jm365

Mukhamedov - early 60s -appeared as Virgil in the POB Dante - I wonder how that was managed?  Maybe as ballet master he isn't covered by the retirement age of the company dancers.

I haven't been to the Manon showings, but it is quite usual in Watford for the audience to talk through the interval features and get up to leave as soon as the curtain comes down - they don't even bother to watch the curtain calls, let alone the credits!  I have had people push in front of me to get out when I am obviously waiting to see the whole thing - which, on the whole, the projectionist is willing to show.

Yes, The Miraculous Mandarin was also part of the Sadlers Wells season.  Another work was much less successful in my opinion, on Charlie Chaplin, with Chaplin's grandson in the cast.  Much though I admire Bejart, like all choreographers, some things were better than others!!

Oh how I agree, Sim!  I don't think I have known anyone - even Nureyev in his prime - who had such a magical stage presence as Donn.  Obviously a very different dancer from  Nureyev, but matchless in the choreography Bejart made for him.

One of Clement's criticisms concerned Bejart's use of music - he felt it was too ruthless in juxtapositions and cutting.  For instance, his use of Bach or Mozart alongside Tangos.  Bejart on the other hand felt that we hear all sorts of music on the radio or otherwise, sometimes quite jumbled together.  

I think sometimes critics accused Bejart of just using the beauty of his dancers' bodies and that his choreography was not that interesting (I could not agree less!!).  The American and British critics I believe thought his philosophy pretentious.  The company did come to Sadlers Wells some time in the 1990s, where Guillem danced Sissi with them.

My first encounter with Bejart's ballets was at the Coliseum, when Bejart himself danced in Notre Faust.  It was so stunning that my friend and I - who at that stage hadn't known what to expect - went straight back the next night to see it again.  That was with the Ballet of the 20th Century in the 1970s - can't remember the exact date!  I have been a fan ever since and saw the company in Brussels and Paris, and then in Lausanne when it moved there.  I only hope whoever replaces Roman can keep the style as it should be.  For whatever faults Roman may have, he was a genuine 'Bejart dancer' - and an etoile.

Clement Crisp, who was no fan of Bejart, thought his version of the Rite of Spring was one of the best.

Other 'continental' directors who have had a tenure of many years:  Maurice Bejart in Brussels and Lausanne and Roland Petit in Marseilles.  These were companies that were really there to perform the works of these choreographers, though, rather than a company like the RB which performs a much wider rep.

I remember going to theatre matinees when one could have a brief tea served on a tray at one's seat - it was a treat that I shared with my mother.  And of course it was perfectly OK to smoke - little ashtrays on the back of the seat in front.  Not days I should like to see again!

the rights to film the Onegin pas de deux were only granted on condition that Reid Anderson danced with Makarova.

There was a second series called Ballerina presented by Natalia Makarova.  Unfortunately both were co-productions with a recording company that no longer exists.  I think it would be even more complicated to clear the rights for these series than for The Magic of Dance.  It is so very sad that so many incredible and historical performances cannot be shown to today's audiences.

Jake, I was one of those who switched on for Gene Kelly and Leslie Caron - so disappointed!  I thought the scenery and costumes of the musical were great, but not the performances.  I only lasted for Act 1 and then couldn't be bothered to go on.

Sounds interesting!  Can one install it on a desktop computer?  I don't do any social media, or really use my phone for anything other than emergencies!  

Going back a bit  - David Drew as Tybalt.  I saw him in a performance with Makarova as Juliet and almost was impressed by him more than by her.

I would be happy with starting longer ballets at 7 p.m., but as I come to Covent Garden by car, starting at 6.30 would mean both paying the congestion charge and a certain amount of parking charge.  I can come across into the charging zone at 6 p.m., thus escaping the congestion charge, but I can't park for free until 6.30 - this is just about OK for a 7 p.m. start.

Avoid all the problems and stick with Don Q!!

Well, I for one didn't 'go home on a pulsating high'!

Amazon is now saying delivery will be delayed until late October.

This was produced by John Drummond - and there is a book by him, I think called either Speaking or Talking about Diaghilev, which gives the text of the interviews.

and on the whole the programme sheets are free!!  Sometimes with all the lyrics in the original language and an English translation.

And when Alain was danced by Alexander Grant, I think there was never anyone who needed to feel upset by his portrayal.

The rights owners of Onegin in the past also had a veto over some casting decisions.  Everyone had to be approved by them.  I don't know if this is still the case.

I'm  a little surprised at the extracts/photos they used to illustrate Mayerling and Judas Tree - Mukhamedov was MacMillan's choice for the revival of Mayerling, and Judas Tree was created on him.  Recordings exist of both - though maybe not RB copyright?

Edited to add that I thought it was a very interesting interview.  It's good to hear Lady MacMillan at length.

Thank you Sim.  I didn't realise you had to go through the triple bars to get to the screen with one's name and the envelope.  I think it's the first time I've been there!!

I don't actually want to  send a p.m. at the moment, but I can't see a little envelope anywhere and it would be useful to know how to find it!