Johnpw

Not sure which Pathe site you used, I tend to use this website which seems to make searching venues quite easy. Hope it helps http://bolshoiballetcinema.co.uk

Well, yes. The young man next but one to me spent most of the second half checking his mobile phone but I managed to ignore it, partly by using opera glasses. I was in the stalls, not so far away from the screaming child. It made me regret that London doesn't follow the Bolshoi's relatively strict policy of excluding those under 10 at evening performances: the dancers carried on regardless. I was aware that a couple of times a parent and child left their seats and hoped they wouldn't return (they did). Ushers did attempt to police mobile phone filming. But people complain when ROH ushers don't police use of mobiles. Everyone has different tolerance levels. At one of the Mariinsky Swan Lakes I was sitting behind a lady in the front row of the ROH Grand Tier who occasionally took a swig from a bottle of wine under her seat and ostentatiously raised her index finger to count each of Odile's fouttes. Perhaps I'm more 'resigned' to contemporary audience behaviour than others. Nonetheless I enjoyed the performances despite the distractions.

Given that it was a one-off by a school, I was impressed by the production values - costumes, lighting, general professionalism. The students were talented, some perhaps more promising than others in terms of assurance in dancing and in stage presence, but overall a good advertisement for the school. Of the student pieces, I particularly enjoyed the two premieres choreographed by Dmitry Antipov (graduate of the Bolshoi School and member of the Krasnoyarsk Ballet): 'Angel' (about a blind girl recovering her sight?)and 'La Petite Danseuse' (evoking the Degas sculpture). Antipov himself danced the male roles with good performances by Natalie Carter as the Blind Girl and Marianne Allen as the Sculptor's Muse. There was also some spirited dancing in excerpts from Don Quixote. I'd been feeling rather 'hungry' after the feast which was the Mariinsky Tour so it was a real joy to see such wonderful Bolshoi dancers as Ekaterina Krysanova, Maria Alexandrova, Semyon Chudin and Vladislav Lantratov. Chudin performed an interesting contemporary piece (W.Oda) to music by Philip Glass, choreographed by his colleague Andrei Merkuriev. Krysanova did Cinque by Mauro Bigonzetti to a Vivaldi score. Alexandrova and Lantratov performed the Pas de Deux from 'Raymonda' and, in the second half, an excerpt from 'Carmen Suite'. The latter was rather different from the performance I saw last month with Vishneva and Ivanchenko (which I enjoyed but more as an historical curiosity than a piece of living theatre) - I'd love to see Alexandrova and Lantratov in the complete ballet. Krysanova and Chudin returned for the Grand Pas from Don Q. Cheers all round. As well as a showcase for the School, the evening was part of their very worthy outreach programme enabling many children from primary schools in Lambeth and other boroughs to experience 'live theatre' and specifically ballet. So far as I could tell, that aspect was a success. Great evening!

Osipova is listed as a RB Principal. Subject to further clarification, I'd imagine her status at Perm is like that of Bolle, Hallberg, Ferri and Salenko at RB - where they are guest Principals.

In a moment of idle browsing I came upon today's news that Natalia Osipova has become a Prima Ballerina with Perm Opera and Ballet Theatre, presumably as a guest: a year's contract, which can be extended, to perform in 4 productions a season. Here's the link: http://permopera.ru/en/media/news/show/1068 A film of the announcement in Russian, including Osipova's comments, is on Perm's Facebook and Youtube Channel. From what I've seen (solely) on film, Alexei Miroshnichenko seems to be doing interesting work there - both his own choreography and extending the repertoire. The "Romeo and Juliet" mentioned in the link is McMillan's which the company has been allowed to take into the repertoire.

