Amelia

This ballet was created first for Mariinsky and later for the Bolshoi Ballet by Vassily Vainonen. Chabukiani was the first Philippe in the original production. Several scenes with him have been filmed in 1954 but the rest, unfortunately, has been lost. Mikhail Messerer told the Russian TV News that he had to do new choreography in order to fill in the gaps. http://www.ntv.ru/novosti/630304/ http://portal-kultura.ru/articles/theater/6608-mikhail-messerer-trudno-dvigatsya-vpered-zabyv-proshloe/ Edited: added the links.

The Russian TVkultura News announced that the Bolshoi company is preparing to meet its Artistic Director. If his doctors don’t object, Sergei Filin will come to London: http://tvkultura.ru/article/show/article_id/96225

While we are waiting for the Bolshoi’ production of ‘Flames of Paris’ by Ratmansky to be shown at ROH in August the Mikhailovsky Theatre has presented this week another version of this ballet. Mikhail Messerer tried to reconstruct here the famous Bolshoi’s production by Vassily Vainonen. Several reviews have already appeared in English: http://www.ft.com/cms/s/2/e2662382-f37a-11e2-942f-00144feabdc0.html#axzz2a10jpaxL Graham Watts: https://twitter.com/GWDanceWriter Laura Cappelle: https://twitter.com/bellafigural

Quote: “… just to put it into a certain context, Mr. Crisp in Wednesday's Financial Times wrote of the current offering as seen at its opening.” Right, it was about the opening. Tsiskaridze danced this time only on 18 and 19 July. So, if Mr. Crisp wrote in Financial Times on Wednesday, i.e. 17 July, it was not about Tsiskaridze’s performance. Quote: “I wonder what particular production of Scheherazade Clement Crisp was reviewing in that lovely quote you noted.“ That was 11 years ago, at the Mariinsky Festival 2002, and I have been there when the roof was nearly blown off by the thunderous applause. Below is the full extract from the longer review. "Financial Times", UK, 13 March 2002 By Clement Crisp East and west, Fokine is best Heaven, and the ghost of Mikhail Fokine, knows what all this has to do with the original Scheherazade, but these artists blazed with lust, and generated enough passion to show that though this mad old ballet is a turnip ghost in other hands, when danced with such imaginative bravura, such sexual allure, it goes beyond hilarious kitsch to become theatrical art of the most intoxicating kind.

Quote: “… his man-bra made of pure bling was somewhat distracting”. Sorry, Coated, it was Bakst’s fault that you were distracted. It was him who overdecorated the Golden Slave’s costume. In addition to this “bra” and “bling” he designed a sort of flouncing rah-rah around the Golden Slave’s waist. This kind of costume was worn by both Nijinsky and Fokine himself. http://commons.wikimedia.org/wiki/File:Nijinsky_in_Scheherazade2.jpg?uselang=ru When the ballet was reconstructed, this detail has been omitted because nobody wanted to look bulky around the waist. Tsiskaridze pursuaded the dress-makers to follow Bakst’s design to the minute detail and even was sewing on “pearls’ and ‘gems’ himself. I enjoyed Tsiskaridze-Makhalina’s duet, together with the audience. It was the best reception and applause from the start of the season. Not to mention the large crowd that was keeping the Golden Slave by the stage door for about 15 minutes demanding autographs and permission to be photographed with him, which he smilingly obliged. I remember Clement Crisp writing: “this mad old ballet is a turnip ghost in other hands, but when danced with such imaginative bravura, such sexual allure, it goes beyond hilarious kitsch to become theatrical art of the most intoxicating kind... Tsiskaridze, as much in love with his audience as with Zobeide, produced marvels of pantherine leaps and crouching consumed-by-desire falls, and tore the place apart. It may not be Fokine, but who cares?” The dancer will be 40 this year, not so skinny as he was some years ago, but danced this role with the same abundance. Oh, poor us, “vulgarity” lovers.

It was very disappointing to learn about Ilse Liepa's injury. Cleopatra in that ballet is shown as she was presumably danced by Ida Rubinstein. Ilse did a lot of research, pained and worked hard on materialising her dream. It is very unfortunate that she had to withdraw from the performances. Nikolai Tsiskaridze arrived at London last night because his appearance in 'Sheherazade' was originally scheduled only for Thursday and Friday but now this ballet is being shown at every performance. Thank you very much, John, for your excellent photos.

It would be very surprising if he chooses to appear with a ballerina much taller than himself. I also don't remember him dancing the Golden Slave.

