Sophoife

9 hours ago, Douglas Allen said:

It was almost universally regarded as inconsequential and superficial and was accepted only as a vehicle for a mature Fonteyn who could look glamorous but wasn't called upon to dance many steps. Those who didn't share this view thought much less of it. The Palladium was thought to be a suitable location - big audience capacity but it didn't get in the way of serious ballet going in theatres where people who took ballet as a serious art form could attend. Hynd  has had other works of his in the rep of Festival (now ENB) Ballet. They didn't last, for a reason, pleasant, undemanding and boring - much underrated, I think not. If Merry Widow came into the Royal's rep, it would make Acosta's Carmen look a sensible use of money.

I have to say, that's one of the more curmudgeonly comments I've read lately.  "Inconsequential and superficial" - that's a description that might, on a grumpy day, be applied by me to many things, but it doesn't stop them being enjoyed!

Yes, the title role was specifically made for a 57 year old Fonteyn so no, there isn't much breadth of steps required for Hanna.  However, that's why Camille and Valencienne are so prominent.  Their act 2 pdd is really rather lovely.

And what exactly is wrong with a ballet looking glamorous, and people enjoying it?  Get them in the doors and their bums on the seats with this, or (as jmhopton said) Fille or Coppélia.  They'll enjoy it, and be happy enough to come back and see something else.  Grow the audience and over time they will develop into more broadly-interested ballet-goers!

3 hours ago, jmhopton said:

 

I too would love to see it performed over here as I love it and have never seen it live though have enjoyed Karen Kain's National Ballet of Canada recording and also the Australian Ballet recording. I did ask Tamara a year or so if she would ever consider it for ENB as I've always wanted to see her in the lead and I thought quite a few years ago there was talk of ENB dancing it though it never came to anything and was before Tamara's Artistic Directorship, but she seemed to think it was too old fashioned for the current ENB to dance (though I would have thought it no more old fashioned than Corsaire).

 

I think it would be a  great ballet for BRB or Northern Ballet as it emphasises acting and character dance as well as ordinary ballet though I can think of several fabulous RB partnerships as well I would love to see!

Quite right.  The acting is one of my primary reasons for enjoying it!  There are times, dear friends, when we want to be whisked out of ourselves and into a frilly, frothy, glamorous world where Madame Bumblebee is funny, not annoying; where an old man married to a very young woman can accept that she loves him and honours him even though she also loves a younger, handsome man; where a peasant girl can marry a rich man and, widowed, reconnect with her first love; where that first love, embittered by his parents' refusal of her, can rise from the bottom of a bottle to reconnect with her; where a man's touch on a woman's shoulders gives the audience ALL THE FEELS (see photo below); and where everybody returns to themselves as they leave the theatre, smiling, and perhaps humming one of the melodies.

Adam Bull and Olivia Bell in The Merry Widow, The Australian Ballet, 2011. Still from promo video on TAB's YouTube channel.

2 hours ago, jmb said:

Thank you for your comments. However, the prices I quoted are those I pay. I am going tomorrow (Friday) to a screening of La Scala's Le Corsaire, the ticket for which cost $16.00 (almost £9.00). The maximum price for a ticket is $24.00 (approximately £13.50). It appears from their publicity that Event will be showing those RB ballets missing from the 2017-2018 lineup in the coming year. Not sure about Village, which I think may be the previous name of the Event chain.

I recognise that outside the capital cities, access to ballet films is generally difficult, often extremely so. This seems to be a problem in many areas. Those of us like ballet are going to have to do a better job of enthusing our colleagues, friends and relations 😊

I should have said that the reason for the reduced price of my ticket tomorrow is because I am a member of the chain's  Movie Club.

Village Cinemas is the brand name  in Victoria and Tasmania for the chain known as Event Cinemas to you.

La Scala is as I said at Palace Cinemas which has a different pricing structure and offers different screening times from the Event/Village chain. Quoting $16 as your price paid at Palace as a gold movie club member isn't the same as saying to the casual viewer (those we need to attract in order to keep screenings viable) "oh it's $24, yes more than a Hollywood blockbuster but it's going to be wonderful".

Having spoken to a marketing person at Event HQ today, neither they nor Village will be showing the Bernstein centenary bill and/or The Winter's Tale at all, and apparently they are even reviewing hosting screenings at more than one cinema in each capital city with no regionals next season.

