SwissBalletFan

Yes it was Janet. It was also quite a send off if you see some of the photos on social media. Not quite a big as the London happening but suitably celebratory

I understand, and with a discussion about Polunin pulling out of Ratmansky's Sleeping Beauty in Milan, I can also understand that 'these are the risks you take' etc.. In terms of Osipova who is being discussed ad infinitum at the moment due to this issue, you can't help but feel there is something of an influence by her new official beau. A quick note on this, is that it was widely known that she was in a relationship with Polunin for many months before it became official, and I am in Switzerland and not heavily connected to the ballet world, but there are many more things that are 'known' about these happenings than can be said on these forums due to the very understandable rules. I just wish they would keep their business under wraps a bit more rather than people knowing more than they should about the whys and wherefores of these events. Regarding poor ROH, you mention Manon in La Scala, the premiere starring Roberto Bolle and Svetlana Zakharova was cancelled a few hours before the performance last night due to a strike by the lighting team. I don't know any of the issues surrounding their plight, but in this case I would very much say 'Poor La Scala' too. Also on the issue of being injured and announcing guesting roles, poor David Hallberg will miss the Manon with Ospiova, but has been announced for the Bolshoi tour of London, I am not sure when he has been announced to dance next for ABT. With the season of good tidings and goodwill, I hope patience and love of Ballet will see everyone through, there has been a spate of poor luck for some ballet companies and dancers, so lets all wish for a happy festive season and a happier more successful new year to all

I think it must be difficult for a ballet dancer to balance their stage perceptions of Princes, Princess and Swans etc... to the everyday life routine of being a ballet dancer. From the comments above, I totally agree about Steve Mcrae and from his dancing to him as a person I think he would say that he actively pursues the limelight and recognition, and that self-promotion is nothing to be ashamed about. I think that since Salenko danced with him this season, she has also been influenced by this noticeably in the past weeks. Then it must be said, it works, she is on the cover of Dance magazine this month, as well as being in many articles with Mcrae. For my taste its borderline, a bit bad taste, and not something a professional machine like Misty Copeland (whose machine I find is way OTT), and maybe a little advice would help them. Xander is also getting a little push in this direction I think. But they are very talented dancers and why not embrace a part of this market. I think its easier for someone like the lovely Gary Avis to be open and down to earth, and his characters and online persona is a little more inline with his social media posts - a bit quirky, fun and open. I would say, for me, I see social media as a way of seeing more photographs and getting to know what all of the dancers are doing, in terms of galas, training, and some nice photos. My online favourites for these purposes are Roberto Bolle, Viktorina Kapitonova, and Xander Parish. EDIT: I follow the British performers too, but have seen only a few live, so no offence

In my opinion, I would rather have Roberto Bolle, Friedemann Vogel, Vadim, or Acosta as a guest before even thinking about Polunin. Nothing against him, I prefer my stars to be a classic prince and inspire the company to grow together.

Dear Ms Mcnulty, Many thanks, I saw it on Twitter this morning an thought that it was a new article. I didn't notice the date as of October 2012.! (shock) I thought it was from the recent discussions. It was news for me that he had spoken about it, but I will pay more attention in future. Thanks, and apologies S

Here is a very interesting article and interview with Sergei Polunin on his life and why he left RB in his words. I will need a bit of time to digest what I think about his words, before I comment, but here it is: http://intelligentlifemagazine.com/content/arts/dancers-demons

Very welcome It does have a note to say to check often as more performances are added, I therefore think they might be new. I can imagine depending upon reviews, especially for this triple bill where the improving reviews may have had an effect

I used the ROH locator here: http://www.roh.org.uk/search/screenings?location=London+N1%2C+UK I found that the VUE in Islington is showing it EDIT: To be clear, I had a spare couple of minutes and wanted to help, rather than 'smug'. Give a bit of happiness to the world on a Friday

It is in the telegraph report in dance links: http://www.telegraph.co.uk/news/celebritynews/11977599/Ballets-hottest-new-couple-go-contemporary-after-being-banned-from-starring-together.html But I guess you could also ask Kevin Ohare directly, or if you ask other members of the forum then maybe you could ask politely?

