James

Sorry to perpetuate the hi-jacking of the discussion, but I am sure the teapot featured in the Chinese Dance in David Lichine’s landmark production for London’s Festival Ballet in 1957.

I didn’t see the full length version, but, in the early 60’s Act 2 was often presented on the company’s regional tours under the title “The Nutcracker – The Kingdom of Sweets”. I must have seen it two or three times as a youngster at my local theatre, and, if my memory is right, the Chinese Dance featured two girls, and a “mandarin” character who emerged from the tea-pot. His silk parasol, I think, formed the tea-pot lid. The costumes were by Alexandre Benois.

James

It's a wonderfully sunny production, and tremendous fun. Carlos Acosta has done the Royal Ballet proud, I think. There are some genuinely funny moments, and the ending, with Don Q (the excellent Gary Avis at the General Rehearsal) riding off into the sunset is actually quite moving. Brilliant performances from Steven McRea and Iana Slovenka in the leads (both in white, unusually, for the Grand Pas de deux), but all the company seemed fired up and were on top form on Saturday - I loved all the shouting and clapping the crowd have to do. Almost too much to take in on one viewing - especially in Act 1, which is a real fiesta of dance, but it's a cracking show.

I couldn't see the stalls from where I was sitting in the Amphitheatre, but someone told me afterwards that there weren't any photographers at the General - they were all at the dress rehearsal for the opening night cast the day before. As this is an important premiere I suppose any pictures may well be embargoed until after the Gala. 

James

I chose to see Maria Alexandrova in Swan Lake.  I like her and have not seen her as O/O yet so have high hopes, and she is always so gracious at stage door too unlike Ms Z on the one occasion I encountered her!  I saw Zakharova in Amsterdam as O/O and was technically great but emotionally - nope, I call her "the ice maiden".  I like Shipulina and cannot understand why she has never been promoted to Principal?  The first time I ever saw the Bolshoi was Swan Lake was at The Lowry and she was O/O.  I recall it was all very good/enjoyable.   Most of all I am looking forward to seeing Jewels as this is a good show case ballet for lots dancers - Kaptsova, Merkuriev, Smirnova in the performance I am seeing - if you want to see a good cross section of Bolshoi dancers why not book Jewels?  Either way it is the Bolshoi it will be good!

Don Q Fan

You'll be pleased to know that Ekaterina Shipulina is now a principal. She was promoted, I believe, in 2012.

James

I would be surprised if one of the evening performances of Flames of Paris isn't given to Maria Alexandrova and Alexander Volchov, bearing in mind they, not Osipova and Vasiliev, danced the premiere in 2008.

Mind you, anything is possible, even after the casting is announced. Last time the Bolshoi were at the ROH, Osipova and Vasiliev's scheduled date for Don Quixote was switched at very short notice.

James

Some rather harsh comments here on Natalia Osipova. I don't think we should forget that, for all her prodigious talent, this is a ballerina who has danced the role of Odette/Odile only a handful of times, and will no doubt still be finding her way in the role. Last night, she was not an especially regal Odette, and the tempi in Act 2, (particularly for her solo) didn’t help the portrayal, but in Act 3 she generated a level of excitement which I felt lifted the production to another level. True, she spun so fast she lost control at the end of the fouettes, but at least she went for it. I’d much rather performers did that than played it safe. But I can see why she’s been called the “Marmite” ballerina.

The energy Osipova was generating clearly affected some of the other performers: notably Paul Kay - with Yuhui Choe, the best Neapolitan Dance I’ve seem live. The two leading swans, Helen Crawford and Claire Calvert synchronised perfectly.

Carols Acosta danced impeccably as the Prince (and acted really well) and Gary Avis was the most menacing of Rothbarts, but neither character is given enough to do in this version.

As for the production itself – I wouldn’t have gone to see the Royal Ballet Swan Lake again but for the chance to see Osipova and Acosta together in it. The gaudy designs were conceived in the 1980s “Loads-a-Money” era, and now look tasteless.

I realise the Petipa/Ivanov/Drigo revival was staged in 1895, but I don’t understand the logic of setting the ballet in the Russia of that era. Alexander III (who had just died) may have been a lover of the ballet and collected Faberge (the “inspiration” for much of the setting), but he was pretty fond of executing radicals and persecuting minorities, too. It seems bizarre to turn Act I into some sort of homage to Tsarist autocracy (and filling it with stereotypes from the length and breadth of the Russian Empire), when it should be the prelude to a medieval tale of magic and mystery. Perhaps we need an austerity Swan Lake as an antidote.

Aileen mentions the “saccharine dance for the corps” and the “prim” duet for Odette and the Prince in Act 4. I tend to agree with both descriptions, although I rather like the mini solos for the two leading swans that are woven into the Valse Bluette. Of course, if you are going to reproduce the “authentic” choreographic text from the 1895 production (which was Anthony Dowell’s aim) then there is no way of avoiding these interpolations – neither of them from the original score, but Drigo’s orchestrations of two of Tchaikovsky piano pieces. The Mariinsky production uses the same music and pretty much, I think, the same choreography. I prefer the “old” RB Act 4, with the Ashton pas de deux using music from the Act 3 Pas de Six – is that still used by ENB?

James

I am also confused about the Mayerling casting. It seems odd that Sarah Lamb, who has previously danced Larische (there is a full page picture of her in that role in the 2012-2013 brochure) should now be cast as Mitzi, which is a much less significant part surely.

In previous seasons' casting announcements, Larische was always the third named, I think.

I am sorry that Roberta Marquez isn't cast as Princess Stephanie. I realise that it's not normally danced by a principal (these days, anyway), but she was so good in that role.

James

Followers of the Russian State Ballet of Siberia (from Krasnoyarsk), which has toured extensively in the UK for some years now, may be interested to note that its prima ballerina Anna Aulle has been guesting with the Mikhailovsky Ballet. She danced Giselle at the end of June, and was scheduled to dance Kitri opposite former Maryinsky dancer Leonid Safaranov in Don Quixote last night.

I am delighted that this lovely dancer's talents have been recognised in this way, but hope this doesn't mean that her apparent move to a more prestigious company means we will deprived of seeing her in the UK this winter and spring.

James