, that s very kind.

Sadly the demands of work meant I couldn't attend, so thank you for writing about the service.

Amelia, I actually knew Yvonne Cartier as I was introduced to her in Paris by the critic Katherine Kanter who was a friend of hers. Yvonne lived in Paris and regularly attended POB performances, but I last saw her here in London when we both attended a weekend of demonstration classes given by, amongst others, Flemming Ryborg. I shall get out the picture I took of her tonight. Yvonne can be spotted dancing in those early SWB DVD's as (I think) Spanish dancer in Nutcracker and Carabosse. Very sorry to hear of her passing she was a great all-rounder and a former stalwart of SWB. R.I.P Yvonne.

Lucca is a lovely town and you can visit Puccini's birthplace which is now a museum. Every evening they have Puccini recitals in one of the local churches, it was quite an experience to hear the 'Te Deum' scene from Tosca actually sung in a baroque church. I also went to the local opera house on a Sunday morning to hear two very talented young ladies from the local conservatoire play the piano. It's very close to Pisa so you could visit the leaning tower while you're at it.

But Tuscany in August..................mmmmm

I want to support what Sim has written regarding Junor souza, this dancers progress through the company has been amazing; he always showed promise, but year by year he has technically grown in stature and is a fine partner as well as being an outstanding technician. I wasn't surprised in the least that he won the People's Vote award - it has seldom been so richly deserved.

Actually it would make a nice regular feature if we could say happy birthday to a present or former dancer on the day, it would just involve a bit of research. Though I think some days would get a bit crowded as for example there are three dancers that I share a birthday with - Ann Jenner, Ivan Putrov and Lynn Seymour.

Fred Astaire

Here is the data referred to about academic achievements according to the time of year you are born in: http://www.ifs.org.uk/docs/born_matters_report.pdf Actually it does mention summer born babies being disadvantaged whereas Osipova at the end of May sneaks in under spring. There is all sorts of research about traits contributable to birth dates, often from insurance firms that discover certain motoring offences are committed by people born in certain months. I also saw a graph about celebrity births and certain dates really peaked while others flat-lined. That takes us on to the realms of astrology of course and many years ago I saw an astrology article about dancers. For those interested the main signs to produce a dancer are Capricorn - hard workers, Leo - they love the limelight, Pisces - the sign with links to the feet. The two signs ruled by Venus which produces tendencies towards the arts, are Libra and Taurus, but as an earth sign Taurus is more likely to put in the hard work. Aquarians also feature because they are the most likely to look beyond the 9-5.

For me the words 'new work' tend to trump all other considerations, if I'm in London I'll definitely go.