FrankH

Thanks for all who have commented and reported on this. I'm booked to see it this evening. Unlike Sim I have never been to Nice, but even so the tragic happening there has cast a gloomy shadow on today - so I hope this will be a bit of an antidote. Pure escapism perhaps, but we all need that sometimes.

(This is a response from someone who has only been really interested in ballet for less than two years, and is still largely uninformed about many of the details of the art-form) I watched the live relay at my local Curzon. No technical glitches, and I didn't find the lighting too dark. A thoroughly charming evening. I realise better now why Sir Frederick Ashton has such a high reputation. Rhapsody. I wondered if my problems with mild sleep-apnoea would kick-in during an "abstract" ballet with no story-line, but found my attention only failing once, and very briefly. Of course, the glorious Rachmaninoff Rhapsody helped. Or did it? If the choreography isn't the inspiration of a genius, and if it isn't danced with passionate involvement by inspired and very talented dancers, it would be only too easy to just sit and listen to the music. I never felt the temptation to do so. Instead the dancing heightened my enjoyment and appreciation of the music. So, this piece alone makes Ashton a genius in my eyes. As for the dancers, not only the principals, but the whole ensemble, tremendous not only in their technicality, but in their obvious intense enjoyment of, and commitment to, what they were dancing. The Two Pigeons. Absolutely no problems with attention-wandering in this! And, contrary to some, I didn't find the Gypsy ensemble dances too long - for me, they were exhilarating. As usual, with every ballet company I have watched over the past year (7 different ones, including two often criticised - unfairly in my opinion - Russian touring companies), I have been especially impressed by the talent and dedication of the Corps. An additional appreciation for the extras - the pigeons, and their trainer, in TP, and, of course, the pianist in Rhapsody. I generally find myself being more impressed by the women, but this proved an exception. Nothing against Osipova, Cuthbertson, Kaneko etc., - they were all superb - but this time what lingers especially in my memory are the performance of the men. Especially the two leads. They are of course magnificent dancers, but in addition - Steven McRae, what an athlete, Vadim Muntagirov, what an actor!

The first time I saw them I was not impressed. When I saw them again last winter, I thought them much improved. I certainly didn't notice any "mucking about" in the corps. In my not very informed opinion, they are not as good as the "Moscow City Ballet", another of the touring minor Russian companies, which has also received flak from the more snobbish - or more discerning - critics. But in both cases, and especially with the MCB, I was actually quite impressed with the ensemble work of the corps. And, as has been pointed out before in this forum, they are bringing ballet to areas which rarely see live ballet. I, for one, am grateful to them for doing so.

I managed to get to both the Bromley performances. The good things I'd read about Northern Ballet seem to me to be absolutely justified. The casts for both nights were excellent. Both Pippa Moore and Rachael Gillespie portrayed Butterfly in a sensitive and moving manner - and were complemented magnificently by their partners, Kelley McKinlay and Javier Torres. They are all not just accomplished dancers, but very good actors as well. I was particularly taken with Rachael Gillespie, and will be following her career with interest. The other featured dancers were also accomplished dance actors.This applied also to the "minor" roles. I believe that in ballet, as in opera and other forms of theatrical arts, it is the quality of the acting in the minor roles, and in the Corps de Ballet, operatic chorus etc., which gives a clue as to the general quality of a company. In this the Northern Ballet are next to faultless. I am not qualified to judge whether the NB are "A Company that boasts the best dance actors in the world" (Dance Europe), but am quite prepared to say that they must be among the strongest contenders for that distinction. In fact, since I started getting really interested in ballet last year, all the companies I have seen perform live, have impressed me with the enthusiasm and acting ability of the dancers. This even applies to two sometimes maligned (rather unfairly, from what I could see) Russian touring companies. It certainly applies to the Royal Ballet, Northern Ballet, and Ballet Theatre UK (whose Aladdin I saw a few weeks ago in Croydon). Although not near a full house, both nights at Bromley had reasonable attendances, and the reaction of the audience showed heartfelt appreciation for the dancers. This also for the accompanying very different piece, Perpetuum Mobile, which I thought provided an excellent contrast with Madame Butterfly. So my grateful thanks to all of you (especially Janet McNulty and Terpsichore), whose advocacy drew my attention to this very fine company. I am sorry that their Wuthering Heights is, in the near future at least, coming no nearer to London than Canterbury - it's something I very much want to see. But I note that their Nutcracker is due at Woking in early November, and I am putting that in my diary.