Haven't seen this mentioned -sorry if it has been. In case anyone is interested, tonight's IBStage Gala will be streamed live from Barcelona on Youtube. Starts at 2100 (Spain etc) or 2000 (UK) with interviews, and the performance itself 30 minutes later. From RB there's David Donnelly and Teo Dubreuil. A clutch of Russians - Kim, Obratzova, Chudin, Tsvirko. Plus Brooklyn Mack, Tyler Peck. And more. With the students from the Summer Programme. More information here and link to streaming. https://ibstage.com/?lang=en

Thanks for explaining why Yermakov ended up on the opposite side of the stage from where I expected him to finish.... For the last evening of the tour, I had a seat as close to the stage as it's possible to get without being on it and holding a parrot. I booked it without taking account of who was dancing. Obviously the view is pretty restricted and partial, but the parts you can see are very close-up which adds to the thrill. What a wonderful performance to end on! Kondaurova excelled as Nikiya and I preferred Matvienko as Gamzatti. When he was in view, Yermakov seemed always to express such great intensity of feeling (whether dancing, partnering or just standing or sitting) that he must be drained after a performance. There seemed to be very good "stage chemistry" between all three. I'm glad someone paid tribute earlier to Grigory Popov. He was the Fakir at all four performances. From my seat last night I could see that he always remained 100% "in the role". Since he's in every scene and is one of the more visible and active characters - dancing, miming, running, crouching - it's a shame he didn't get a chance to take a bow - or if he did I missed it, even on the occasions when I had a better view of the stage. He's just the kind of talented stalwart, too often overlooked, that every company needs to help bring these classic "narrative" ballets to some sort of life, rather than just being a series of dance "highlights". Liked his Swan Lake Jester too.

I agree. And I'm glad the closed curtains opened right at the end to allow Osmolkina and Stepin to take a well-deserved call by themselves. The more muted applause at last Tuesday's Don Q meant that Stepin and Batoeva didn't get one, so at least that was remedied for him. I thought he seemed more in his element as Siegfried. Osmolkina gave a rose from her bouquet not only to Stepin but also to Zverev (Rothbart) and Repnikov (the conductor): a nice touch. Glad Repnikov got a rose: from the first bars of the Act 1 Introduction you could tell he had a different approach to the score from Boris Gruzin.

The ROH website briefly mentions a "thrilling restaging of Petipa's famous Grand Pas from Paquita". I'd assumed (hoped) that this would be from the new version of the ballet by Yuri Smekalov - a Mariinsky dancer - which had its premiere in March this year. This included a reconstruction and staging by Yuri Burlaka of Petipa's Act 3 Grand Pas. The Mariinsky website claims this Burlaka version is "brought close to the historic original....using surviving records of the production from the early 20th century". It would be surprising if they brought an old version of the Grand Pas to London after just unveiling a new one in St Petersburg. Especially as they're taking the whole new Paquita to Baden-Baden later in the year. But, of course, I don't know for sure.

Thank you - you've saved me struggling for the words. Just terrific. I yield to the more expert views of others on technical aspects of Yermakov's performance but he had such an engaging stage presence and such good chemistry with her, that I was carried along regardless by the joie-de-vivre emanating from the stage. I've occasionally noticed it before with partnerships, that the superior qualities of the one can make up for any shortfalls in the other (even in solos), a side-effect of "chemistry", perhaps. Sergeyev was again an excellent Espada. I see he's down to do Toreador in Carmen Suite. Type-casting? I'd like to have seen him as something else. I see that all three are First Soloists. I'll be very interested to see how Mr Repnikov approaches Swan Lake in terms of tempi on Monday.

It was Tereshkina and Parish (not Kim) for the first night of Swan Lake.

Belatedly. For me, Shklyarov/Tereshkina on Monday reached a different level. I didn't know they had been regular partners and perhaps that explains why the partnership seemed more comfortable, more equal. To my eyes, Tereshkina's Odette was softer and more sympathetic. Shklyarov posted a photo of their joint curtain call on his instagram with the comment, in thanking Tereshkina: "I think this was the break we needed..." ('break' as in interruption). An interesting insight perhaps into creative partnerships. I tend to prefer Benno to the Jester because, in theory, Benno gives scope for deeper characterisation and a choreography that is more than turns and jumps. This theoretical preference yields, of course, to admiration for actual performances such as Vyacheslav Lopatin during last year's Bolshoi visit. The Sergeyev version has almost overcome this prejudice against jesters. In particular, I thought Monday's Jester, Vladislav Shumakov, gave us a someone who was very believably an integrated member of the Court, quite poignant at times - as well as performing the "party tricks". I'd be interested to see him in a dramatic role which wasn't mainly jumping.