Here is the Guardian article: http://www.theguardian.com/stage/2015/nov/05/ballet-stars-osipova-and-polunin-confirm-show-and-relationship?CMP=twt_a-stage_b-gdnstage?CMP=twt_a-stage_b-gdnstage

UPDATE: Watch live here: http://www.ceskatelevize.cz/ivysilani/11335705083-gala-des-etoiles/21538775312/

A note to let you know that La Scala's Gala des Etoiles is live on Rai5 WATCH IT ONLINE HERE: (http://oklivetv.com/rai-5-live/) at 8pm CET with an amazing line up. Backstage live coverage on LaScala's Youtube channel. From La Scala's website... 30, 31 October Orchestra of the Teatro alla Scala Svetlana Zakharova, Roberto Bolle, Massimo Murru Nicoletta Manni, Claudio Coviello, Mick Zeni Maria Eichwald, Melissa Hamilton, Lucia Lacarra Polina Semionova, Alina Somova, Maria Vinogradova Marlon Dino, Leonid Sarafanov, Ivan Vasiliev Running time: 2 hours 20 minutes intermission included Conductor David Coleman PROGRAMMEThree Preludes Lucia Lacarra, Marlon Dino choreography Ben Stevenson music Sergej Rachmaninov Piano Roberto Cominati from L'histoire de Manon Pas de deux Act I, Scene II Melissa Hamilton, Claudio Coviello choreography Kenneth MacMillan music Jules Massenet La rose maladeMaria Eichwald, Mick Zeni ballet by Roland Petit music Gustav Mahler Grand Pas ClassiqueAlina Somova, Leonid Sarafanov choreography Victor Gsovskij music Daniel-François Auber from Carmen Pas de deux Polina Semionova, Roberto Bolle ballet by Roland Petit music Georges Bizet The Dying SwanSvetlana Zakharova choreography Michail Fokin music Camille Saint-Saëns from Don Chisciotte Grand Pas de deux Act III Nicoletta Manni, Ivan Vasiliev choreography Marius Petipa music Ludwig Minkus from Light Rain Pas de deux Lucia Lacarra, Marlon Dino choreography Gerald Arpino music Douglas Adams e Russ Gauthier from Romeo and Juliet Pas de deux Act I, Scene VI Maria Eichwald, Massimo Murru choreography Kenneth MacMillan music Sergej Prokof’ev from Spartacus Pas de deux Maria Vinogradova, Ivan Vasiliev choreography Yuri Grigorovich music Aram Il'ič Chačaturjan PrototypeRoberto Bolle concept and choreography Massimiliano Volpini original music Piero Salvatori produced by Fausto Dasè visual effects and video editing Avantgarde Numerique and Xchanges Vfx Design from Le Corsaire Pas de deux Svetlana Zakharova, Leonid Sarafanov choreography Marius Petipa music Riccardo Drigo During the performance there will be a live streaming from the backstage on La Scala’s website and La Scala’s Youtube channel. The show will be filmed by RAI - Radiotelevisione Italiana and broadcast live on 30 October on the national and international networks, and on digital movie network. Live broadcast: Italy, RAI 5; Czech Republic, Ceska televiza; Russia, Vgtrk Pre-recorded Broadcast: Slovenia, RTV Slovenija; Japan, Tohokushinsha Live broadcast at the cinema: All’opera in France, francophone countries in Europe and Spain; Abramorama in USA Pre-recorded broadcast at the cinema: Palace Entertainment in Australia; SDC Corea in Republic of Korea; Sony in Japan; Latin America, United Kingdom, Ireland, Italy NOTES ON PERFORMANCES Continuing the tradition of the Grand Gala at La Scala, an opportunity to quench your thirst for ballet, for spectacle and for highest quality entertainment, this season coincides with the closing dates of the Expo and espouses, symbolically, its spirit of bringing together, this time through ballet, some outstanding international talent. La Scala’s étoiles, Svetlana Zakharova, Roberto Bolle and Massimo Murru, will do the honours of the house alongside the Corps de Ballet and international stars: on stage will be the most beloved ballets, virtuoso performances, the most spoken-about names and the new stars to be discovered. All this is Gala des Etoiles, a tribute to ballet-loving audiences through its protagonists