Reading so many good things about Northern Ballet have made me want very much to see them in action. Their visit to Bromley on 12th and 13th June gives me an opportunity. Is there any way of finding out the casts of the two performances? I could go to either, and the casting might help me to decide which one to choose. Or perhaps I might decide to go to both! Many thanks to all who have posted useful information, reviews etc., on Northern Ballet in this and other threads - especially the one on "Wuthering Heights", which I would like to see if they ever take it to a venue which is convenient for me.

I'd like nothing better than for my stupid response to Ribbons to be deleted, although they were in the context of other comments about the RB Swan Lake, and especially Natalia Osipova, which I stand by. If the post is deleted, then all other posts alluding to it, e.g. by Harwel, Nina G., etc. would also have to be deleted, as their whole context would be lost. I can only once again, apologise to Ribbons, and point out to her that the whole correspondence actually places her in a much better light than myself. If that apology is not enough, I can't think of anything else I can do. I must also apologise to spannerandpony and the other moderators for the trouble I have caused them. I promise to try and behave better in future, but if they want to "ban" me, then I fully understand, although I shall be sorry not to be able to discuss ballet with an extremely pleasant bunch of people. I must just take this opportunity to say how much I love spannerandpony's avatar! That's just about the sweetest dog's face I've ever seen.

Dear Nina G. Many thanks for your generous reply. There's nothing I'd like better than to get back to "Swan Lake". An added reason for my silly and offensive reaction to Ribbons is that I realise that I might be becoming a "fan" of Natalia Osipova. From "I've never heard of her" to "she can do no wrong" - another stupid response.

If I haven't apologised adequately before, I certainly want to do so now. I believe that I did post that I might be being paranoid. Perhaps the sense that the impending elections are bringing all sorts of issues out - which I, as an "immigrant" feel deeply - have made me feel that there are many people in this country who don't really want any of us here. But I shouldn't have brought yourself, and Ribbons, into it. Again, there was a reason for my reply - but no excuse for it. It all teaches me not to post when, for reasons not connected to the forum, I am a little "wound up".

Please read my apology above. It gives a reason, not an excuse. And in hindsight, I believe that while my reaction was not entirely unreasonable, it was in the context, certainly inexcusable.

May I apologise to anyone offended by my last post? No, Harwel, I didn't think Ribbons meant anything about "Race". It certainly couldn't apply to anything about Osipova. However I still did find the implication that dancers from elsewhere must be somewhat "out of kilter" puzzling. Thanks to Janet and others for putting me right on what Ribbons actually meant, and apologies to Ribbons for my misunderstanding. As for "overtly political" being out of place, I would generally agree with MAB. However as the comment by Ribbons seemed to me (wrongly) to be about "foreigners" in ballet, it inevitably became linked in my rather feeble mind with the question of the furore about immigration, which is sadly part of the political scene at the moment. Not of course that I thought Ribbons was talking about immigration, but just that the general atmosphere in the country with the impending general election, can make anything about "foreigners" anywhere somewhat controversial. I tried to be as "unpolitical" as possible, by making my apology to UKIP supporters. In general, I get the impression that ballet-lovers are amongst the most enlightened and compassionate members of society, and I certainly get that impression about the posters on this forum.And amongst the most literate and well-informed as well.