15 hours ago, SheilaC said:

 In the latest email I've had from La Seine Musicale I note that a Mozart festival is planned for 20-30 June next year. Normally the dance festival starts towards the end of June. This year the festival is shorter than usual but it would be odd if the dates were confined to July when Parisians depart for their summer holidays. I've not been able to track the announcement to which Sophoife refers, otherwise I was beginning to wonder if the festival would have a different venue next year. This year's festival starts on Monday, so perhaps those of us able to attend will glean better information then.

Hi Sheila, the announcement to which I referred is on La Seine Musicale's Facebook page, it's an hour and 25 minutes or thereabouts of video originally broadcast live. I must thank the French ballet tweeter who drew it to my attention! Unlike this year with the Robbins theme then the PNB stand-alone visit, no mention was made of any theme for 2019 Etés de la Danse. 

On 18/06/2018 at 12:58, jmb said:

OK, so I swear I won't complain any more about Australian cinema's treatment of ballet, or a least not very much. I have read this thread with increasing horror. £20 for a ticket! £20! It cost me $20.00 (which is just over £11 according to Currency Converter) to see Manon a couple of weeks ago. And I complained bitterly because that was a steep increase following a change of cinema chains. True, we have lost Bolshoi all together, but we get RB, POB and La Scala, albeit rather late. And each performance is screened at least 3 and often 4 times, on Friday, Saturday, Sunday and Wednesday at around 12.00 or 1.00. Screenings are now divided between 2 cinema chains. Until last year, all ballet (including Bolshoi) was screened by a chain of art house cinemas with cinemas in most capital cities. This year, a big commercial chain has taken over RB performances (hence the price rise), but performances are still screened in most capitals, as well as in some smaller cities. Audiences are usually small (about 20), but given the repeat screenings, not too bad.  And it's resonably easy to find out what's on where and when. So I am counting my blessings!

jmb, I certainly never paid only $20 at Palace (the previous chain) - it was always at least $24 if not $28! So Village at $20 is at least a 20% reduction. But what you haven't noted is that Village and Event cinemas are not even showing all the ballets they could. Available for 2017/18 were Alice, Nutcracker, Winter's Tale, Bernstein centenary triple bill, Manon and Swan Lake. Event only offered Alice, Nutcracker,  Manon and Swan Lake, and Village didn't even show Alice!

You can thank your lucky stars you don't live outside Melbourne or Sydney (I think Sydney?). I live in Albury, and came from Hobart. The only ballet screenings in Tasmania until last year were in Devonport, four hours plus driving each way. My mother can now go to a ballet film fairly close to home which as a physically-challenged 70-something (she'd shoot me if I Revealed All) is very much to her taste. From Albury I have to either drive to Canberra or to Melbourne - I will drive to Sydney for live ballet but not for a film. Also I don't know where you are getting Friday screenings, Village (Victoria and Tasmania) are only offering Saturday, Sunday and Wednesday mornings, as are Event (NSW not Vic). Palace used to have Friday screenings for some films.

Sharmill was the Australian distributor for POB, RB, La Scala, the Met and Bolshoi but no longer. You will be pleased to discover that Bolshoi are showing at Dendy cinemas, and as you say Palace still have ONP and La Scala plus Opera di Roma.

45 minutes ago, alison said:

I'm afraid you only have 30 minutes within which to edit your posts, Sophoife.  But anyway, thank you very much for the detailed report.  I know we have a few UK readers who follow the AB quite assiduously, and will have appreciated it.  (Plus, we will have that cinema broadcast at some stage - I think late September).

Thank you alison for the information!

Re the cinema broadcast: Australia gets it the weekend of 3 November. The UK gets it, at least in Odeon cinemas, on 20 September! Also a warning on publicity photos: the one on the Odeon site (I believe originally taken by Jeff Busby) shows Olivia Bell from 2011 with a number of others who have also since left the company, and the poster with the (in my eyes) maroon background shows Adam Bull and Amy Harris, who I don't think danced together at all!

I actually wanted to make a couple of edits to my post above but don't seem to be able to:

All the better female dancers are too tall for him and the preferred shorter ones such as Reiko Hombo and Natasha Kusch have left.

