SwissBalletFan

Reminds me of a card a friend once received for her birthday.

Here is the report on the demonstration with I think Nadja Saidakowa Principal dancer in the middle of the protest. http://www.morgenpost.de/kultur/article208223359/Staatsballett-demonstriert-gegen-Sasha-Waltz.html and here is the petition with a description in English. https://www.change.org/p/rettet-das-staatsballett-save-staatsballett

Dear Forum (especially Janet), as the casting for American in Paris (in London) has been disclosed, I wondered about Tobias & Martha, and whether their plans have come public? It seems like they had something concrete happening, but there doesn't seem to have been any news?

I have read 3/4 of the book, and I think firstly that Sir Peter Wright releasing an autobiography was a great idea, as he has so much experience and stories to tell. I think he seems a person who is expects a lot of himself, and is generally self critical. I found there were great things in the book, and it was a great insight (for example into the sales of the ROH cinema worldwide being so small,and not very profitable), it reads however as though he has been given a microphone and the result was an unedited version of how he speaks. To me it was reminiscent of meeting him after a performance, and you realise how lucky you are to be drinking a sherry with him afterwards, he speaks a lot and is very long winded, but you keep listening because he is a legend. Then, as he sips another sherry, you feel uncomfortable as he tells his very open views on legends of ballet, Ashton, Macmillan, and especially Macmillan's wife. I leave at 5am (it was a long book) somewhat tired, felling that it was really interesting, but disappointed, that with all of the knowledge Sir Wright has, it verges on the negative and direct opinions of much loved icons of British ballet. I see him a week later and he says, 'sorry old boy, I got a bit tipsy and shouldn't have said some of the things I said' I say, I have written down all of the thoughts and released them as a book. Sadly he visits BRB and ROH and walks around saying hello, but society looks at him bit suspiciously and disappointed and what he has said, and he realises how sometimes 'i just tell it how it is' and direct view, will really hurt the feelings of some very important people in the ballet world, and also those who read the result. I feel it was a misjudged attempt at a memoir for such a distinguished gentleman, and that may be the reason it has been removed, I think he may have some guilt about it's impact.

Thank you for this news Angela. I got parkett tickets early enough to see the pairing in Giselle, and now it is confirmed. Very much appreciated.

So, a 'part-time' AD who keep her own company and will choreograph 3 new pieces in 5 years, an administrative co-director to organise the work, and classical teachers to train the dancers for a new repertoire. No central responsibility for decisions, no strong direction, and no-one really taking into account the careers of the dancers, in terms of long-term planning or investment in them, on top of which the casting of the 'classical' will probably be just the same names who are the principals of the company. With an ageing company of classically trained principals, who have become tired of being sidelined with Nacho's favourites of modern choreography, and with Nacho having his leadership undermined for the next 3 seasons...... what could possibly go wrong? I think it is a terrible decision, delivered at a terrible time, which will take energy out of the company. Politics shouldn't really be responsible for cultural decisions, and this seems 'on paper' a great idea, but in real life, the company will fall to pieces. What was required, if the decision had to be made, would be a strong hand, to create a cohesive culture and identity under a single-leadership. I feel a professional director in the mould of a Vasiev at La Scala would have brought Berlin back from these dismal times, especially as they have some great dancers in the company. People mention that Malakhov should return, I am not sure he is appropriate, but would be an improvement....not politically, but better for the company. EDIT: Sorry for talking in absolutes, of course this is very much my opinion.

I have followed generally the recent ongoings at Berlin Staatsballett, but I am no expert, however I was under the impression that the perceived problems were due to the fact that Berlin audiences did not like the Modern style of ballet that Nach Duato brings, and so the ticket sales are lower than expected. How then does this follow that he will be replaced by an even less renowned (outside of Berlin) modern choreographer pairing? On a personal note, I find the state of European Ballet leadership at the moment is at a long time low. Berlin, Milan, Zurich, to a lesser extent Royal all following the modern choreographer routes and the results are very much less than thrilling, and I cannot imagine the works being produced in this time being remembered in another 10 years, let alone 50. The only shining light for me is Manuel Legris in Vienna quietly doing a wonderful job, and with a great repertoire. Munich is also exciting, if politically unstable.

It has been reported by rbb that it will be a joint position with Johannes Öhman http://www.rbb-online.de/kultur/beitrag/2016/09/staatsballett-sasha-waltz-nacho-duato-nachfolge.html

Thank you very much Janet.

The Gala is being shown on Russian Television Channel Culture tonight 21.10 CET, so 20.10 UK time. http://live.russia.tv/index/index/channel_id/4 You can watch if in Russia or have a VPN. Programme http://live.russia.tv/index/index/channel_id/4

Thank you for the link, I missed this update. I would, however respectfully ask the moderators to understand that as I was responding to another members request and aiming to help the forum members, that a message, or acknowledgement, even deleting only the youtube link would have been appreciated. Even the message that a message was hidden as it may contravene the rules. Especially as the video was added after answering the question. As a member who regularly posts about videos, and links to live streams to enrich the experience of forum members I will take not of the rule. Thanks SBF

Could somebody please explain why my post about ABT the dream was deleted? Especially without notifying me of the reason?