Not in front of the audience. According to comments in social media it seems to have happened on stage in front of "family and friends" (which may have been one of the reasons for doing it in London rather than St P).

Yes, and still happening. First noticed it a week or so ago on Iphone, Ipad and desktop (Mac).

The Mariinsky website says the choreography is by Alexander Gorsky "after Petipa" (1900 and 1902) with some additional or variant dances by Lopukhov and Anisimova. As a start, there's a synopsis of their version here (hope the link works): https://www.mariinsky.ru/en/playbill/repertoire/ballet/donquixot

Might that be Roman Arkadyevich Abramovich? He could pay for a big party out of the loose change in his pocket..:)) I believe he attends and supports the ballet. And I have an idea from social media that he's friendly with Chelsea-supporting Igor Tsvirko who was one of those cast as Nureyev.

What a pity. I see Igor Tsvirko - one of the Nureyevs - has posted a picture on instagram with the single word "Shock". The many comments on it, in Russian, seem to be expressing sadness, disappointment, concern and support. Clearly there's a "story" - let's hope Monday's briefing will throw some light.

There is a character called Erik and since it's Rodkin in one of the casts I assume it's a significant role and, presumably, Erik Bruhn.

I was curious to find out what a contemporary made of the designs for Symphonic Variations, so turned to a copy of Arnold Haskell's "Ballet" (Pelican Books). After describing the piece as "visual music", he commented: "This type of work also requires perfect costuming and decor; costumes and decor that suggest nothing concrete. Sophie Fedorovich...provided these. Indeed, no work of musical interpretation has been better dressed, and Miss Fedorovich has avoided the semblance of hygienic underwear so distressing in some of the great symphonic ballets. Her background is completely abstract and so skilfully designed that it fits with the movement of the dancers and acts, so to speak, as a sounding-board for the music". Sage observations. The work was conceived all of a piece - music, choreography, set, costumes - and should be appreciated (or not) accordingly. Similarly, I wouldn't want to change the modern equivalent of "hygienic underwear" in parts of the new Symphonic Dances. It's true that Haskell was a posh bloke with a classical education. But then again, not so long ago, it wasn't so unusual for the son of a postman to have one......For some, the costumes might evoke Ancient Greece but, like all good designs, they can operate on the eyes of the viewer in lots of different ways, perhaps suggesting purity, light, simplicity with the head caps suggesting an element of fantasy. From comments overheard at performances, not everyone appreciates the music. Shall we change that?

On the ROH website's "Your Reaction" page about the live transmission, someone with the sonorous title of "Head of Brand Engagement and Social Media" has responded with: "No DVD/Blu-Ray release has yet been confirmed, but watch this space!" So there may still be hope - pressure there might help.

It's especially odd if, as I think I've read, the ballet was created to celebrate Fonteyn's "rejuvenation" (or at least that of her career) through the partnership with Nureyev. The ballet is very pared down compared with the book or with La Traviata. I wonder if the originators' actual ages were intended to give an older woman-younger man (or last chance of "true love") aspect to the story and so provide an extra "emotional charge" to the narrative which is all over in less than 30 minutes. Whether intended or not, that seems to have been the effect, especially as Fonteyn continued to dance it until well into her 50s. The fact that the ballet has recently been mounted for farewell performances must also have an effect on expectations about ages and on the "emotions" of the occasion - Marguerite's renunciation and death as symbols of "farewell to dance". Nonetheless, Osipova and Shklayrov have shown that a different kind of intensity can be generated with a younger dancer. I'm glad I had the chance to see the three pairings, all satisfying in different ways. In "The Insult" scene, Shklyarov seemed to me to render the "verbal abuse" represented by the choreography in a particularly visceral way, a real violent fury; I hope Osipova was prepared for being thrown down quite so harshly. What riches this Triple Bill has provided in terms of both repertory and dancing, ending the season on a high note and perhaps creating high expectations for the next.

