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  1. How wonderful to see this again- I have long since been unable to watch my Betamax tape of it. It's great to see Jacques d'Amboise, still in his prime, in one of his finest roles. He's such a remarkable performer that I regularly sit through the film Seven Brides for Seven Brothers, which I detest for its mysogyny, just to catch glimpses of him. And Suzanne (Farrell) at the start of her career, an innocent Terpischore (so unlike Bussell who sexualised her) and the great Pat Neary, now such a fervent stager for the Balanchine Trust. And it's good to see the original version, not the abbreviated
  2. I've checked my video of this. The programme was shown 19 years ago. As ONCNP says, the 'full' performance only contains sections of dance. Earlier the documentary shows Richard Alston choreographing them. The main dancers are Pari Naderi as the Chosen One and Martin Lawrence as the Sage (unusually the sacrificial dance is not a solo but the Sage is a partner.) Stephanie Jordan provides some interesting information on the original score which undermines some of Stravinsky's claims about Nijinsky's choreography. I think the film was made before the (somewhat controversial) reconstruction of the
  3. Non-news, I'm afraid. This week Radio 3 is exploring and celebrating Stravinsky in the week in which he died, 50 years ago. All this week he is the subject of Composer of the Week. On Saturday there were notable programmes about him, included even in the remarkable Jess Gillam's wide-ranging This Classical Life (in which she referred to Diaghilev as a ballet master!) and Julian Joseph's J to Z, which explored the relationship between Stravinsky and jazz. On Sunday Tom Service's The Listening Service. focused on the key works created for ballets. So what have we got on TV? Firebird? Petrushka?
  4. Good news about Forsythe's Barre Project with the amazing Tiler Peck. I contacted the organisers, CLI Studios, as I was unable to watch either showing as they were in the middle of the night here, and viewing wasn't extended as I had hoped. I got a very prompt reply to say that Sadler's Wells will be issuing it, in May, at 'Europe-optimised' times.
  5. I totally loved Choreartium, too, and agree with Jan that Samira Saidi was at her most impressive in it. .A few years later I was doing a public interview, pre-matinee, with David Bintley. That morning I had received post from Dutch National Ballet on future programmes and was very excited that they were planning to do Choreartium. In the pre-interview chat with Mr Bintley I burbled on how pleased I was that DNB were going to do BRB's production of it but was sternly informed that it was a dreadful ballet and the company would never do it again while he was director. Needless to say I wen
  6. At the BRB gala ( which didn't actually include much dance) we were told that Carlos Acosta's Don Q will be shown soon but will be different in some ways from the RB version so that it is specific to BRB (no details given as to how it will differ). There's still no indication that the company's wonderful rep will be shown, other than what has already been announced. There was a quiz that included Fille and Apollo, but that was devised by Paul Murphy as it was a musical quiz so it doesn't necessarily indicate that any of the Balanchine ballets will be shown, or even Ashton.
  7. My humble apologies, bangorballetboy and Alison. May I point out that a moderator who referred to 'Daria' on 3 March was not similarly reprimanded. But you are right that full names are preferable. so.... Brandon Lawrence, Daria Stanciulescu (who performed the role of Queen Mother; less than 10 months later she became an actual mother to Zion), Lachlan Monaghan, Miki Mizutani.
  8. A year ago this week I went to Sunderland on 4 days to watch BRB's wonderful production of Swan Lake- 1 rehearsal (rather relaxed!), a Friends talk by Brandon, a pre-performance talk (Daria), 4 performances. On the Thursday I was even introduced to Carlos Acosta (I had actually met him in Havana several years previously but he was scarcely going to remember that!). The Saturday matinee performance was especially fine (Lachlan and Miki) which was a relief as I had prioritised that over going to Leeds to see the premiere of Northern Ballet's Geisha that night, safe in the knowledge that I had ti
  9. I agree with Stucha and Jeanette how beautifully both ballets were danced. But I would expect no less as the director of the Royal Swedish Ballet is Nicolas le Riche, former etoile of the Paris Opera Ballet. As a dancer he had a wonderful technique but above all was a consummate performer. His wife, Clairemarie Osta, a very pure dancer, directs the RSB school and may well assist in some rehearsals. Before the pandemic they also ran an interesting ballet education programme in Paris (they continued directing it after their move to Sweden) that trained ballet students not just in technique but a
  10. He was Romeo at the very first performance I saw by the Paris Opera, but at the Palais des Congress, not the Garnier. His Juliet was that wonderful, pure, dancer Monique Loudieres and her mother was none other than Yvette Chauvire, and Tybalt the amazing dramatic dancer, Jean Guizerix. Dupond was a very special dancer, fabulous technique, charismatic personality.
  11. I hope it's ok to post this information under this theme as it's about BRB but not about Domininc, rather about their educational work. In today's links there's one for the Guardian interview with Julie Felix- not the singer but a former ballet dancer who couldn't find work in the UK, because she is black, and moved to the USA to dance with Dance Theater of Harlem. She returned to England as a teacher and remedial coach for SWRB. (She doesn't mention she was married to Joseph Cippola, one of the most charismatic dancers ever, who had been a fellow dancer at DTH despite being white). She c
  12. Rojo's Raymonda rather proves my point! How on earth can a ballet about Florence Nightingale ( a woman who spent much of her life in bed- but presumably the plot will focus on her active nursing, and possibly the long struggle before then to persuade her aristocratic parents to let her become a nurse, in those days a job regarded as sex worker) use the Petipa choreography ?
  13. I hope ENB do show La Sylphide again soon, Alison, but my fear is that companies will in the future only show classics that are safe, in terms of ticket revenue, so rep would be limited to Swan Lake, Sleeping Beauty and Nutcracker: Sylphide has never sold well. And most ballet companies (ENB, Scottish, BRB under Acosta, even the Royal) seem to be giving increased emphasis to more contemporary works, possibly under Arts Council pressure, and showing fewer 'heritage' works. Returning to the Polish National Ballet galas, in each of them Dawid Trzensimiech, who longstanding Royal fans
  14. The Polish National Ballet gala (3) is varied, offering both classical and contemporary excerpts. I particularly enjoyed seeing a well danced Bournonville pas de deux, Flower Festival. When I first used to see the Royal, in the '60s when there were so many varied and varying mixed bills, a Bournonville excerpt was often included. Now I wonder if a British company will ever dance Bournonville again; with Kobbrg having left the Royal they are unlikely to do Sylphide again, indeed they are likely to loan their sets and costumes to the Ballet Nacional de Cuba. There's also a gripping pas de d
  15. The Sarasota company has just announced that, because of travel restrictions due to Covid, they are no longer able to present Elite Syncopations in program 6 (April 23/27) but instead will be dancing Ashton's Facade ..... which some of us think is a better ballet anyway!
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