I am not a fan of Osipova. Before I became a really committed fan of ballet only a few months ago, I hadn't even heard of her. Whether or not "her style jars with the rest of the company" is something I am not qualified to judge. All I know is that I was totally convinced by the filmed performance of Swan Lake - and if there was anything "jarring" about the relationship between Osipova and the rest of the company, I didn't notice it, and neither clearly did what appears to be the great majority of those who saw it around the world - leading to the massive number of favourable comments, and the request for a DVD. Of course the great majority of those who have commented so favourably on the Osipova/Goulding et al performance on March 17, will be as naive and ignorant about ballet as myself. And I do not criticise those more knowledgeable fans - such as I believe make up the majority of those on this forum - who are probably frustrated that people such as myself cannot see flaws in dancers/performances/productions which they so clearly can see. But on the other hand, it is amongst these sort of people that lies the potential for a future increase in the numbers of those who love ballet as an art form. As for dancers from outside the UK looking "out of kilter", there are numbers of these dancers in all the major British ballet companies. Is what Ribbons says actually correct? If so, then I find it intensely depressing, as it will only fuel the increasing "UKIP*" tendency in this country - a country which has been my home for nearly 70 years, and which I love intensely. And will further encourage the use of the word "foreign" as an implied insult/criticism. And to be taken as such, even if not meant. *[Apologies to any offended UKIP supporters - there are xenophobes and racists in all the major party, and one of the UKIP MPs, Douglas Carswell, has actually been one of the most enlightened and compassionate MPs on the vexed subject of immigration]

But I don't think the current dancers are "extremely" thin! And looking at various pictures of past ballet dancers, for instance in books about the Ballets Russes of the 1930s and 40s, suggests that the "current ballet physique" isn't very different. I certainly don't see that past dancers had "far more flesh".

Thank you, Mummykool, for pointing this out. As I was so impressed by the performance of both principals and Corps in the filmed transmission, I began looking with interest at the comments on this on the ROH website. It is quite clear that there was no plan originally to release the performance on DVD. Only the overwhelmingly positive response to the performance, and the numerous requests for a DVD, seem to have changed their mind. I am so glad that they have done so. I was intending to try and see a repeat at a local cinema, but I have caught a nasty cold/cough. And a DVD will be even better as a permanent record of one of the most impressive artistic performances I have ever seen. Incidentally the ROH website seems quite honest to me, in also including critical comments. There aren't that many on the Osipova/Golding Swan Lake, but there are two rather strange ones. One thinks Osipova didn't smile enough - doesn't he understand the story of the ballet!? Another person thinks that the Royal Ballet is involved in the "current obsession/taste for the very thin", and thinks that all the dancers, and particularly the female soloists, are "distressingly thin", and is aghast that "they seemed to be skin and bone with a layer of muscle." Does anyone understand what she is going on about? I fear that, in opposition to a supposed "obsession" with thinness - which possibly does exist in certain circles - society has become obsessed with the supposed obsession. I suspect that to some people, any woman who is not at least "Rubenesque" in physique must be unhealthy/anorexic/bulimic etc.etc. In my opinion, the dancers in the RB are precisely of the physique I woild expect healthy dancers to be.

At the end of the transmission, having stayed for the whole of the curtain calls - as had most of the audience in the pretty full Curzon cinema in Wimbledon - I turned to a gentleman a couple of seats away, and said "That was magnificent" - and he agreed. If I hadn't already had a dormant interest in ballet awakened by the live transmission of RB's "Manon", this would have done it for me. I know that posters in this forum find many flaws in this version of "Swan Lake", and I would agree with many of them. But somehow, all those flaws didn't seem to matter. I was just enthralled by the excellence of the dancing, both by the principals and by the very impressive Corps, combined with the beautiful playing of Tchaikovsky's wonderful music. I know that Matthew Golding doesn't seem that popular among the knowledgeable posters on this forum. All I can say is that he did what he had to do, and very well. It seems to me that Siegfried is a difficult role as it is almost bound to be partly eclipsed by the role of Odette/Odile. As for Natalia Osipova - again, clearly not a favourite with many on here - I had not seen her dance before, but knew she has a great reputation. From what I saw last evening the reputation seems to me to be fully deserved. She is the first Odette/Odile I have seen who has not only impressed me with her dancing, but made me actually fully believe in the characters. I cannot compare her with such as Evgenia Obraztsova, as I haven't seen their performances. I am quite prepared to believe that Obraztsova is better than Osipova - but she must be some dancer if she is! Osipova struck me as not just a wonderful dancer, but a fine actress. Perhaps this impression was helped by seeing her on live filmed transmission. Here we could see close-ups, in a way which otherwise could only be seen by those in the nearest rows to the stage - and even then not as well. I wonder if this isn't in some ways the best way of viewing a ballet/opera/play. Of course this depends on having excellent camera operators, programme directors etc. And of course the live audience in the theatre is absolutely necessary to provide the atmosphere and support for the performers. Watching ballet and opera in live transmissions makes me wish that we too could "applaud" in such a way as would add to the encouragement for the artists performing. Some observations from this novice at ballet appreciation: The "drunken tutor" I could well do without, but somehow he didn't annoy me this time - and he has a role to play in providing an opportunity for the two young ballet-school students to have a short time in the limelight. I love the long dresses for the swans. They look to me both beautiful and swanlike. And when worn by an excellent Corps such as that at the RB, add to the ethereal beauty of the scenes. Finally - please don't shoot the cygnets! Yes, they do somewhat "destroy" the atmosphere after the very emotional PDD - but that's surely exactly what they are meant to do. It is almost impossible for any dramatic art to sustain an elevated emotional atmosphere without some moments of "light relief". Shakespeare, for one, understood this, as anyone who has seen, for example, "Macbeth", will have noticed. If that was how Tchaikovsky wrote it, it adds to my appreciation of his supreme genius.

