SwissBalletFan

A funny reminder about how fast things have changed at Berlin

I think you will find tha you are describing the Swan Lake that Alexei Ratmansky recreated in Zürich. However the creepy Tutor dance was included as a part of the original notations.

I am sure most of the public would agree. However, is then Scarlett as a generally inexperienced and not very proven the right man to deliver a traditional approach? Is the choice of choreographer not in itself an insight into what they might be expecting from the piece?

The online stream is working very well. FYI. Facebook post translation: The "Golden age" - live! In half an hour on the official channel of the bolshoi theater will begin live webcast of the ballet "the golden age"! From setting yuri grigorovicha to music by Dmitri Shostakovich is breathtaking: fascinating story, the original choreography, accurately transmitted by the spirit of the age. Here is all over the place: passionate tango and liricheskim duetam, confessions in love and cruel skhvatkam! Don't miss the opportunity to enjoy the ballet of the stars of the big ballet performance. ✅ go to the channel for the link http://media.bolshoi.ru/play/ ✅ Register or enter the login and password, if you already have an account. ✅ Select a section on "channels" in the menu in the upper left corner. ✅ Tune in to the broadcast and dive into the atmosphere of the 1920's, together with our heroes! The composition of the performers and a brief summary: http://www.bolshoi.ru/performances/2001/ Live at videokanale is available only in the territory of Russia. At the end of the live audio recording of the show will be available for viewing for 24 hours.

To be fair, ENB's Giselle very much brings the story of ballet to a migrant camp which is hugely political, and comments on the page about how brave it was etc., etc., In making a new story for Swan Lake, and given the timing, I would say that issues of today would be very relevant... if maybe too close to home. I will not mention it further in this thread, as requested, but leave the point as a valid idea.

David, I am not quite sure you got my point... in 2018 people living in Switzerland may also need visas/arrangement to travel into the EU to other countries due to the vote against the free movement of people in the EU. (although this was more to protect the high unemployment and retirement benefits). So it could be either way. As it stands today both of our countries are part of agreement for free movement in the EU,(actually Switzerland is in the Schengen area so actually easier currently), in the future, it could be rather different, so it has nothing to do with anyone currently visiting Switzerland which is also part of the Economic Union. The UK has voted to be outside of the Economic Union, and not to allow free movement of people. Reading the current stand of the EU leadership, I think a visa is the least of your worries. I think the 'oh dear' is unnecessary. Back to Swan Lake ideas...

British and Modern...? How about The Queen making an appearance on stage, saying that she owns all of the swans and then eating them all? Or as it is in 2017/18, why not celebrate the status of the UK as a wonderful and successful country in its own right? Maybe Theresa May could also appear, putting the flags of swans from which country they are from? Or how about all foreign swans being stopped from landing in the lake and being turned back to where they come from? Come on guys, this is the biggest decision the UK has faced in years, so why not a Swan Lake that acknowledges that? No need for worrying about refugees plights or Kalashnikovs. I hope they put in on in the cinema allowed to be watched by outsiders, as I will not be applying for a visa to watch it in person. I apologise if this sounds political or OTT, this is the reality being discussed for the UK.

They are also streaming the show on their official video stream according to their facebook posts (in Russian) I guess as usual, if you are in Russia.

I think it is more accurate to say that he is no longer AD at Stanislavsky, rather than he quit his position.

I frankly find it amazing that he is making something new when there are still many, many open questions about the way he dealt with Frankenstein in terms of his aims, and especially about issue with the execution of the piece. I think the best thing he could do would be to change the Swans to Ducks, and put a big target around his neck and on all of the dancers. Give cork pop guns to all of the audience members, and critics to fire at them all....He can call it 'Duck Hunt'. I think that the 'powers that be' that were questioned after Frankenstein, as well as Mr Scarlett himself are putting themselves up to an impossible task. I think Mr Scarlett has talent to be shaped and to make a great career, but Swan Lake has been done a thousand times, with a thousand different styles and results, and everyone has their favourite. Ratmansky said that he would never try to take on a new Swan Lake version (with his reconstruction in Zurich) he said wisely that he couldn't add anything to the versions. It could however be the making of Mr Scarlett if he is hugely inspired and has the support artistically and for execution of the premise. Duck Hunt or Swan Lake? I think the open questions from the Frankenstein need to be addressed though. Otherwise will we see Carlos Acosta Making a new Don Q too?

