MAB

Rhapsody - original cast - http://www.peteava.ro/id-1004685-la-multi-ani-mikhail-baryshnikov

Yes, it did. The costumes were quite different too with the leading male wearing a jewelled choker. I've never understood the reasoning behind the changes as it used to hint at a kind of court masque, but now it looks just like any other plotless work. Steven McRae was stunning I thought, better than Baryshnikov in many ways, he lacked only the original insouciance, possibly because of the stripping away of the work's mood so that it appears more abstract.

Indeed there was, a situation that Fonteyn was never happy about.

I know of a number of gay balletomanes that have been to Russia and returned without mishap. The RB dancers are unlikely to have problems.

It was remiss of me not to write a couple of lines concerning the StPBT performances of Romeo & Juliet. It turned out that Paris was seeing the company premiere of the ballet, and if the ensemble dancing on the first night seemed to lack something, probably due to a lack of familiarity, but by the second night all the dancers were performing with their customary verve. Anna Samostrelova, the replacement for Irina Kolesnikova was a revelation, quite simply the best Juliet I've seen in the Lavrovsky production for some years, all the more remarkable when you consider she learnt the role in a mere ten days; her teacher however was Maya Dumchenko, an exceptional Juliet herself who was in turn coached by Galina Ulanova, the role's creator. Anna Samostrelova, bears a slight resemblance to Kolesnikova being of a similar height and build and with honey blonde hair. She danced exquisitely with a romantic candour that brought Juliet to vibrant life; truly a 'star is born' moment. Her partner Ivanchenko had everything except fire in his belly and couldn't match Samostrelova's passion. I look forward to seeing the company dance the ballet again, they haven't danced in the UK for some time now, it would be very good to see them again and a special treat if they could bring R&J with them.

No11, bottom of Strand takes you straight to Victoria.

As a member of the Pina Bausch fan club, I seldom miss a London show and 1980 was full of all the elements of her work I've come to love. However for something so long, I would have preferred an earlier start, say 7 p.m. rather than 7.30,

For those who loved his earlier autobiogaphy, To Dance, this will be an interesting follow on. Here is what it says on Amazon: Valery Panov's autobiography, Scene From The Wings, reveals the workings of the ballet world: behind the stardust and the fame Panov is a man living through the prism of his art. The creative process motivates and steers his life, but it is also a ruthless moral compass setting him on a collision course with all his women: he finds them baffling and they find him lacking. The story opens in 1974 following Panov's struggle to leave the Soviet Union. Successful and acclaimed, but blinded by sophistication and in love with beauty, he begins to tread a dangerous path. Panov danced in London with Festival Ballet (now ENB) back in the 1970's and his then wife Galina Panova went on to dance with other partners in the company. Bafflingly neither was treated too kindly by the majority of the UK critics which may have been the reason why their early association with London came to an end. I already have my copy on order.

Are you selling them as a job lot or as individual items? There are two there I would be interested in.

Festival Ballet had the definitive Golden Slave in Dudley von Loggenburg, I wonder if it was him you saw. It pains me that the Golden Slave is cut down mid leap in these inferior Isabelle Fokine versions. The famous upside down death is rarely seen now - such sacrilege.

Call me an old cynic, but isn't this simply a plug for the Kings of Dance show which I think takes place next month? The giveaway is the show's impresario acting as translator, paticularly as Vasiliev has very good English and could probably manage without help. As an interesting/informative interview I rate it 0/10.

Dancers stop taking lessons? news to me

It was also danced by the Royal Ballet.

I have an old video of Kain and Augustyn in Giselle and they really are superb. Never saw them dance those roles live but did see Ms Kain as Giselle with Nureyev. She was one of the best Giselles I ever saw.

Janet, that Peer Gynt was televised and I saw it again at a BFI showing just a few years ago. John Gilpin was every bit as wonderful as I remembered him, but what a crime the ballet hasn't made it onto DVD.

Suggestions on how to transform a disused metro station: scroll down for the theatre option, looks like the designer envisages some ballet performances. Being a bit of a foody I like the restaurant idea just as much. http://www.theguardian.com/world/2014/feb/07/paris-mayor-contender-plan-metro-station-makeover

I liked the Opera Necklace too - for myself. I'm in the same boat as The Quays as I would have to win the lottery to buy it. Funnily enough I saw a gorgeous painting of a dancer in a shop window at the weekend but to be honest I imagine the frame alone would be pricey: I do wish those numbers would come up.

I share a birthday with Ann Jenner - International Womens' Day. Remember her well, she was hugely popular with audiences and there was always disquiet that her career never flourished in the way it should have. I saw her as Lise and she was superb. It was a great shame that she left the RB when she did (1977?/78?) as I felt she could have gone on to bigger things had she stayed.

I'm thinking of becoming a Jedi.

So Lantratov doesn't even deserve a mention because you didn't see your favourite, Vasiliev? Very unfair in my view,

I see know one is commenting on loss of transmission near to the ballet's end, so must have been the fault of the cinema I was in.

Sort of, Lithuanian father, Cossack mother.

Once upon a time Hilarion was danced either as rough and uncouth or played as much older than Giselle - a better suitor for her mother in fact. I don't believe in attractive Hilarions as they confuse the audience. Who remembers Gediminas Taranda (swoon) in the role? Mind you in turning him down there was no question about it: Giselle was certifiably nuts!

Personally I'm happy to pay higher prices to help finance these independent events.

Last night I took a look at Alicia Markova’s book ‘Giselle and I’, to see if I could reference my edge of a graveyard claim, but unfortunately most of the second act pictures were of her stage centre. There was one remarkable design feature that you rarely see nowadays though and that was a grave marked by a truly massive cross with steps leading up to it. This served a dual purpose of allowing better access for Giselle to emerge from her grave and provided a better backdrop for Albrecht to collapse exhausted onto the steps. The picture I saw was of an early production by Festival Ballet (ENB). In the past I have read critical arguments as to whether she should have an impressive monument paid for by Albrecht (unlikely) or a rough hewn cross made by Hilarion; today most productions favour the latter. It all depends on whether you think it likely that Giselle committed suicide with the sword or whether her weak heart gave out. What with her clutching her chest after dancing I imagine it was that which killed her, so the lonely suicide’s grave would not be necessary.