(IMHO she has more artistry in herself than at least a specific four of the current principals put together)

(some Lego-like cast changes had to be done due to injuries) Meaning that at some shows it was Jones/King-Wall/Bemet/Rodgers-Wilson and others Jones/King-Wall/Kondo/Guo and others Jones/King-Wall/Stephenson/Wright and yet others Simon/Harris/Stephenson/Wright - the couples seemed to be slotted in rather like Lego bricks, wherever it worked! They did have seven Camille/Valencienne pairs but I think only five Danilo/Hanna variations.

jmb, Lana Jones was of course the original Firebird in this production, and is as stunning as ever. A pity Chengwu Guo had not returned from injury, as he was the original Kostchei and would have been interesting to see this time around. I agree that Chynoweth did an outstanding job.

I felt the programme to have been unbalanced - the first "half" was over twice as long as the second. I would have preferred the short extracts, interval, Grand in its entirety (which was not actually the case), interval, then Firebird. I was also surprised that the only piece in a programme celebrating Murphy's 50-year association with TAB actually created for TAB was Firebird, but apparently he was given complete free choice over what was presented. There was a set element missing from Sheherazade which was noticeable if you'd seen it before, but including the moving piano in Grand almost made up for the omission.

I had to laugh, though, as watching the entire programme, all the "Murphy signature elements" were on show, so it didn't really matter that we didn't get any of Romeo and Juliet, Swan Lake, Nutcracker - the Story of Clara, Beyond Twelve, Tivoli, or Gallery. I would particularly have liked to have seen Gallery again.

Special mentions to Valerie Tereshchenko, Andrew Killian, Yuumi Yamada and Leanne Stojmenov dancing with Kevin Jackson.

Just to comment: in 2009, the previous time Australian Ballet's AD was on the jury, for the first time ever two Australian Ballet dancers were nominated (Kirsty Martin - who won - and Adam Bull). This time around, AB's AD on the jury, bingo! Two Australian Ballet dancers nominated (Ako Kondo and Kevin Jackson). Do not understand why Kondo, in particular, is being nominated for awards left, right and centre as Wheeldon's Alice as when I saw her (twice) she was...less than arresting.

IIRC from 2009, pretty much all the jury members had been able to see most of the nominees dance live, and it was commented upon by several that it was the first time in their memories that a dancer had won an award purely based on video presentation (Martin).

Interesting that three years in a row Paris Opera Ballet has produced a female winner (Hannah O'Neill, Ludmila Pagliero and Sae-Eun Park), with Hugo Marchand as a male winner in 2017. Jury members from POB in those years were Marie-Agnès Gillot and José Martinez (listed as France but presumably as AD of Compañia Nacional de Danza), Brigitte Lefèvre and Manuel Legris (listed as France but hopefully as AD of Vienna State Ballet), and Nicolas Le Riche and Eleonora Abbagnato (both listed as France, both ADs of companies outside France i.e. Sweden and Rome)...conspiracy alert!! 🤣

I was lucky enough to manage four shows in the Melbourne season: Brett Simon and Amy Harris as Danilo and Hanna with Brett Chynoweth and Jade Wood as Camille and Valencienne, Adam Bull and Kirsty Martin with Andrew Killian and Leanne Stojmenov, Simon and Harris with Andrew Wright and Dana Stephenson, and Ty King-Wall and Lana Jones with Chengwu Guo and Ako Kondo.

This season in both Sydney and Melbourne notable for three returns: Martin as Hanna, Steven Heathcote (the video Danilo) as Baron Zeta, and David McAllister (AD, retired in 2001) as Njegus, Zeta's secretary. For Martin, it was her first time on stage since 2011, and for McAllister, his first since 2001. I am told he was surprised how badly his makeup had deteriorated and he had to buy all new! Heathcote was wonderful, better even I think than the ageless Colin Peasley this time around. The "other" Njegus was Franco Leo, always making a role his own in the details.

Brett Simon and Amy Harris, the first couple I saw, were gorgeous. Every time they looked at each other was another tug at the emotions. Simon (soloist) and Harris (senior artist) are two of those about whom one thinks "WTH? Why haven't they been promoted?". Too late for Simon now, as he's retiring on 30 June, at just 33. TAB seems to have a problem with retaining or attracting senior dancers, it would be good to see character roles filled by people in their thirties, forties, fifties even rather than (as in the current production) 20 year olds (however "into" the part they get) playing the maitre d' of Chez Maxime. Brett Chynoweth is one of the company's most beautiful dancers but due to his less than robust physical appearance and lack of height will probably never get to take that final step. All the better female dancers are too tall for him and the shorter ones such as Reiko Hombo and Natasha Kusch have left. Jade Wood was delightful but not quite at the standard of her Camille. The most glamorous chorus line in ballet (aka the men in tails, top hats, and white gloves Chez Maxime) showed a new generation can high-kick with the best of them.