I guess it will be of extra interest as RB will be performing these pieces this season. Here is the link to the television stream that started this evening. http://www.ontvtime.ru/index.php?option=com_content&task=view_record&id=1490&start_record=2016-10-09-23-25 I think that this is totally fine in terms of licensing and checking, the same as all tv streaming websites.

this is now being streamed by Bolshoi at this moment http://www.ontvtime.ru/live/russiak-2.html You can watch it from the beginning in this link: http://www.ontvtime.ru/index.php?option=com_content&task=view_record&id=1490&start_record=2016-10-09-23-25

It was broadcast on 3.00pm Christmas Day 1969 by the BBC. FULL CAST: http://genome.ch.bbc.co.uk/3311511be3634273b918fd863992d802

It seems the film has been in edit for the last 3 years, much before Natasha was together with Sergei. On reflection, the only dancers to feature are his friends from his youth at RB. Also, SP's mother and father who feature a lot speak russian in the movie, so make sure you can read the subtitles

I attended the European Premiere in Zurich last night attend by Sergei and Stephen Cantor. In the opening Q&A Sergei was very thankful for the support production, his friend and mother for providing a lot of the video content, and suggesting that the 3/4 year edit of the footage was very much due to gaining trust with Cantor about what or why the movie would be about. Cantor said that 'in the main' it was a pleasurable experience and that it was 4 years of edits and discussions and he hoped we liked the film., Basically its an entertaining film which was rather like 'Amy' about Amy Winehouse with the mix of home footage, detail from friends, and watching the best performance parts on film. ********what follows is quite a specific telling of the themes of the documentary, content, and thoughts...so may be spoilers************** I must say in general I enjoyed the production, soundtrack and pace of the documentary, I enjoyed sitting there watching and listening to the views of Sergei from his good friend, father, mother and Sergei in his own words. After a bombastic starting scene focusing on press clippings with the word 'bad boy of ballet', 'genius', etc etc... the movie generally is an attempt to tell us about SPs humble beginnings, the difficulties of ballet, and that his parents gave everything for him to study in Kiev and then Royal. There is some family footage, and it is very much that SP believes he can keep his family to gather with dance. Then the rise of him training, alone, doing more classes and hours than anyone, and being the best at RB, solo roles, promotion, intercut with some videos of smoking and drinking shots to show the bad boy. There is a lot made about the press coverage of SP walking out on Royal Ballet from the news etc... so far...so as expected. It seems the documentary footage starts between Stanislavsky and dancing for Novo Sibiersk with ongoing discussions about the love/hate relationship with dance. It seems that the premise of the movie would be that the Take Me to Church video was supposed to be SPs last dance goodbye to the ballet world (which i didn't know)., and seemed to me in my impression that this is why the documentary was made. ( of course we now know this not to be the case) We then moved on to more dancing, which was then I thought it might end with a point about Royal Ballet/ New beginnings and things he realised about his career, and so looking forward.... but sadly not. Therefore comes the reminder of the Q&A in the beginning, 'what was the point of the documentary and its focus' and the reminder that SP is still dancing, is still young, and still very talented, this is when at the end there is a disappointment, as a bit of 'what have I learned?' I think for SP fans it is great, for ballet fans in general it is a familiar story arc with some great footage of SP at his best. I think with some thought and with musings about how SP maybe rejoining Royal it could have ended with an energising 'new beginnings- phoenix from the flames-watch me go' and it would have been satisfying for the general audience and would have gained a huge audience for Sergei's future performances. However the story arc is about talent, family sacrifice, the importance of family, family separation, and now family come together to watch SP perform. The words of his mother and father were touching at times, and they seemed lovely, could 'hit home' for parents of dancing children. Note for her fans--- Natasha does not feature in the film at all.

Thank you for the Mytha casting Angela. I think what thats what I mean about Osipova being herself and very charming, I didn't really believe that it was Giselle, for reasons that she didn't really seem frail or unwell, or very shy, as one might expect. However, very loving, sunny, and well, how I could imagine natalia herself being in that situation with sergei in the story line. To be fair, Peter Wright does speak very highly of Osipova in his autobiography and he looked very happy on stage last night, so I can imagine he allowed her to have her own interpretation of the role.

