capybara

It is rather telling that so few people have posted here about last night's performance. Oh dear; oh dear! How very disappointing it was. After Sweet Violets many of us must have arrived with really high hopes that Liam would be able to give us an updated take on Hansel and Gretel. But, to my eyes, it failed on so many counts: the characterisation was surprisingly weak and inadequately conveyed through dance; despite strong portrayals by Leanne and James, it was difficult to connect with the two main characters and their story; the movement felt cramped by the (albeit highly inventive) set - an especial pity as innovative, expansive pas de deux are usually Liam's strong suit; and, while pleasing enough to the ear, the music was too 'samey' to support the scenario and to provide dark undertones. It was interesting to experience the Linbury being used 'in the round' (as for Draft Works) and, this time, on so many levels also. But, from where I was sitting, it was not possible to see whole the stage without a lot of uncomfortable leaning forward. And having, as a constant backdrop, the faces of Kevin O'Hare and other recognisables sitting in the reverse seats was far from ideal. It gives me no pleasure to write in this way and I remain a firm admirer of Liam's talents. But, again, oh dear, oh dear......!!!

For those who do not know of him, Gediminas Taranda was a Bolshoi soloist in the 1980s/1990s. He was (is) not only incredibly handsome but he had a quite extraordinary stage magnetism and ability to 'become' the character he was playing. I'll never forget his playing of Abderakhman in Raymonda Act II at the Royal Albert Hall in 1993 when the Bolshoi danced three acts from different ballets each night. His character was sitting right at the back of the 'stage' when Raymonda entered and, although he only lifted his head and sat more upright, he lit up the vast auditorium, his body language telling us clearly that she was the most desirable woman on earth. As Hans (Hilarion) in Giselle, also with the Bolshoi, his talent and looks made it almost inconceivable that Giselle would want to reject him. I believe he won a readers' poll in the Dance and Dancers Review of the Year in 1989 but I cannot remember the category.

A big 'thank you' to everyone who has contacted me with or about the Times crit.

So nice to learn of the Times review for Rupert and his cast. Is anyone able to offer a hint of what it says, please? [i realise that we cannot have a link.]

Thank you, Bluebird. I should have recognised Friedemann but this performance dates from a time before I 'rediscovered' ENB.

Rather than start a new thread I thought I would enquire here as to whether anyone recognises the two dancers pictured in a promotion for ENB's Swan Lake by The Times in the ST's Culture magazine today. All ideas gratefully received. [i shall probably kick myself once they are identified.] They don't appear to be among the current roster of ENB Principals and, if that is the case, one has to wonder why not.

Thank you ElleC. The fact that you have taken the trouble to write at such length and so positively about Mayerling yesterday is, in itself, a wonderful testimony to the performances of Rupert, Melissa and the essential characters around them. I am sure that Rupert in particular would be very touched and very heartened to know how much you and others appreciate him.

I too was extremely impressed by Rupert's performance today. I felt that he enabled the character and madness of Rudolf to unfold well as the ballet progressed and his partnership with Melissa was electrifyingly good.

I should have mentioned Shiori in my post above [#24].

It strikes me that there is an unprecendented level of discussion about ENB on balletcoforum at the moment with some eight topics active over the last week alone. Let's hope that all this interest converts into strong support for the Company.

Nothing against Tamara of course, but it is important that ENB marketing keeps hold of the fact that it has several artistes of world class and renown - for example (in alphabetical order): Daria, Dima, Elena, Erina, Vadim and Zdenek - and many 'up and coming' dancers who are exciting interest - such as (again in alphabetical order) Guilherme, Junor, Ken, Ksenia, Laurretta and Nancy. Such a collection of riches needs to be fully exploited.

I asked this question of Derek Deane at a 'MasterClass' evening at ENB and he responded (using Polina Semionova as an example) to the effect that he wanted the Company to be able to see, experience and dance with the very best. It was also intimated that Raymond Gubbay the promoter liked to have guest stars for publicity purposes. Given the mixed reviews that Matthew Golding is receiving on the La Bayadere thread here, it will be interesting to see whether the policy proves to be beneficial artistically and good value for money this time around.

Thank you Meunier and Sim. Very interesting to hear your views on Matthew. I saw him in Swan Lake with the DNB and was impressed with his dancing but not so much with his characterisation. So it is good to hear that his Solor 'lived'. No surprise that James made a strong debut as the Bronze Idol. And he's having a busy week.

But how were Zen and Matthew Golding, please?!!?

If you go to the website listed above for the Coronation festivities, it indicates that the event is being organised by the Royal Warrant Holders of which there are some 200. Presumably they hoovered up all the tickets before anything was made known publicly - and that was done only yesterday, it seems, as the details were in the Evening Standard then.