I attended the RSBS's performance of "Swan Lake" at Wimbledon on 25 February. The programme I bought had a cast list for the performance inside - with the warning - in capital letters - "PLEASE NOTE THAT NAMES IN CAST LIST ARE SUBJECT TO CHANGE". Although my seat was some way back, I had my pair of 8x binoculars. With these I could get a better view of the faces of the dancers. It seemed to me that the ballerina dancing Odette/Odile wasn't the one in the cast list - Ekaterina Bulgutova - but possibly was Natalia Bobrova, judging from their photos in the programme. But is the programme entirely accurate on the photos? - it seems to be produced by the tour promoter, Raymond Gubbay, and not by the company itself. (The programmes for the Moscow City Ballet seem similarly to be produced by their tour promoter, PMB Presentations). Even if the photos are accurate, make-up can radically alter the appearance of the dancer. However, if I had to make a judgment, then I would suggest that Bobrova was the ballerina in the Wimbledon performance of "Swan Lake". The advertised Siegfried, Yury Kudryavtsev, did look like the photo in the programme. As for the performance itself, it was entertaining, and I certainly don't begrudge spending money to see the RSBS. This was the third "Swan Lake" performance I've seen "live" this winter, the other two being performances by the Moscow City Ballet at two different venues. As with the MCB, I felt that the RSBS were enthusiastic and competent dancers. Again, these are not people merely going through the motions to earn money. In any case it seems clear to me that anyone who is involved professionally as a ballet dancer, must have tremendous determination and dedication to carry on in this most demanding of artistic professions, with mostly meagre financial reward. Of the two touring Russian companies I have seen live, I preferred the MCB, but then I have seen them 6 times, and the RSBS only once. Of the two versions of "Swan Lake", I certainly preferred the MCB's. The choreographers of both companies seem to have made their own imaginative variations of the ballet - again showing that they are not merely going through the motions, but applying real artistic imagination to their performances. I just felt that the variations made by the MCB worked better. For instance, I didn't really like the RSBS Swan Lake's ending, which is "low key", omitting the evocative switch to the major key transformation of the main theme which closes the ballet in most versions. This alters the feeling of the ending. While a "happy" ending is abhorrent, the traditional major-key ending gives a "redemptive" feel to the ballet, which is surely appropriate - signifying the triumph of love over death and evil. I have seen what I suppose is the current Royal Ballet version of "Swan Lake" on their DVD - and have booked to watch the live filmed transmission on March 17 at my local Curzon cinema. From what I saw on the DVD, I don't prefer the RB's version to either of the touring Russian companies' ones. I would put it at the same level as the RSBS, and both well behind the MCB. For a start the MCB does not have that annoying "DrunkenTutor" which appears in the Royal Ballet version - I feel very sorry for the poor dancer who has to play that embarrassing role. Looking at the extremely strenuous tour schedules of both the MCB and the RSBS, makes me even more appreciative of their bringing ballet at a reasonable price to various venues, who might otherwise rarely if ever put on live ballet.

Something else I ought to mention, considering the thread on "Audience Behaviour". At all six performances I attended, at the three different venues, the behaviour of the audience - or at least the part around me I could see - was impeccable.