I agree with Angela, especially Osipova's arms not being in any way from the romantic style. The audience did not seem to be the typical Munich crowd, as there were lots of Russians and some whooping from a single Polunin fan. I hardly felt there was any emotional dialogue, and high emotional points, and the 'mad-scene' was very much too controlled. It was great to see Osipova feeling free and being herself, but she is not my Gislle, however technically good in the second Act. Polunin was not really noticeable in his performance up until his jumping enchants in the second act. There were also a few hiccups that may have been due to lack of rehearsal: Osipova's veil had some difficulty being removed, she ended a variation dancing into the side of the stage rather than off into the wings. She also poured her flowers all over Polunin's head and back which maybe looked like a deliberate show that their relationship is not at one of its highest moments....talking of which, it was my first time seeing them dance together, and I could hardly have guessed that it was the same 'in love' couple I heave read so much about in their interviews. The scenery was great, the costumes had a feeling of being cheap, and not of real quality. Myrtha was technically if a bit mechanical and also low on emotion. The corps also looked technically well rehearsed and very much together, if also missing a bit of emotion. In summary 3 stars.... If I didn't know the leads were 'huge stars' I would say that it was a nice production, but lacking emotion, and that Giselle needs a more classically romantic training for her arms and a deeper understanding of the story. Natalia is however very charming as herself in the first act. Also, it might just be me...but the orchestra sounded very iffy in the horn section and throughout and I was surprised that the Munich orchestra has such a strong reputation. (but I am very much not a classical musical expert at all)

But anyone with some really juicy gossip...please feel free to send it to me by PM On an administrative note, is this thread now including France? (fine by me, just a name change may be needed)

I didn't see it, but do you think that this idea came from the success of 1984 as a ballet last season? I read that the dystopian and scary theme actually gave an exciting edge and energy to the dance. So I would imagine people would be warmer to the idea, than if 1984 would not have been previously.

Thanks for this Janet. I am sure that as usual, when anything is broadcast live on the internet a recording will pop up somewhere. I guess that the showing on the internet is to prevent so many guests & staff having to get taxis to the performance and expensing them (a reference to the POB expenses 'scandal' under Millepied)

This is very much what is happening at the moment at Berlin with Nacho Duato. I think the problem is that Sasha Waltz is very much more 'Dance Theatre' which is big departure from 'Modern choreography'

not quite the first Time in Europe, Floss, Ratmansky's Sleeping Beauty was a co production with La Scala who had the piece in their repertoire last season. The premiere cast with Zakharova as Aurora, Jiacopo Tissi as Prince, and Nicoletta Manni as Lilac Fairy. People from the forum may remember the issues with the Prince casting as it was supposed to be Hallberg, then Polunin who had a strange neck problem and pulled out.

I noticed that Ballett Zürich have advertised for newly graduated ballerinas to apply for Alexei Ratmansky's Swan Lake next year. Just in case its useful for some dancers here. VACANCIES BALLETT ZÜRICH IS LOOKING FOR FEMALE DANCERS FOR THE REVIVAL OF SWAN LAKE (CH. ALEXEI RATMANSKY) Ballet Zurich will bring back Swan Lake (choreography: Alexei Ratmansky) in season 2016/17. For this production we are looking for additional female dancers who should be available for all rehearsals and performances from February - April 2017. Requirements: recently graduated from ballet school, height between 167 cm and 170 cm, excellent classical technique. CV, portrait photo, dance photos can be sent to: audition@opernhaus.ch

I find this really a strange development, I would imagine the staatsballett is the new directors and the powers that be. That the administration themselves support the petition I find puzzling. In other news casting for the new nutcracker and Giselle have been released. Iana Salenko is Prima Ballerina with her husband for nutcracker. Ksenia and Zurichs ex soloist Denis Vieira are the second cast.

The film will be shown at Zurich Film Festiva at a Gala Showing on 25th September and Sergei Polunin will be in attendance. Tickets are still available at a very reasonable 22chf. https://zff.com/en/archive/12665/ I will be watching the movie on the night and will report my findings.