Here is a link to Vaziev's first interview after the announcement translated by Ismene Brown. http://ismeneb.com/blogs-list/151026-makhar-vaziev-appointed-bolshoi-ballet-head.html I find it kind of strange that all of the talk about the huge La Scala Swan Lake project to be completed, as it is distinctly my impression that the new choreography will be created in Zürich, and shown in La Scala with Zakharova dancing what has already been created. EDIT : Vaziev rather than Vasiliev, as I originally wrote. I don't want to give more scares Thank you Bruce Wall.

The RB position? Sorry if I missed something, but there is vacant position at RB?

I think it is great she is feeling better, so that is a big plus. I guess the management of ROH will have their say, and I guess that there is a different way to treat the main star of the company, and trust and respect is a large part of handling that sensitively. However it reminds me of what my mum used to tell me when I was a child, when I was too sick to go to school, ...then come the evening I wanted to play with my friends afterwards when I started to feel better. 'If you are too sick for school, then you are too sick to go and play with your friends in the evening'. I don't know the circumstances and I am sure they are very special, as is Ms Osipova, but I would prefer that she dances for her home audience before dancing for another company, in general.

That was me trying to take the situation lightly, as far as I remember the woman never really said anything that was very controversial, and it was Gordon Brown who was bashed for being the bad guy. But its actually ironic that the whole news became about the to and fro of their discussions rather than the important issues at hand, to avoid that happening, I'll not bother.

Dear CC, I did not mean to insult you, and I certainly didn't think that your intention was to be distasteful, but as many matters as sensitive as race, religion, sex etc., one must tread carefully when raising an issue. In a forum it is easier for me to write and say how I feel directly to you, but in a social gathering such as the ROH bar, if you mentioned it, I would hold my tongue and then probably be a bit like Gordon Brown and say something in the car afterwards hoping the microphone was switched off. Again, I think it is important to raise the point again, that the fact that you are watching these black people on stage is the result of years and years of hard work, family support, cultural bias, and the availability of affordable training in maybe 'traditionally ethnic' areas of London/UK/NYC/beyond. I once visited the Notting Hill carnival, and I didn't do any statistical analysis, but there were very few white people, in the audience, or in the festival. (of course). I also have visited a few rap concerts, and rock concerts. I even once went to a village to watch cricket, and there was some 'merry dancing' or folk dance with bells and sticks, who were all white, watched by all white people, but I didn't feel it was racist. I think that, ballet, like breakdancing, or Bhangra is a cultural and artistic event. I feel often as if their is some perceived 'hierarchy' of culture of which ballet sits atop as the pinnacle of a white upper class set. Which is absolute nonsense, and is only fed by ethnic minorities releasing their stories about 'how tough it was' etc.. The journalists should have stories about how tickets start from £2 at ROH, and 40% of the tickets are cheaper than watching a football match,the great majority of the people watching probably earn more than the principals on stage, but that is because the dancers are paid so little, not that the audience is rich. Oh and the audience is white in the majority, yes it is. Most of the people at rap concerts are black (% wise), the artists sing about how rich they are, and the people watching pay a higher price to watch it than it costs to watch ballet. So it isn't a rich elite keeping blacks away. Its a cultural aspect, of schooling, culture, support, and...taste. I read a lot of articles from UK press, and I am always confused about stories of 'why the UK cannot be proud to British, 'cos it is seen as racist'. When the national dish is Chicken Tikka Masala, and there are some great black rappers, notting hill carnival, cricket matches, bhangra, classical music, R&B etc.. I don't see why it isn't embraced, and each to their own. I have attended many multi-cultural events and a rap concert in New York where I was one of 3 white people in hundreds, I don't think the funny looks I was getting from people was them trying to work out what the % of the population was locally, and whether I was representative. I have also attended an Ed Sheeran concert (a white rapper-ish) and the crowd was about 50-50 and he didn't mention being white funny enough, or that his friends were black, but the audience had a great time, and didn't care. I think voices in ballet from dancers should be about bringing people together and embracing the love and artistry, not releasing divisive books about how difficult it is to be a black person in ballet. Also if you take a look at Eric Underwoods Twitter page, he loves the fact he is a model and one of the last photos is of him with Tommy Hilfiger who famously said that he doesn't want black people to wear his clothes, so I would take some kind of moral high ground with a pinch of salt. 'I want to be a great dancer regardless of my colour' is the headline on the front page of his latest article, it could just be 'I want to be a great dancer'. the subscript could read - just like all the white/latin/asian/russian/gay/straight great dancers you don't read about because it was so easy for them' or 'if i was white and still working my ass off because...NEWSFLASH...ballet is hard for everyone...you would be probably writing about a better dancer, because I am not that good'