Dear Nina G. Thanks for your reply. As I said, I do not criticise anyone if they do prefer people of particular appearance for particular roles. I would find it strange if, for instance, Henry VIII in Wolf Hall were played by a black or asian actor. Although I would hope that if they were brilliant actors they would win me over. However I do look forward to the day when anyone of any appearance can take part in ballet, Noh, flamenco, or what-you-wil, without their "ethnic" appearance being an issue, I think that day is a very long way off - and I still believe that actors/dancers of oriental appearance have a barrier to overcome which those such as, say Benedict Cumberbatch, Sarah Lamb, etc.etc., do not have. That's just a fact of life.

With utmost respect, this is the sort of comment I, as a person of oriental appearance (Chinese "ethnicity") have come to expect. By the way, I came to this country in 1948 as a child of 2, have lived here ever since, and am pretty totally English as far as my cultural identity is concerned. But of course, I still look Chinese. I realise that oriental appearance will be a put-off for some people. It makes us look "inscrutable" to western eyes. Eventually one day, maybe, with greater familiarity, that barrier will no longer be there. Until that happens, even if an actor/dancer of oriental appearance does well, it will not be accepted by people who prefer artists who look "white". I am not criticising these people for this - just as I don't criticise people who dislike particular foods (I hate cauliflower), it's a personal taste. However I have to point out that a similar phenomenon does not exist in reverse (i.e.oriental dislike of "western" appearance). I haven't seen Takada or Choe in Onegin, so maybe you are right in this. But I did see Choe in Cassandra, and she seemed quite OK as an actor to me. Maybe I am being oversensitive, after all these years living in the UK, and seeing the rise of UKIP. So I apologise if I am injecting a rather sour note into what is in my experience, one of the friendliest and most civilised forums I have found on the internet. But you did bring "ethnic" appearance into it. And experience tells me that even if Takada and Choe were as good actors as Nunez, Osipova, Lamb etc.etc., there are those who won't be able to accept it. Maybe one day an actor of oriental appearance will win a Bafta, Golden Globe, Oscar etc. - but I expect it will be a long, long time before that happens.

I'm so glad that the MCB have impressed some of the more knowledgeable members of this forum. Having already seen them in Wimbledon and Croydon (twice at each venue) before Christmas, and thoroughly enjoyed their performances, I saw them perform both "Giselle" and "Swan Lake" at the Richmond Theatre in January. Again I found the occasions highly rewarding. I was going to post about that, but as a newcomer to ballet appreciation I wondered if I hadn't already overpraised them after the Wimbledon and Croydon performances. Then there was a rather snooty review of the company which I read via "dance links", where the reviewer was in effect damning with faint praise. While stating that she wished them well, the reviewer was dismissive of the choreography, and especially rude about Talgat Kozhabaev, whose main quality, according to her, was his size! Well, even I can tell that he's not in the very top league of the world's best male dancers, but he seemed to me to be quite adequate, and, like all the dancers, played his part with winning enthusiasm. This doesn't seem to me to be a company just going through the motions to make money. In any case, as the thread on "How much do ballet dancers earn?" in the "Doing Dance" section of this forum reveals only too well, ballet dancers are paid very little considering the talent, dedication, and sheer energy they have to put into their profession. There are many many far easier ways of making a living. I've now seen them six times, performing four different ballets, and would not hesitate to see them again if the opportunity arose.

Thanks for this information and for the YouTube link. May I apologise to yourself and to the moderators, for neglecting to edit out the embedded link in your post when I quoted it. I presume that I wasted "bandwidth" by not doing so.

What is the context of this beautiful performance? Are the other dancers also students?

In other words, western ballet companies should not employ Chinese dancers. Although British (came to this country in 1948 at the age of 2), I am of Chinese ethnic origin and have many relatives over there. There is very much that is wrong with China, but also much misunderstanding and misrepresentation in the west. And I'm afraid I often detect in western comments on Chinese, and other east Asian ethnicities (Korean, Japanese etc.) a sort of attitude which portrays all of us, (and the basis is definitely ethnic/racial rather than national), as basically one-dimensional "unrounded" personalities, who only achieve success because we are obsessive, geekish, unfeeling automatons - whereas westerners are properly rounded complete human beings, who achieve because of true talent. This is a hurried reply - I'll perhaps try a more considered one later - but I have to rush off to the London Wetland Centre, where I am a volunteer. Forgive me if, as a newbie, I've injected a rather sour note into the discussion, but I'm afraid you've touched a raw nerve with me.