From the link in the first post. Which seats are available? There are 49 tickets available, in the Stalls Circle (sides), Amphitheatre (rear) and Balcony sections of the auditorium. The Balcony tickets are for standing places. Surely the best thing about this is that you don't have to queue outside, and then stand during the ballet too. I did this once in Vienna, pretty much took up most of my afternoon, but it was definitely worth a ticket for a sold out show. Also, I would imagine that these tickets will be snapped up by IT savvy fans with a quick internet connection, rather than maybe the more determined fans on a budget who would queue, which I would not see as a positive development.

Yes. It is performed by ABT with Alessandra Ferri,Ethan Stiefel, and Herman Cornejo (2005) Not available on Amazon.co.uk https://www.amazon.co.uk/Frederick-Ashton-American-Ballet-Theatre/dp/B0006JHRD8 But available from the US: https://www.amazon.com/Ashton-Stiefel-Alessandra-Cornejo-American/dp/B0001L3LVS A quick point that may be obvious. If you are not from the US, and want to buy it. Make sure your DVD player/system can play multiple DVD region formats before purchasing.

I think marrying the owner will mean that she would have an ever increasing influence on the ballets, the choreography and the company. Maybe she will take over the mantle when she retires. This could be the reason they have tried to produce a new choreography, she would I ( I imagine from her promotion and self aggrandising) be AD at least, after she retires. It it is all very reminiscent of the Ballerina in the Hans Christian Anderson movie played by Zizi Jeanmarie.

I have not seen the production, but I was becoming really sick and tired of the promotional press. The way that every tired cliche of ballet was played out... 'turned down because I was too fat', 'I was turned down by Bolshoi and Mariinsky but I have worked so hard determined to get back' 'I don't eat sugar and no fats, I have a chocolate biscuit every ten years' 'I want to help the world with my talent and was inspired by the plight of the refugees' ( a 1%-2% contribution isn't really charitable) 'ballet's greatest talent', 'world great' 'superstar' 'prima ballerina' The reviews have been in general terrible 1-2 stars, and I even researched the global press and history, just to see what was going on. The story was always the same... 'tired underrehearsed production, with too much time and focus on 'Irina' who plays the audience rather than the role, she has some skill, and drags out the audience applause.' 1*/2*/2.5*/ 3* maximum. What is the surprise, or do people still remember that one-off Swan Lake at the Royal Albert Hall that transformed her to 'stardom' or at least declaring it? I also note the 4* reviews raving about how amazing her talent is from the smaller publications....probably to be put on the posters in Edinburgh. I am sorry if my post come across as cynical, or mean, but I am quite tired of dancers where hyperbole, self promotion, and mediocre talent take all the headlines, because they have the promotional capacity. There are plenty of amazing and talented dancers performing in the UK and elsewhere that could use part of the ever-diminishing column inches for ballet. Also, reading the Daily Mail story, really made me think to which depths she would sink to to get a headline. I am sure I will never go to watch this company, and I feel bad for having to be so negative, but it really has annoyed me because it doesn't help ballet hearing the old clichés all the time.

Hi LinMM, I am sorry to tell you that 'carriages' is another way of saying 'this is when you leave'. So it is the end of the evening, and you will have to find your own way home...carriage or otherwise It is of course from olden times when you would probably ask your carriage to be waiting to pick you up. This term is often used at formal meetings or events, I have seen it a formal guild dinner, and also on a wedding invitation. I am sure the British contingent will have more background on the etymology.

I agree, there are quite a few hot names joining the company. One I would love to mention who will be dancing Spartacus to keep Sergei on his toes. I think once the dust settles, the problems will all be explained away, as 'the things that one might expect from a dramatic transition', especially if Zelensky can keep Polunin under control and bring him back to his best.

I think if it isn't obvious to other travellers, then I think it is a great idea. My only worry would be someone standing in front of me tapping it, or seeing it as a sign of 'get out of the way - i have a right'. It is very often the way in tight stressful journeys, that a smile and 'excuse me, would you mind please if I can sit...' it would be universally accepted on both sides. To avoid any misunderstanding I will point out I am trying to make a joke in the following lines: I wonder, with the 24 hour opening of the tubes, that they can sell the badges in pubs, as after so much drinking, a seat may be appreciated. Have read that the design of the badge is a blue circle (true), so will this also affect the use of the balletcoforum badge, or would a member be tempted after standing in stalls for a 3 act ballet

Do dancers really 'check-in' their dancing things? I saw a ballerina at the airport once, Tutu over the shoulder, pointe shoes, crown, make-up in bag. 'I have everything I need for the performance except hairspray' she said.....'do you know where a pharmacy is here