If you are a fan of Ms Copeland and her dancing, that is great. The fact that Ms Copeland promotes herself, using race as a major part of that promotion, is a totally different matter. Read all of the press about Misty, it is 90%+ about her being black, and about her 'struggle to be recognised as a dancer' Well she soon solved that with the help of a promotion company. Is that the answer for our children? Instead of working hard in a studio and get the just deserts when they come. Get a promotion company and get yourself 'promoted' to a level you shouldn't be. It's actually a great idea! Lets pay other people to shout 'bravo' next time a DD does a solo, and not clap for other dancers so they seem less popular? Because the view of Copeland helping the ballet world is only a populism of her struggle based on a fabricated and out-dated, view of the ballet world. (Elites only) I have no bones about anyone making the best for themselves if they so wish. But please don't confuse this with anything like helping Ballet as a consequence of this, especially when its only to point out that she is black. Misty Copeland has secured her financial future and 'fame' and that's fine, but let's see it for what it is....she is to ballet, what Kanye West is to music.

Misty Copeland is promoting herself first, her race 'issues' second, her spin-off popularity into other areas of fame and marketing, then ballet needing to promote black people, then ballet ticket sales, and lastly some people might go to ballet to see other people dancing that are not her. The other issue about the fact she is the only dancer I am aware of that PAYS people to promote HER, and in this way a bunch of marketing guys 'blue-skied the ideas' what is Misty Copeland's ISP? Is she one of the best dancers of her generation? Nope. The best dancer at ABT? Nope. Hmm, she is black dancer yes, lets get that out to social media, and push the story as much as we can. Two years later.......She is the first black female principal ballet dancer at ABT. Although there was at least one other 'ethnic minority' promoted to principal at the same time, though you wouldn't know. Also, talking about guests...I don't remember Acosta being in any stories about being a black dancer/choreographer on Royal Ballet's US tour. In other news Tiger Woods is the one of the best golf players the game as ever seen. (full stop)

What a depressing thread to read. I really find this idea of 'well done'. Black dancers..how refreshing!? Distasteful. I think that the 'well done' should be attributed to a dance teacher, parents, maybe some government financial aid and potentially Carlos Acosta for inspiring and supporting 'non-traditional' or 'black' dancers that have the skill and talent to now be on the stage at ENB. I think it is great that all children and adults regardless of colour and also from the 'non traditional' areas of ballet dancers are supported. Whether it be regarding socio-economic class or race. Accordingly the 'thanks' should be given to people way before they are appearing on stage at ENB to whomever is supporting these children to have a fair chance to be able to be selected to dance for ENB or any other ballet company. I think all observers of ballet culture have some idea of the difficulties of any child becoming successful in ballet and 'to make it' and even financial and family support does not in any way guarantee success or a career in dancing. Therefore as long as the most talented dancers with the most potential are being chosen and still supported by audiences that are watching them dancing then its a really great story. I think that comments such as those already made in this thread distasteful ' I do feel bit sorry for her though, as you know that in a line of white swans, many eyes will be watching the black one, but fortunately she has no worries on that score. Long, elegant limbs.' I applaud that in the dancer in question showing her talents and going through all of the terrible comments she must have heard. (like the comment above) and is enjoying her career on stage. I hope that audience of the ENB (or on this thread) can catch up to the rest of the world where really, none sees how colour impacts the dancing, and would praise here long elegant limbs and many eyes are watching her for her lines' As I believe it is in most ballet companies in the world. This brings me to the 2 things that upset me in the ballet world... Misty Copeland constantly mentioning her race, (interestingly not her social-economic barriers) to becoming a dancer at ABT. Where she takes the limelight IMO unfairly in the press due to her !paid promotors! working for her to increase her profile, and where the other more talented dancers take a back seat and let their talent rather than race do the talking. And, Ballet Black, what is the use of prescribing that ONLY ethnic minorities can dance? I can understand representing local communities that are black in the majority, I can understand financially supporting the under represented black dancers in ballet schools over the world, but I cannot understand positive racism to the end that race first, then talent, is the factor for choosing dancers...as this is what the world is campaigning against, in the rest of the world.

