Odyssey

Two wonderful contrasting pieces. I'm sure ballet has gained some new fans this evening

I have a video recording of Baryshnikov performing Petrushka with Paris Opera Ballet which I happened to watch back fairly recently- a very moving portrayal particularly in the third tableaux when he strikes such a pathetic figure as he mimes about his feelings towards the Ballerina and then is bullied by the Moor. I recall David Bintley talking about his interpretation on a South Bank Show many years ago in which he spoke about how he achieved the "pinned" legs ( can't remember who coached him in the role). I am a great fan of Petrushka not least for its wonderful score which Fokine exploits to the full and Bakst's wonderful costume designs . Petrushka, Firebird, Scherazade, Les Sylphides - each can make wonderful components for a carefully chosen triple bill set against plotless/ neo classical pieces. These works need to be remain in the repertoire.

The portrayal in the media hasn't helped with several films and documentaries (such as the Nijinsky film) depicting him as "old school" and in an unfavourable light in comparison to Diaghilev's young protégé.

I think TWT is a "grower" - not least in the wonderful score. Floss, I totally agree about your assessment of Wheeldon's interpretation of this wonderful play although I find the act 2 dances more engaging - I just love the energy of this act and it contrasts so well to the other two. There's so many opportunities for dancers in this ballet to show off both their dramatic skills and dancing prowess.

Much as I admire David Bintley and all he has achieved at BRB, I have to say his ballet Far from the Madding Crowd left me cold. Not sure if he ever revived it but I found it pretty turgid despite loving the novel and the film!

i read a very interesting book about Maina Gielgud and her time as director of the Australian ballet -a very honest and informative account, not sure who it was by. Different Drummer the biography of Kenneth Macmillan by Jann Parry is another good read ,

I am so sorry to hear the museum is to close. Following the demise of the theatre museum, this was the one place to indulge in many wonderful mementos of this country's ballet history. Online archives don't hit the same spot. I've noted in a previous thread how we lack a place to celebrate ballet and dance ( several exhibits in the V & A which aren't regularly changed is a pretty poor show). Perhaps one day someone will come forward with a plan to create such a space. I agree that volunteers would be a way to save on some of the running costs - as someone who volunteers at a National Trust property, there's a wide range of roles and expertise that people are willing to offer for the pleasure and pride of making these wonderful resources available for the public to see.

I was fortunate to see Fonteyn dance Swan Lake out in the provinces at Coventry Hippodrome and although I was a child, her performance has stayed with me as a touchstone for the role of Odette. Today when I see photographs of Fonteyn from Act 2 I can visualise the way she projected the character through her facial expressions, her beautiful shaping and exquisite lines all those years ago. I agree that first impressions are key, and there are quite a few dancers who I would regard as amongst my favourites from my early years of watching ballet such as Margaret Barbieri and Doreen Wells, but Fonteyn stirred something deeper in me. Many years later Natalia Markova did the same in Onegine and Sylvie Guilem in Manon - neither of these I would have regarded as my favourite dancers, but they were able to communicate an emotional response which went beyond the pleasure of watching a dancer whose physique or technical capabilities I might admire .

Nureyev's hair could be pretty wild.

The small screen does provide an opportunity to whet the appetite through interesting documentaries such as the Nureyev one that aired over Christmas. I agree that screening productions provides only a limited experience of the medium, but it can provide a stimulus, particularly when it's a new or rarely seen work rather than yet another production of Nutcracker. On a slightly different point about the future of ballet, it will be interesting to see the impact of, quite imaginative and often substantial, educational projects which the major companies have been involved in over the last 20years. During this time there has been a great deal of outreach work which wasn't the case for previous generations. The young people who benefited from the early years of these initiatives are now earning. It would be interesting to know if any research is being done into whether those in their 20s and 30s who attend ballet had some exposure to ballet while at school such as having a dancer in residence or an extended project with a company.

Can I suggest that those of us who have sent messages to Sky complaining of their lack of coverage of ballet under the new merged Sky Arts try a different approach and write and thank them for the showing of Elizabeth 1. I'm working on the principle that a little praise goes a long way - do you think it can work with a large multi national media organisation?

Janet, thanks for posting this detailed overview of what was indeed a veritable feast of an evening. (It was raining cats and dogs outside and I'm so glad I made the effort to get there). David Bintley should write a book of ballet anecdotes - he certainly kept us entertained and I would like to know the name of the ballet student who fell asleep - he is probably a principal dancer now so can't be named His comments about Nureyev's choreography were quite naughty, but wickedly funny. The programme for this concert is always well put together and very accessible ,so ideal to take a friend with perhaps a fairly passing interest on dance with the aim to hook them. What I don't understand is why the classical pieces aren't introduced in the illuminating way in which the dance pieces are. If you didn't have a programme you could have found yourself completely in the dark with a piece like the Walton Suite. The Sinfonia is a wonderful orchestra and BRB are so fortunate to have them. I agree with Janet about the small space - in previous years I have sat in the front stalls and marvelled at the controlled way in which the dancers manage the space. Some highlights for me included the wonderful port de bras of Tzu-Chao Chou in the Winter pas de trois, the fluidity of The Dream pas de deux as danced by Nao Sakuma and William Bracewell - I had recently watched a video recording of a masterclass run by Sibley and Dowell and could appreciate the shaping and attention to detail which infused these dancers approach to the choreography. Iain Mackay and Jenna Roberts did indeed transcend that empty stage and danced beautifully. Then the show stopping dancing of Yaoquian Shang and Mathias Dingman which really did get the audience going and sent us home very happy indeed. David Bintley commented how pleased he was by the increasing support for this annual event - there were still quite a few empty seats in the grand tier despite the price of the tickets being a wonderful bargain for a Saturday night.