Of course Capybara thank you for bringing this to the fore. I think I would like to watch it. The full program actually gives a greater insight into the gala, and actually how some of the 'usual faces' will be partnered together. I cannot imagine that 'Dying Swan' plays to the virtuosity of Salenko, and will be interested to see how she does it. Steve McRae performing 'Something Different' a tap solo of his own choreography is also another departure that will be interesting if he is Fred Astaire or circus show. Interestingly the ADs Elias Garcia & Xiomara Reyes have given the Tchaikovsky Pdd to pairing Cuthbertson & Muntagirov rather than Salenko/McRae. Also it seems that Garcia/Reyes have adapted their own Pacquita Finale for the company which will be interesting to see how they can show off the best of the company after an 'all-star' gala. I also think the Kitri performance by Melnik (not mentioned above) is a great opportunity for her with Simkin. As an aside, there have been lots of very interesting live feeds or videos being introduced here on Balletcoforum as a one liners, straight from the promoter without much introduction or giving much to debate or to discuss about the programme. I feel personally, that it is great to hear about events that I would probably miss without them being posted on this forum (so, thank you very much!), but ..... I would very much appreciate if a little more time or introduction was given along with the link to get a full picture and to pique interest and insight fully. I watch a lot of galas in Europe, and although as Dave says 'usual suspects' there is certainly a lot more than the names behind this gala with the ADs / programming. http://www.liceubarcelona.cat/en/15-16-season/external-shows/ibstage-galas-de-danza/artistic-profile.html Defillé Choreography: Elias Garcia Music: Anatole Liadov Performed by: IPerformed by: IBStage Soloists and Corps du Ballet Giselle (Pas de Deux) Choreography: Jules Perrot, Jean Coralli Music: Adolphe Adam Performed by: Ada Gonzalez and Xander Parish Mashkovsky Waltz (Pas de Deux) Choreography: Vasilij Vainonen Music: Maurice Moszkowski Performed by: Daria Klimentova and Vadim Muntagirov Dying Swan (Solo) Choreography: Mikhail Fokine Music: Camille Saint-Saëns Performed by: Iana Salenko Something Different (Solo Tap) Choreography: Steven McRae Music: Tap Música Performed by: Steven McRae Black Cake (Pas de Deux) Choreography: Hans Van Manen Music: Pyotr Ilyich Tchaikovsky Performed by: Larisa Lezhnina and Juanjo Arques Swan Lake "Black Swan" (Pas de Deux) Choreography: Marius Petipa/Lev Ivanov Music: Pyotr Ilyich Tchaikovsky Performed by: Iana Salenko and Steven McRae Sleeping Beauty (Pas de Deux) Choreography: Marius Petipa Music: Pyotr Ilyich Tchaikovsky Performed by: Lauren Cuthbertson and Xander Parish Don Quixote (Pas de Deux) Choreography: Marius Petipa Music: Ludwig Minkus Performed by: Tatiana Melnik and Daniil Simkin Intermission 25 minutes SECOND PART Estimated Run Time: 1 hour and 10 minutes Tchaikovsky Pas de Deux Choreography: George Balanchine Music: Pyotr Ilyich Tchaikovsky Performed by: Lauren Cuthbertson and Vadim Muntagirov Le Corsaire (Pas de Deux) Choreography: Marius Petipa Music: Ludwig Minkus, Adolphe Adam Performed by: Oksana Skorik and Andrey Ermakov Paquita (Suite) Choreography: Marius Petipa Adaptació i Posada en Escena: Elias Garcia, Xiomara Reyes, Rinat Imaev Music: Edouard Deldevez and Ludwig Minkus Performed by: Soloists and Corps du Ballet of IBStage

Could a mod please correct the title of the thread? The question is valid and very useful to the whole forum. The first thing I would ask about the Mariinsky would be how to spell the name of the theatre

It is not live anymore, as it was performed yesterday (or 2am this morning CET) You can find the link here and watch the performance: http://www.medici.tv/#!/elisa-carrillo-y-amigos-ballet-live The quality of the video and the dance is very good. Also you can see Osiel Gouneo and Nicoletta Manni dancing Excelsior

I would say if anyone deserves a call back, it would be Xander Parish. A great dancer, amazing work ethic, and a great gentleman.

Dear Willie, the 9th April is the only matinee performance, and also on a weekend. This will be the chance for the many young ballet fans to watch a beautiful Swan Lake performance. In terms of what is 'special' (guests etc.) All 14 performances were sold out last year, and a 15th added sold out within 12 hours. So demand is pretty high for the tickets. Why? Well it is a fantastic production, and the draw is Viktorina Kapitonova, for whom Christian Spuck approached Ratmansky to create the role in the first place. Also, performances received 5 star reviews in the FT, rave reviews in the German and US press. The ballet is very much about the Swan Queen, although if you are a fan of Alex Jones' looks, he is on stage a lot of the show, although he doesn't dance very much.