A wonderful opportunity for ENB and so nice that it will be on TV. But am I alone in thinking that it would have been appropriate for at least one UK-born dancer to have had the honour of dancing at the Palace? I don't want to re-open the arguments voiced on another thread and I am very appreciative of the artistry of all the dancers listed. Just a thought, however.....

Yes, it was Elena's debut in M&A and she also danced Raymonda Act III. Her solo in the pdd was exquisite. Such delicate, speedy bourrees; such epaulement! I am trying to resist the temptation to comment on Ivan's performance as it is 'off topic'. However, it will not surprise those familiar with his dancing to know that his acting as Armand was superb

Assuming that the text posted by Janet above is what was issued by ENB, it is also surprising that the Company continues to focus so much (in press releases, news stories etc.) on Tamara's performances. Judging by those sitting nearby at many shows attended there, the potential audience for the Albert Hall tends to be predominantly coach parties attracted by 'Swan Lake' as part of a trip to London. 'Names' do not matter much to them. Tamara fans apart, balletomanes seem to want to book for other favourites or dancers less familiar to them. And the fact that the production is selling so well surely offers an opportunity to put the Company and other Principals in the spotlight - as has, of course, been done with Laurretta.

Yes, alas - and the more so since hers is the face on all the (traditional) publicity for Swan Lake at the RAH. Incidentally, Elena has just performed Marguerite to Ivan Putrov's Armand in Tbilisi, Georgia. It was a beautifully danced and absolutely heart-rending interpetation which had both her and her audience in tears. What an amazing artiste she is; what a privilege to have been there for this glorious debut.

Are you sure about this, Chrischris? Daria Klimentova, Elena Glurdjidze and Erina Takahashi as well as Tamara Rojo are ballerinas of international renown. And the wonderful Vadim Muntagirov is becoming one of the most 'in-demand' dancers in the world. All are established favourites, or are rapidly becoming so if the cheers from regional audiences as well as those in London are anything to go by.

I think we can feel assured that the ENB Marketing Team will read everyone's comments with interest. I hope that they will find them helpful. After all, what we all want is for ENB to thrive at the Box Office and to secure a strong audience base from among newcomers as well as regular ballet-goers.

In addition to the '3 hours before the performance' availability of Standbys, ENB usually offers them from 12 noon for the performance that evening. ENB, BRB and companies from abroad often do not decide until the day whether or not to sell Standbys.

Elena Glurdjidze (ENB Lead Principal) and ivan Putrov are appearing in Marguerite and Armand and Raymonda Act III at the Rustaveli Theatre, Tbilisi on 28th April. The evening is dedicated to Elena who, while Vaganova-trained, is, of course, from Georgia.

I am concerned that my late post after the show last night might come across as negative when I actually feel so positive about the Ecstasy and Death Triple Bill. After the dress rehearsal, four shows and (hurrah) one still to come I feel exhilarated by a company in really fine form across a range of repertoire. The strength in depth, which is quite extraordinary, is exemplified by the appearance of Ken Saruhashi (an Artist only 20 months into his career) substituting as the leading man in Etudes, firstly for Dmitri Gruzdyev and, last night alas, for Vadim Muntagirov. Guilherme Menezes, another substitute I believe and as junior as Ken, acquitted himself really well as the second man in two matinee casts. I agree with DavidW that Ksenia, Nancy and Laurretta shone among the younger women, as did Marize Fumero who joined last autumn from Cuba and, of course, Shiori Kase. I am so pleased for ENB that the programme has been so enthusiastically received and hope that the company will be able to sustain its innovative intentions. The timing of this run of shows - after many weeks of ballet at the Coli - clearly did not help the ticket sales but, surely, ENB needs to scrutinise its marketing. I have been given several leaflets for Boston Ballet outside the theatre this week. Nothing was being handed out to audiences about E & D over the fore-running weeks. Or, perhaps, if people will come for, say, £20 but not for £40 - £60, there is a message there worth heeding?

Isn't it interesting how we all 'receive' performances differently? With regard to Jeune Homme, I appreciated Le Riche's quality of movement, honed over years of practising the role. But, from close up, I found his face somewhat unchanging and far too 'vieux' to be credible. On the basis of only a fortnight's rehearsal period at most, Putrov not only danced it beautifully (albeit not quite achieving some of the more acrobatic moves) but showed a wide and utterly believable range of emotion. I found him very moving and Jia (his Girl/Death) a menacing foil, lethal in movement as well as intent. By contrast, at the two performances I saw by her,Tamara seemed hurried and brought too much of Mary Vetsera to her interpretation. As an aside, I do hate it when dancers milk the applause as Rojo and Le Riche did.