The casting list for this enjoyable evening is here (follow link near bottom of page) https://www.brb.org.uk/whats-on/event/an-evening-of-music-and-dance

I think David Vaughan's book is the "go to" volume. It has a a very readable style and provides a fairly detailed account of Ashton's work with a good range of photographs. However, it is more of a reference work that you dip in to. I bought a good second hand copy of Zoe Dominic's book and it is lovely photographic record ( with several unusual pictures of dancers in rehearsal and roles which you rarely come across such as Ann Jenner in A Wedding Bouquet and Monotones). There's also some interesting accounts from people who worked with Ashton. While on the subject of dance biographies and autobiographies, has anyone read In Good Company by Leslie Edwards? I keep toying with ordering a copy but would welcome a review, particularly in relation to the focus and insights he gives from working with the Royal Ballet. Also does it include any photographs?

Floss makes an important observation in post 582 about Kevin O'Hare having danced with BRB and so was aware of the theatrical value of The Two Pigeons. It got me thinking about how much of the Ashton repertoire he would have known from his time at Sadler Wells and BRB. Apart from Monotones and The Two Pigeons, there were quite a few Ashton revivals during the Eighties/Nineties such as Jazz Calendar, Facade, The Dream, Les Rendezvous and Les Patineurs. Perhaps we can look forward to some of the less performed ballets on this list making a return. I was also struck by the number of Cranko ballets which were being performed in the era when O'Hare was there. I would love to see him introducing more Cranko into the repertoire of the Royal Ballet.

Just back from the cinema and a fine evening of dance it was. Rhapsody saw an accomplished performance from its two principals. You can't fail to be impressed by McRae's technique in this role and his evident pleasure in performing. Osipova, although clearly accomplished didn't thrill me, but I can't put my finger on why. The Two Pigeons is as rewarding as I remember - a real gem. No fears about Kanenko as she sizzled through the gypsy role. The final pas de deux was exquisitely danced by Lauren and Vadim. He is a revelation - his solo just prior to the final scene was so moving with exquisite port de bras. An unexpected treat was the interview with Alfreda Thorogood who reminisced about how she and David Wall learnt the roles from Lynn Seymour and Christopher Gable in a couple of hours in a Church hall. Yes a lovely evening.

Thank you Coated - I wasn't aware there is a further category.

Congratulations to her, and such an incentive for young dancers to see someone achieve the highest rank after coming through the ballet school.

Sky Arts will be showing Elizabeth on 15th February at 8pm

Well I received another reply which although it doesn't address the issue, at least confirms the transmission of Elizabeth See below Thank you for taking the trouble to contact us in regards to any forthcoming ballets. After being in contact with the Sky Arts Team, they are not aware of any announcement in the future. Sky Arts are always on the look-out for new ballet material and do have a very special production coming up on 15 February at 8pm. They are broadcasting the ballet ‘Elizabeth’, filmed at the Royal Opera House Linbury Studio, and starring Carlos Acosta in his final role. Many thanks for your continued support of Sky.

I sent an email to Sky complaints registering my frustration about the endless repeats. I have just received the following reply Thank you for your email about Classical Ballet on Sky Arts. I can confirm that this is currently receiving our attention and a reply will be forwarded shortly. Once again, thanks for taking the time to contact Sky. I presume this is a fairly standard reply, but I will be interested to see if I get a further reply.

I share these frustrations. Your observations about the broadcasting of Giselle very much reflected mine at the time. My simplistic understanding of commercial channels for niche audiences is that they are able to survive because advertising can be targeted appropriately. Ballet and Opera enthusiasts may be a more fragmented lot that has been traditionally thought. Whatever the reason, it's evident that the focus of Sky Arts has moved towards a perceived popular mix of programming that as you rightly note is made up of endless repeats, nights devoted to vintage artists in popular music and the occasional international series ( which they tend to buy for just one season ). The live cinema screenings for all theatrical arts could be a channel in itself but I guess if all productions were shown, say, six months later, this might have a large impact on the cinema audience.

Good for you. Pleased to see the Radio Times selecting your letter. Given there must have been quite a few letters reflecting on the Christmas schedules, it is refreshing to see ballet being chosen to bring this matter to its readers' attention.

I'd be interested to know what dancers think. On a superficial level, prolonged applause at the end of the first variation of a pas de deux must be welcome for the longer respite before an impending solo. But when there's clapping in the middle of a dramatic scene, I wonder if It can disturb a dancer's immersion in the character.

You've just brought back memories of when I saw Swan Lake at the Fenice performed by the same company. I was so taken up with the whole experience of being there, I think I might have been guilty of clapping at the slightest prompt from the sheer joy of being there.