I enjoy watching the ascent of talented and hard working dancers over the years, and especially when they 'arrive' dancing in a role that shows them off in a way that was totally unexpected, but really exciting, when you hear the audience wondering 'who was the one...that...' I find it also terribly sad, when a dancer for some reason falls out of favour and down the casting ladder, until invariably they end up leaving, or in rare cases fighting their way back. In these moments I see how difficult emotionally and psychologically to be a dancer, with the inner strength to carry on. It is at these times particularly, that I find myself moving in my chair willing them on during a challenging PDD or solo. Unless I feel it is thoroughly deserved to be a choreographers favourite, I am very much a fan of the underdogs.

Thank you Janet for your reply. I have read a lot of your posts and they have been great in getting to know the dancers at Northern Ballet and BRB, I fully understand your reply in terms of booking and going to see the performances. I guess also as a dimension to the overall 'support' and taste of individual dancers where you see the casts, (you may not be able to attend=, and how it impacts your enjoyment of the Soap Opera, or 'goings on' (I can't think of a better word, and 'politics' seems a bit harsh) where you have your favourites in general and see how they are progressing, and especially being chosen. Do you see the castings as a sign of quality? As in 1 is better than 2, is better than 3? And do you agree with how the AD sees the dancers? Thanks again and these are the thoughts 'bobbling' around in my head today

I see a lot of discussions in his forum about favourite pairs of dancers, and today just saw the words 'the third cast of winter's tale looks amazing', and it got me to wondering how the 'cast' system (no pun intended) gives any weight to how a dancer is doing, about partnerships, who is 'in vogue' My knowledge of such things comes from Zürich mostly where a smaller group of Principal dancers means that a first cast really means the 'best dancers' who will dance 8/9ish out of the 13 performances with the rest to a second cast and maybe a trial 3rd cast. With the riches of talent and resources at places like ROH, how does one read the casting list? Do you pick out your favourite couple? Take interest at who is chosen as first cast and think someone may have improved? Notice that a guest has taken the role of one of your favourites and ask why? Do you give a little cheer inside when you see one of your favourite (young) dancers getting recognised? Sorry for the many questions, but from reading some posts on the forums, I could imagine you think 'what does this strange guy mean'? Thanks in advance for your views, they would help me get an insight

At an artistic level, i feel that anyone taking efforts and creative steps to do anything to move ballet on is to be applauded. Should everyone like it? Definitely not. The fact that choreographers and artists take their own time, their abilities and put those into ballet is only a positive thing, and whatever the result the discussion is moved on. Whether the artistic output is my cup of tea or not...I for one am not a huge fan of Matthew Bourne's idea of taking popular movies and setting them to dance or putting them on stage. I can accept however that there is a gap in the market, people enjoy watching his shows, and he contributes a great deal to the narrative of modern dance. This thread is proof that these projects are merited as they, at the bare minimum, create a discussion. It's interesting that a critic's opinion has been mentioned as some kind of judgement on the issue, as it is just one more voice. The reason I was interested in joining this forum was to find how other people felt about the issues in Ballet/dance and if i don't agree when I read them, maybe my mindset will be changed from learning something from a point of view I hadn't considered before.

Dear all, I have heard from a friend in Russia and they still have the HD link on the Bolshoi youtube account here: https://www.youtube.com/watch?v=Emt57z3CE3c If you travel to Russia or know someone there. or have an IP address proxy account such as DotVPN for chrome. Then you can watch the whole performance online. I hope this helps.