When I received an email with further information on the event, it mentioned that there are still limited places available. "Booking in advance is advisable however tickets will also be available to purchase on the door." There is no station particularly close to the Academy, but bus no. 170 [Victoria - Roehampton] has a stop nearby. Clapham Junction is probably the closest station.

Of course I've no idea whether or not they asked permission. If "they" didn't - and in this case I suspect the "they" would be PMB Presentations, who are promoting this tour - then the person who has most reason to be upset is Bruce Wall, since he isn't acknowledged as the author of the review. On the other hand, it seems to me to be good publicity for the balletco.forum. If I hadn't already known of its existence, I might very well be googling to find it. [incidentally, how does one contribute financially to this site - I understand this would be welcome, yet I can't seem to find a link as to how to do it] I've been again to see the MCB this last week in Croydon. On Monday I saw Swan Lake, which I enjoyed as much as I had enjoyed their Nutcracker. This prompted me to go the following night to see their Romeo and Juliet, which I had no plans previously to see, as I didn't think I would it like very much, as I'm not a great fan of Prokofiev's music. Well, the MCB's performance was highly entertaining, and they really "sold" this ballet - or at least their version of it - to me. I even got to like the music! When I have more time, I'll try to review my reactions to these last two performances. I'm only a beginner in ballet appreciation, so don't take my word for it (but do pay attention to Bruce Wall's favourable impressions), but I think the MCB are far removed from the plastic "Russian" companies which Alison rightly derides. For me, the MCB seem a company worthy of support. I've booked to see their Giselle at Richmond in January.

Thanks to Sim and Mary for your kind remarks. I had so enjoyed Moscow City Ballet's Nutcracker that I saw it again two days later. It was an equally satisfying performance. This time I managed to get a cast list. As I thought, Talgat Kozhabaev had been one of the male leads, Drosselmeier, on Thursday, and here he was again in the same role. Drosselmeier has a more important dancing role than he has in the version danced by the RB in performance on the Opus Arte DVD. For MCB have their own version of Nutcracker, firmly classical in spirit but with significant innovations in the choreography. These innovations are described in the review by Bruce Wall in these ballet.co forums. That review is featured in the MCB publication - a handbook rather than a programme - which is sold at their performances. It's worth getting as it details all the four ballets they are performing in this particular tour. The review is credited to 'Ballet Co". Reading Bruce Wall's informative posts on the MCB, it appears that the company is characterised by making intelligent variations on classical ballets, that being the policy of the late Founder and Artistic Director, Victor Smirnov-Golovanov. From my very limited experience and knowledge, I would agree with Bruce Wall that these innovations in Nutcracker are imaginative, and actually improve the structure of the ballet. For instance, it is surely an improvement to increase the dancing importance of both Clara and Drosselmeier. In particular, in the MCB version Clara dances the Grand Pas de Deux with the Nutcracker Prince, and it starts as a Pas de Trois involving Drosselmeier also. As a newbie to ballet appreciation, I don't know whether this type of thing has been tried before, or is original to the MCB, but in any case it seems right to me that the high point of the ballet should involve the main characters. On Saturday evening Clara - very definitely the lead ballerina role in this Nutcracker - was danced by Yuliya Zhuravleva, who I think was also so cast on Thursday. The Nutcracker Prince was different from Thursday. I have no idea who it was on Thursday, but on Saturday evening it was Andrei Zhuravlev. As on Thursday, I thought the Corps were remarkably good. Mary, I have recently bought the Opus Arte DVD of the RB performing all three Tchaikovsky ballets. This must be of a different performance from the one you and Beryl H have, as, while it does have Miyako Yoshida in the Pas de Deux, she is partnered by Steven McRae, and the Rose Fairy is Laura Morera. I have been so impressed by the MCB that I have booked to see their Swan Lake in Croydon, and am planning to get to their Giselle in Richmond in January.