Aileen, although I intentionally bought tickets for performances with two different Swanildas but, due to the change of cast, saw Shapran on both occasions. The videos are from Russian websites. The first one was a transmission from TV 'Big Ballet' competition last year. The watching judges are Derevyanko, Vishneva, Azaryi Plisetsky, Malakhov and Duato. It was an infallible success for Sergei then and the first prize. The second video shows him in the performance at Stanislavsky Theatre on 12 May earlier this year.

Three cheers to Sergei Polunin for his exuberant performance in “Coppelia”. I saw it twice, the first and the last one. On the opening night, all the ballet critics, many dancers and numerous ballet-goers were there ‘at watch’ to see what the RB’s former Principal gained (or lost) after leaving London. When the white drop was pulled apart, it revealed him as Franz standing in the centre alone. This audience knew well that he was the Principal of his new company but they didn’t acknowledge it with applause. As if challenging him: prove that you deserve it. But very soon they started responding to him and were clapping in the middle of his solo and even after short passages. Sitting in the 3rd row of the Stalls I saw how excited he was and how he craved after appreciation. It was so clearly obvious that success in London was very important for him. His jumps were daring, the tours were impetuous and well controlled at the same time, and his acting was exactly in tune with what this gamesome production required. Although during the interval some people told me of their feeling that this “Coppelia” is rather strange (they were missing the rural cosiness of traditional productions), the performance ended with standing ovation where the best share was addressed to Sergei. He was close to tears. Here is a boy for you who blurts out in his interviews that ballet is not cool. And proves with his dancing how cool it is. When the white drop was pulled apart at the beginning of the last performance, the audience met Franz with applause. He seemed less nervous this time but danced with the same gusto and chiс. It was such a joy to see dancing of this quality. Here is Franz’ variation: http://www.youtube.com/watch?v=neLAOEbxXVc And more scenes with Polunin as Franz and Erika Mikirticheva as Swanilda: http://www.youtube.com/watch?v=6hrPL7P85sg Edited to add the names.

From today's Izvestiya newspaper: Anatolyi Iksanov is dismissed from the post of the Director General of the Bolshoi Theatre. The contract of the high-ranking official is terminated ahead of time. http://izvestia.ru/news/553322

After the Bolshoi's Don Q. matinee 3 years ago the crowd eager to get Osipova & Vasiliev’s autographs was so huge that the stagedoor keepers kindly gave their own working place behind the glass to the dancers and were monitoring the queue allowing access into the stagedoor area to 5 people at a time. Natasha & Ivan enjoyed it. I could place a photo of them here but am not sure how to do it.

The choreographer and teacher Mikhail Messerer has been appointed the Chief Choreographer at the Mikhailovsky Theatre with his contract lasting until 2017. His previous position at the Mikhailovsky was as the main guest choreographer. He produced there Swan Lake, Don Quichote and Laurencia. From 22 to 26 of July he will show in the Mikhailosky his new production of The Flames of Patis. http://izvestia.ru/news/553221#ixzz2YGNJINGW

Last year I watched a programme 'Bolero' on Russian TV channel, a sort of competition among ballerinas. All others were younger than Yulia but I really loved her - every inch a ballerina.

I hesitated to start a new topic and am placing this news here: Bolshoi in Paris, 4-10 Jan. 2014 “ … the prestigious Bolshoi Theatre Ballet has again been invited to perform at the Palais Garnier. They return this season with a creation by Alexei Ratmansky: Lost Illusions, based on the novel by Balzac.” http://www.operadeparis.fr/en/saison_2013_2014/Ballets/ballet-du-theatre-bolchoi/decouvrir/presentation/

This ex-minister Pochinok pretends that by pointing at the existing legislation he is helping to sort something out. As if he doesn’t know how difficult it is to make Russian laws work. So many laws are hardly enforceable. Often after a person wins a court case against employers it is a victory just on paper and the employer continues doing what he wants. Anastasia Volochkova’s case was a prime example of this. Her employment was terminated by Mr.Iksanov for a bizarre reason - that she was too heavy and male dancers refuse to partner her. (Although Tsiskaridze was quite ready to be her partner and was rehearsing with her.) Anastasia went to court and the court ordered the Director to reinstate her. So she was reinstated but… she was not given any of her leading roles back. It happened about 10 years ago. Her employment record book (the main document of a working person in Russia) is still kept at the Bolshoi but she has never danced there since her dismissal. Btw, most of the Russians don’t trust their judicial system at all.

Of course, Dancefan, live art is irreplaceable. I didn't mean that you should restrict yourself to watching youtube. I gave this SB link just as an answer to your question on whether Zakharova's Aurora is good.