Friday's first night was also the first time I'd seen any of these ballets live and I also attended today's matinee. Although I may have a slight preference for the one or the other, I enjoyed all the casts and, in fact, every minute. I second Sim's husband - more Ashton please! The way his steps - and his pauses- respond to the music is simply masterful. Others have already said everything better than I could but... - the 4 lovers in 'The Dream" seemed to me even better at the matinee, as if they'd completely relaxed into their roles after getting over the hurdle of the first night - wonderful timing - Yudes magnificent - the woman next to me at the matinee had backstage/RBS (?) contacts who'd told her to watch out for Joseph Sissens in Symphonic Variations, which she passed on to me. Yes!! I don't know much, but I had the same feeling as when I saw Marcelino Sambé in the Pas de Six in Giselle: someone who draws the eye. And Sambé now seems to be going from strength to strength - Alessandra Ferri especially moving in M&A, somehow brought out even more that "last chance" aspect of the relationship. - Bolle and Bonelli both impressed as young suitors even though both are rather "mature" in ballet terms. Wish I knew what "elixir" Bolle uses?! - such great music, well-conducted and well-played (pianos) Initially I didn't book for the evenings with Osipova/tbc and thought myself lucky to get returns when Polunin was announced. Very happy to see Shklyarov, but even happier to see Dream and Symphonic Variations again.

That opinion may be right but I have a bit of trouble with some of the supporting arguments. For example, Pappano's alleged penchant for "second rate Italian operas". In the last two seasons, Adriana Lecouvreur has been given in Paris and Vienna; Andrea Chenier in Vienna and Munich; Manon Lescaut at the Met, Vienna and Munich and Cav & Pag at the Met and Paris. So it seems a taste for the second-rate is shared by companies of "real international stature". The performance of "Don Carlo" rather than "Don Carlos" is first attributed to Pappano's "musical taste or lack thereof", whereas the reality is that Covent Garden is firmly in the current mainstream: the Met has Hytner's production and Vienna also performs "Don Carlo". Significantly "Don Carlo" is even the preferred version given in Paris, with the French version given only a rare occasional outing. It's likely that singer preference and convenience is the reason for this - as well perhaps as audience expectations. Vienna has many positives but, apart from the permanent Ensemble, singers tend to land, dress, sing, leave.. so that there's a risk of getting no more than a concert performance in costumes without much dramatic engagement. (There's often more operatic "theatre" these days at the Theater an der Wien)

I agree with bridiem about Ghost Dances which was worth the ticket price on its own. I hadn't seen it before and found it very moving, especially the sections where "ordinary joys" are cut short by the hand of fate/death/injustice (however you interpret it). Brilliant music-making and I felt the spectral lighting was part of it. Personally I wasn't sure that the rather loud "whooping" as the curtain fell was quite the right response but I imagine it was a tribute to the dancers and so well-deserved. Compared to the other two works, I felt Christopher Bruce had a richer, more varied, more dramatically expressive dance "vocabulary". Nonetheless, overall, I quite enjoyed 'The 3 Dancers', especially the music and the dancing in threes, as if chained together. The appearance of the 'shards' of glass added an element of suspense (at times of a health & safety nature!). Speaking of the 'dance contingent' out in force: did I really see Thiago Soares at mezzanine level or was I still under the influence of his Rudolf, and so seeing a mirage?

It's many years since I've been to the Liverpool Empire and never for ballet. I'm thinking of going for the Akram Khan Giselle which I haven't yet seen. Compared with London, even top prices seem very reasonable. At Covent Garden I sit all over the place (and occasionally stand) but I get more out of a performance if I can see faces and acting as well as patterns. I'd be grateful for any advice about seating from forum members who know the theatre and how ballet comes across there. I see row A of the Front Circle has a visibility warning about the safety rail. I wonder what would be preferable as between stalls and front circle and how the rake is in the stalls. Thanks in advance,