Adam Bull danced beautifully, but being 6'4", has to do everything so much quicker than the shorter dancers, which perhaps leaves him less mental time to play a role. Martin was, of course, exquisite - this was her retirement role in 2011 and she brought to it all her artistry (IMHO she has more artistry in herself than at least four of the current principals put together). Divine. Stojmenov and Killian a gorgeous couple, he is not such a great classical dancer per se but is one of the company's best actors, and Stojmenov has developed into a beautiful dancer besides being probably the company's best actor, so they were wonderful together.

Simon and Harris (some Lego-like cast changes had to be done due to injuries) did a surprise extra show with Wright and Stephenson, particularly affecting for me as I have enjoyed so much the dancing of both Simon and Wright over a number of years, and they are both retiring on 30 June. Stephenson's Valencienne showed a very fiery attitude Chez Maxime, I really thought she was going to kick Wright in the face at one point! She's another who seems to have plateaued, having co-won the Telstra Ballet Dancer Award way back in 2010 with Ty King-Wall, who the following year was promoted to principal. She's still a soloist.

Simon and Wright have so often been passed over for others, we audience members will never understand why our preferred dancers don't seem to be preferred by the PTB. Harris is another who should long since have been promoted (in her case from Senior Artist to Principal).

The final show of the season was Ty King-Wall and Lana Jones, who had been a delightful Valencienne seven years ago. This time around, her Hanna was as good as I'd hoped it would be, and she even dragged a performance out of her Danilo, who is a beautiful dancer but due to frequent back and other problems is not seen as often as one might like (nor is he usually a very good actor - the only other time I've had an emotional performance from him was as Lensky in 2012). Guo and Kondo can jump high, turn fast and all that, but even though married in real life, weren't to my eyes a couple on stage in these roles.

Special mentions to Madame Bumblebee as performed by both Ingrid Gow and Ella Havelka, Drunk Lady (Nicola Curry and Ella Havelka), Smiley Can-Can Girl Jill Ogai, and Cutest Petite (I mean really tiny) Can-Can Girl Yuumi Yamada.

Given that the company only officially announced its October 2018 tour to China a few days ago, and given previous experience, the official Paris visit announcement won't come at the earliest until some time in September when the 2019 programme is announced. China gets the McAllister Sleeping Beauty (about to be performed in Adelaide) and the Maina Gielgud Giselle (in Melbourne in September). Please God this time could they leave the Murphy Swan Lake at home. I think they would be best served by taking a mixed bill of recent local commissions that won't have been seen anywhere else, and a full-length possibly the McAllister Beauty or the Baynes Swan Lake - no Murphy swans please!

Having watched (OK, listened to while doing other stuff) the full video announcement of 2018/19 from La Seine Musicale, the venue, and suffered through the presenter's not terribly funny jokes (not even the audience in the hall was laughing), there was nothing mentioned other than the bare facts that the 2019 guests will be Australian Ballet and Hong Kong Ballet. Further announcements later in the year, they said.

Ew, Ian, eww! 😀 That east-west-east would be a real killer. 

I can get a return economy ticket to London for around AUD900. To fly to Brisbane last July for Winter's Tale, Albury-Sydney-Brisbane-Sydney-Albury, cost me AUD985.

39 minutes ago, Jan McNulty said:

Chi has also guested with Queensland Ballet in the more recent past.

Yes but Brisbane is almost as expensive to get to as Europe from where I am! 😮

14 minutes ago, Rob S said:

 

Yes I suppose he didn't actually do any dancing and dancing the pdt would indeed fulfill the criteria of a bigger role.

Hahaha that wasn't the attitude of several who were cast as Benno in Stephen Baynes' Swan Lake when it premiered..."what do you mean PDT means Benno is a principal role???" which was what they were told.

14 minutes ago, Bruce Wall said:

 

I would imagine at home in NYC - given that his Harlequinade is about to open with ABT and several pieces, Whipped Cream, Firebird, etc. being revived.    

Thank you Bruce.