Why not to see it here? http://www.google.co.uk/search?client=safari&rls=en&q=youtube+zakharova+aurora&ie=UTF-8&oe=UTF-8&redir_esc=&ei=XA7OUZbPAuPI4ASzq4DoCg

Why? Although she never touched me emotionally in the past but physically she is an exceptionally beautiful ballerina. However, in the last three years, especially after giving birth to her daughter, she has really changed. Not only she became a perfectly accomplished dancer but her acting significantly improved. You can make your own choice, Dancefan, by watching youtube with her. Swan Lake - entree: White Adagio with Uvarov: http://www.youtube.com/watch?v=-fpzZ4cojpQ Whithe Adagio with Bolle: Odette’s variation: Black Swan with Zelensky at Mariinsky: Black Swan variation: Last Act: Edited for typo as usual.

According to the newspaper “Zavtra” Angelina Vorontsova who was mentioned a few times on this topic has submitted her application for resignation from the Bolshoi Theatre: http://zavtra.ru/content/view/vorontsova-pokidaet-bolshoj/ As a farewell gesture to this very promising ballerina here is a recording of her performance in “The Flames of Paris” with Denis Rod’kin: We will see him dancing it in London in August but, alas, without her.

Hello, volcanohunter! I am very curious to hear what exactly you find disappoining in the cast changes - the guest star or may be some other changes?

“The Bright Stream” has a great success in Australia: “Brisbane audiences should consider themselves very lucky to have had the Bolshoi Ballet land upon their shores”. http://myhubjacquelyne.blogspot.ru/2013/06/the-bright-stream.html http://www.theaustralian.com.au/arts/ratmansky-reignites-romance-with-a-past/story-e6frg8n6-1226660952206 http://www.stagewhispers.com.au/reviews/bright-stream

Verdi's Les Vêpres Siciliennes, which opens on 17 October, was due to have a 40-minute ballet sequence: http://www.independent.co.uk/arts-entertainment/theatre-dance/news/turmoil-at-the-royal-opera-house-as-choreographer-pulls-out-of-giuseppe-verdis-les-vpres-siciliennes-8650306.html Now we learnt that due to “artistically differing approaches to the project” between the opera director Stefan Herheim and Johan Kobborg the latter has left the production and a new choreographer has been brought in, working with freelance dancers. In their joint statement Kevin O’Hare, Director of The Royal Ballet and Kasper Holten, Director of Opera said: “There will still be a strong element of dance in the production, however no longer featuring Artists from The Royal Ballet, The Royal Danish Ballet and students from The Royal Ballet School": http://www.classicalsource.com/db_control/db_news.php?id=2448 If the differencies were between Herheim and Kobborg, why should dancers be replaced by those from outside the Company? Out of curiosity I would like to ask if there has been such a precedent in the past when RB’s own members were replaced in the ROH production by freelance dancers?

“… he had been a member of the Royal Ballet, where he had languished in the corps de ballet for five seasons, growing increasingly frustrated as advancement passed him by.” http://www.guardian.co.uk/stage/theatreblog/2011/aug/02/xander-parish-mariinsky-ballet-chopiniana I can imagine how proud and happy Xander felt knowing that his solo performance with Mariinsky was being watched in Britain.

Alison wrote: "Maybe worth trying?" Yes, Alison, I tried and was offered one seat in the Director's Box with restricted view for £79. No other seats were available.

Bolshoi Ballet brought ‘Le Corsaire’ and ‘The Bright Stream’ to Australia: http://www.brisbanetimes.com.au/entertainment/dance/bolshoi-dancers-prove-real-men-do-ballet-20130527-2n70r.html http://www.theaustralian.com.au/arts/stage/bolshoi-principals-in-world-of-private-grief/story-fn9d344c-1226651699474 A photo gallery: http://www.theaustralian.com.au/arts/gallery-e6frg8n6-1226651869269?page=1 A video: http://www.abc.net.au/news/2013-05-29/bolshoi-ballet-returns-to-australia-after-two/4721550?section=entertainment Masha Alexandrova: Backstage at the Bolshoi: http://www.abc.net.au/news/2013-05-31/backstage-at-the-bolshoi/4727018 BOLSHOI BALLET GALA OPENING EXQUISITE: Review http://universivt.blogspot.co.nz/2013/05/bolshoi-ballet-gala-opening-exquisite.html?showComment=1369996343600#c7788286022492489403 http://www.australianstage.com.au/201306026350/reviews/brisbane/le-corsaire-|-bolshoi-ballet.html Bolshoi Ballet delivers bravura and beauty http://www.theage.com.au/entertainment/dance/bolshoi-ballet-delivers-bravura-and-beauty-20130531-2ng0c.html#ixzz2Uq4QyCha http://www.stagewhispers.com.au/reviews/le-corsaire http://www.dancehubmagazine.com.au/le-corsaire-bolshoi-ballet/ Changed layout.