bridiem

If all journalists who said stupid things apologised afterwards, our screens would be one long mea culpa. I just hope the audience who laughed, and all those who laughed with them, will also have thought again. This isn't about Lara Spencer, it's about the public perception of boys/men in ballet. And this episode might actually have brought about some good in the end.

I had assumed that money is involved somewhere along the line.

Unfortunately, the audience laughed when she first mentioned ballet too. An audience here might well do the same - who knows? You do wonder how far we have come if this is still the reaction. I notice that 'religious studies' was initially considered worthy of smirky giggles, so by the time ballet was mentioned the audience was well away. Very depressing.

Actually I do now remember that interview - it must have lodged in my subconscious! (And Osipova is clearly in preparation mode in her curtain calls. )

There do seem to be differences though. Osipova generally shoots her right arm up straight, a bit like Mary Poppins sans umbrella (bet that's the first time they've figured in the same sentence!). As if the energy still seeping through her won't allow for a softer movement. Others are more rounded and/or serene. Even subtle differences in the bows can be reflective of the different performers' personalities.

I know nothing more about this, but I was horrified to find that it was to be their final performance and very relieved that by chance I had a ticket. But responsibility for the manner of dancers leaving a company lies with both parties. As far as I know we know nothing official from the RB's point of view, and given the generous send-offs that is the norm for senior dancers who leave this was a very unusual circumstance. Those of us at the performance did at least get a chance to show our appreciation. Why the company did/said nothing that night may one day come to light. I just feel blessed to have been able to watch them for so many years, and I regret the manner of their departure.

Yes - she may not be a professional photographer, but her photographs are brilliant!

Although Fiona Chadwick reached principal rank at the RB (in 1984) I think she was somewhat underappreciated (and certainly ill-treated in the timing of her departure from the company). She was technically secure but what I loved about her was her slight air of gravitas, no matter what she was performing. She was unshowy but an excellent actress, with a long neck and lovely line. Claire Calvert rather reminds me of her, which is one of the reasons I like Calvert so much. (And I'm afraid the latter is in danger of joining the ranks of the underappreciated...).

I think Campbell is elegant anyway, because of his line and the precision of his dancing. You don't have to be tall to be elegant! (cf Lesley Collier.) And he has been a hugely believable and moving lover in a number of contexts.

There are times when the sewing is visible even from a distance - I have to admit that I don't like that since it does spoil the line/appearance. (Mind you I can't even conceive of how they manage to wear these shoes and dance on pointe regardless of what the ends of the shoes look like. I find it hard enough to walk in ordinary footwear.)

Yes, it is - but I don't think it should influence the decision as to the lead casts in cinema showings.

Yes, I assume it is. But either way there has been plenty of discussion about cinema casting on this forum. For what it's worth, my view is that the point of cinema screenings is to show the company - its dancers, its range, its artistry etc - to as wide a public as possible, and so the lead casting should be spread out as much as possible. Recording particular casts for posterity is an important but secondary aim (and I don't think that having a DVD box set of a particular dancer's performances should figure at all, much as some of us might like to possess such a thing).

A small aside that I found rather amusing: my brother recently gave me a facsimile edition of the Evening Standard for 21 July 1969 because it covers the moon landing. I was looking through it this morning with interest, and I also saw the Entertainment Guide listings so I idly wondered if anything was on at the ROH then. What did I see? 'Until 2 August, The Bolshoi Ballet'. And what were they performing? Spartacus and Swan Lake.

Does the National Ballet of Japan tour internationally? As far as I know it hasn't been to London (though I could well be wrong - anyway I certainly haven't seen it). I wonder if Yoshida's appointment might make that possible/more likely?

Sounds brilliant - thank you so much for this lovely report, Naomi!

What a beautiful photo! Thanks for posting it, maryrosesatonapin.

Could I just say thank you to all those who are posting reviews of the Bolshoi's London season - there is a fascinating range of views and I am learning a lot and really enjoying the reports. Unfortunately I decided that the seat prices were too high for me (and I can't stand), though I was very tempted by The Bright Stream and the reviews did make me wish I had gone! Maybe on their next visit I will push the boat out (if it hasn't already sunk) and go to a few performances. In the meantime, thank you!

I agree with you that it would not normally be a polite or appropriate response. But it was made in the context of what even to me - a former great supporter of Polunin who still tries to give him the benefit of all doubts - feels like an endless stream of Polunin-propaganda. It's fine to enthuse about a dancer - especially after a performance one has seen - but it's another to constantly 'promote' them as if trying to persuade doubters, when it's clear that many posters here have seen him in the past or recently and have formed their own perfectly well-informed opinions of him (positive or negative or somewhere in between). So even I thought 'yawn', I'm afraid. But I do also look forward very much to hearing all opinions about the R&J in Verona, and I hope that the collaboration with Kobborg and Cojocaru brings out the (considerable) best in Polunin.

There was more about this in a thread about orchestra noise last year - see including the fact that the pit has been extended on many occasions. I don't remember reading anything about it being for the protection of the audience though - maybe I missed that?!

I was tempted to include Four Schumann Pieces, but I wondered if I was over-influenced by it being such a tremendous role for Anthony Dowell, who I idolised. I'd love to see it again to see how I feel about it now.

Oops - very true, Bruce! I'd forgotten how quickly time is going... Well at least that makes my list a little shorter! But yes, I think they may be classics of this century. (I haven't seen enough Ratmansky pieces to have included any - however erroneously - though I hope that will be rectified in due course.)

BALANCHINE: Symphony in C Concerto Barocco Agon Theme and Variations Serenade Mozartiana Jewels Apollo The Four Temperaments Ballet Imperial ASHTON: The Dream La fille mal gardée Cinderella A Month in the Country Les Patineurs Symphonic Variations Scènes de Ballet La Valse The Two Pigeons Rhapsody MacMILLAN: And here, I'm afraid I'm going to stamp my foot and refuse to play. I CANNOT keep only 5, so I have expanded it to 8. On my own head be it: Romeo and Juliet Mayerling Manon Requiem Song of the Earth Concerto Gloria The Rite of Spring AND (I'm aware that my list includes a few that may not count as 'ballet', and I'm sure excludes others that should be there but that I haven't seen or seen often enough): FOKINE - Les Sylphides, The Firebird NIJINSKA - Les Noces DE VALOIS - Checkmate ROBBINS - Dances at a Gathering TETLEY - Pierrot Lunaire MORRIS - L'allegro, il penseroso ed il moderato BINTLEY - 'Still Life' at the Penguin Café, Consort Lessons, Galanteries, Tombeaux BAUSCH - The Rite of Spring SHECHTER - Political Mother KHAN - Giselle, Desh, Dust McGREGOR - Woolf Works PITE - Flight Pattern TAYLOR - Airs CORDER - Cinderella (ENB) SCARLETT - Asphodel Meadows

Your courage BRIGHTENS this STREAM considerably, LinMM!

I suppose Robert Parker could be added to that list, as artistic director of Elmhurst.

So sorry to hear that, LinMM! I hope it mends as quickly as possible.