Well of course Chi Cao is best known down here for exactly Mao's Last Dancer, he came down and did Nutcracker Prince with Madeleine Eastoe possibly 8-9 years ago now, and I was lucky enough that almost exactly this time last year both BRB and I were in Cheltenham and I saw him with Cesar Morales, Samara Downs and Yvette Knight in Moor's Pavane. Those of you, like Jan, who have seen him over many years will I am sure miss him very much.

30 minutes ago, SPD444 said:

 

Isn’t Alexander in Australia on a swap visit?

14 minutes ago, Sim said:

Ah, is he going already?  That would explain it then!

He's coming for Cinderella which is not until December in Sydney. You get Kevin Jackson for Nutcracker in exchange. 

Aus Ballet currently performing Merry Widow and working on mixed programme that follows it, plus new Spartacus so I very much doubt Alexander would be coming here to learn the role this early, when you consider what he is already doing in London. It's a helluva long flight for a couple of days in a studio! And it's Ratmansky so possibly he'd be able to learn it in Yurrup anyway...? Anyone know where Ratmansky is atm?

Australian Story, @Jan McNulty, is a long-running programme on Monday nights, usually focusing on some sort of inspiring against-the-odds story. Always Australians, not often those who live and work overseas. Last year's episodes: http://www.abc.net.au/austory/episodes/?year=2017

I felt it was too short and rushed - Australian Story often does two-parters and this I feel should have been such. Did anyone else get the impression the two men don't actually get on at all?

I did laugh watching Alexander coming out of the stage door at QPAC to be greeted by the entire family - I was (just) off-camera left, desperately avoiding being caught on film as I had actually sneaked up to Brisbane for the weekend, having fudged my actual whereabouts to family and most friends!

I was so pleased to see Winter's Tale live finally, and thrilled my third and final show was Bennet Gartside and Marianela Nuñez, who were utterly absorbing and said so much just with their eyes.

On 1/20/2018 at 11:14, alison said:

Uh-oh ...

 

" Macfarlane’s designs root Siegfried’s life in a small-state monarchy some time in the 1890s. "

 

Bang goes the medieval setting, then.

On 1/20/2018 at 12:13, MAB said:

 

So exactly the same as the last production.

4 hours ago, Pas de Quatre said:

But in the 19th Century all things Gothic were very popular, e.g Pre Raphaelites, much architecture in London, Wagner's operas etc. So I think the periods  marry well.

I think Stephen Baynes and Hugh Colman in 2011-12 were on the same page! 

"...to place the Prince within the context of his court surroundings – a hierarchal, aristocratic, nationalistic and military environment. Within this court the Prince struggles to fit in."

"Most importantly, Baynes wanted to emphasise the profound romanticism of Tchaikovsky’s score, not only within the choreography but also by setting it in the late 19th century as opposed to the medieval period in which it is frequently set."

Australian Ballet produced a glossy PDF with Baynes' inspirations, readable at the link provided. Quotes above from Australian Ballet's website btw. 

Photo of Rudy Hawkes, Lisa Bolte and Andrew Killian by Jeff Busby below shows act III. The red wigged violinist is Rothbart. Oh yeah he "plays" the solos. Oh yeah what they "play" bears little relation to what we're hearing from the soloist in the pit.

5 hours ago, londoner said:

Naghdi doesn't do The Winter's Tale either, does she? That would affect Hayward's comparative rehearsal load into March, even though it's a role she's done before.

I saw Naghdi do the Shepherdess in Brisbane twice in a day with two different partners. Okay only act 2 but still, definitely a reasonable-size role in Winter's Tale.

2 hours ago, Legseleven said:

Francesca Hayward and Yasmine Naghdi are very different dancers and if I remember correctly Hayward hadn’t danced a lead ‘tutu’ role before she became a principal, which in itself is surprising but may suggest that she was/is considered less suited for those roles than others. As Lauren Cuthbertson and Laura Morera are also missing from the list of Odette/Odiles this time, there doesn’t seem to be a seniority issue outplaying any other concern and clearly Kevin O’Hare is simply casting the role as he sees best at this time. 

I was under the impression that choreographers had a big say (if not the only say!) in casting? Usually with the agreement of the AD and/or company ballet master/mistress, yes, but perhaps Liam Scarlett wanted who he wanted if you see what I mean? I know from being told that John Neumeier chose the three AB men he wanted as Nijinsky, and brought Riabko with him for several performances, and that when AB did an Ashton triple bill (Monotones (white one, never remember which is which), Symphonic Variations, The Dream) there were allegedly noses out of joint as the Ashton repetiteurs did their own casting and truly some of it was a revelation, people who never got given a go at things suddenly shone.

On 14/12/2016 at 09:02, Don Q Fan said:

I have a DVD of the Murphy Swan Lake by Australian Ballet so one does exist.

Yes it is indeed still available (Australian Ballet Shop), Odette Madeleine Eastoe, Prince Robert Curran, Baroness Danielle Rowe - none of whom are still with the company, in fact Eastoe and Curran have retired, Curran now director of Louisville Ballet in Kentucky, USA. Be aware that when you look at the cover, it shows Amber Scott and Adam Bull, neither of whom are dancing on the DVD, but "they were the ones we had proper photos of in costume" is what I was told when I queried it.  

Also available (Nutcracker DVD) is the Peter Wright Nutcracker (the one without Hans-Peter), with Benedicte Bemet as Clara, Andrew Killian Drosselmeyer, and Madeleine Eastoe and Kevin Jackson as Sugar Plum Fairy and Cavalier, plus the Sleeping Beauty with Lana Jones, Kevin Jackson, Amber Scott (Lilac) and Lynette Wills as Carabosse.

Another option is the ABC Shop (our BBC) which, bizarrely, has a wider range than the ballet site: Murphy Romeo and Juliet (Jackson, Eastoe), Heritage Collection (8 full ballets from 1984-95), a 3-DVD set called the "Tchaikovsky Collection" for only $33 which is all three of the single DVDs listed above. Plus the "Heritage Collection" set (Sleeping Beauty, Giselle, La Fille Mal Gardée, Coppélia, Spartacus, The Merry Widow, Nutcracker: The Story of Clara, and Manon, the last four of which feature Steven Heathcote) is currently $80 compared with $135 on the ballet's site.

Maybe this post should be in another section? Mods please feel free to move appropriately.

3 hours ago, Orlandau said:

How disappointed I was when Act III came along and Galina Samsova substituted something else in their stead. I still haven't recovered!

I had a similar experience the first time I saw Le Spectre de la Rose! I had read of the "marvellous leap through the window" and I got a step up onto the windowsill and a low jump off it. Talk about underwhelming! 

On 08/01/2018 at 12:38, FLOSS said:

Sophoife. 

The other coaching sessions show Anthony Dowell coaching the prince's solo from act 2 of the Royal Ballet's production of Sleeping Beauty and the Dance of the Blessed Spirits while Merle Park is shown coaching The Walk to the Paradise Garden. I hope that they are accessible in Australia.

Thank you so much for pointing me in that direction, Floss - it's a veritable treasure trove!

23 hours ago, Blossom said:

Also worth noting in Bussel’s favour that as ‘the most famous British ballerina since Fonteyn’ (Alastair McCauley) is President of the RAD and is inspiring a generation of children who receive their exam certificates signed by her. 

 

Re coaching, she mentions her extensive coaching in the Ashton Rediscovered Raymonda Q&A. Even during her 5 years In Australia she continued to coach.

I honestly don't remember ever looking at any of my RAD or other extra-curricular (piano, singing, double bass) examination certificates and registering who had signed them, however I see your point. Looking through them yesterday, I find that indeed, all are signed by Margot Fonteyn de Arias! 😳

Well, I don't know who Bussell was coaching in Australia, but it must have been private or back in the UK as it was not Australian Ballet, nor (after asking the relevant person) Queensland Ballet! As I said earlier it was apparently very obvious that she really didn't want to coach (at least with Australian Ballet), which is a great pity as I am sure there would have been many benefits, both for dancers and for us in the audience, from such coaching.

Thanks BBB and pompalompa for the Sylvia coaching info and video. I love watching that sort of thing and enjoy the ROH Insights when made available. Wish Australian Ballet would do more in that line.

I find the speculation terrifically interesting. There are many reasons to enjoy the Nureyev Swan Lake but the biggest reason I find to dislike it is the Tutor as Rothbart scenario.

No point offering any examples of odd choices or violin-playing redheaded Rothbarts from Australian experience as no videos available of the recent Baynes version, legally or otherwise, not even on YouTube (apart from some 40-second promos) so no comparisons possible.