fromthebalcony

16 minutes ago, MAB said:

 

Occasionally jurors on ballet competitions do spill the beans.  The late Alexander Grant once gave a talk where he touched on his own experience as a juror, on that occasion all nominees were Russians with links to all other jurors, Mr Grant was less than impressed and put forward a video of a French dancer that had particularly impressed him.  So superior was his choice, that she won. 

 

 

So?  Alexandrova wasn't a juror, what is the relevance of mentioning her relationship with Lantratov? 

 

Can we deduce from the joint award that Lantratov was the true winner and the other a sop to the juror who clearly nominated him?

I mentioned it because I am fully aware of Alexandrova as a dancer, that's all.  I had not heard of him, not that I am all that familiar with all of the Bolshoi dancers.  Nothing else intended.

Yes, very bad camera work.  Very impressed with Daniel McCormack, but I didn't like his contemporary piece by Trey McIntrye.  I like a lot of Trey's work, but not that one.  

I would actually like to see more companies do something like this.  It gives younger dancers a chance to work intensively, and could potentially give older dancers a chance to coach or choreograph.  

I was always under the impression that it was the jury themselves who nominated the dancers.  Videos are sent of each of the performances for which the dancer (and each choreographer)  is nominated, and the jury votes ahead of time.  The gala is just a show and award ceremony.  What I do not know is if the jury is permitted to vote for their own dancer.  

I was not familiar with Lantratov.  It turns out he is Alexandrova's significant other.  http://www.vaganovatoday.com/vladislav-lantratov-and-maria-alexandrova-bolshoi-power-couple

4 minutes ago, LinMM said:

Am very  pleased with Natalia Makarova's win though!

Agreed!  

10 minutes ago, MellissaHuntsley said:

...sigh...

Once again, agreed. 

I really loved the ballet and both casts!  

36 minutes ago, penelopesimpson said:

Factually,  it is hard to disagree with your post.  But...does one really decided to be a ballet dancer on the basis of whether or not you can afford a flat in London?

 

The same would apply to many of the professions, doctors, barristers, etc.  Yes, affording accommodation in a world capital is a pretty big ask, but... it surely comes down to whether you want to dance or not?

No, obviously not.  My point was that I do empathize with him. Again, dancers give up much of their lives to dance for a living, and it is sad they cannot afford to live where they work.  There have been plenty of threads here on dancers' salaries.  For some, it is difficult to even make ends meet.  I do not agree with much that Polunin has to say, but I understand this lament.  

On March 5, 2018 at 12:48, Sharon said:

As I read this latest interview it was with the knowledge that it was basically a repeat of what he's said before. I'd love to ask Polunin does he really believe many people can afford to buy a flat in London? So dancers can't, but who can? Dancers are not so special that they are entitled to more money than say a nurse. Polunin says dancers are motivated by the love of dance but so are teachers, nurses, etc. As in most professions it's normally those at the top who are financially better off. And no it's not always right, I'm thinking of CEO's who get millions in bonuses while those who do the ground work, the work that keeps the companies going get very little financial increases. But that happens everywhere - not just to dancers.

Further he says that he's enjoying acting because they create something 'together'  Wouldn't that rather depend on the production and the director? It certainly did when I performed. Also doesn't that happen in dance? I've certainly read enough biographies & interviews by dancers who worked with Ashton and MacMillan who have all stated they were able to contribute to the creative process. He also states that he enjoys acting/filming because the audience is near and not 'far away' - that he is not ' alone, all by yourself'. Is he serious? Far away?? God!  I am going to stop now and just remind myself not to bother reading anymore of his interviews.

The one thing I will say in his defense (and I have not defended him in the past) in terms of dancers and their inability to afford a flat.  The difference:  Dancers normally train from the time they are very young.  For the most part, they give up their normal pre-teen and teenage years to study ballet.  Some train far from their homes.  Summers, at least in the U.S., are spent training at summer intensives 6-8 hours a day (or more).  Many do not attend normal functions in which teenagers take part.  Nurses and teachers, etc. don't start training until they go to university.  Parents of dancers invest as much or more than a university education in order for their child to dance professionally (at least in the U.S. and especially for women.)  Additionally, the dancer's career ends much sooner than that of a nurse or a teacher - 20-25 years earlier.  Dancers must then go on to another career, whether that entails going back to school (or taking university classes while dancing), or entering the realm of teaching, coaching, or arts management.  So, I do understand the frustration he expresses.  

Thank you for sharing.

ENB's website has a small video highlighting each of the female emerging dancer finalists.  Their Facebook page added one about the young men, but it is not yet on their website:

https://www.ballet.org.uk/production/emerging-dancer-2018/#production-explore-section

I am not as familiar with everyone's favorites here, but I would say there are "sacred cows" on the ballet boards in the U.S.  I know many people hesitate to post their opinions because of this issue.  

Does he mean permanently?  His video message states, "but today I am joining the English National Ballet, as a First Artist, in their production of Sleeping Beauty."  

35 minutes ago, Bruce Wall said:

Kim it appears got his visa to dance in this evening's gala.  (Indeed he is dancing the DQ PDD ... with none other than Tiler Peck ... That WOULD be something to see)

 

Wonder if Osipova has yet got all her ducks in a row for the ABT Giselle she is scheduled to dance with Hallberg next month?  From his Instagram account it appears Hallberg is still in Australia .. even though ABT is currently in rehearsal.  Although he says he is 'getting ready to fly'  Hope he is recovering.  Looking forward to the potential of seeing him with Ospiova in Lilac Garden in Sept. 

 

Actually, he is dancing with Isabella Boylston.  I saw someone mention on Ballet Alert that Tiler was subbing for Bella, but from all indications on Bella's instagram, that is not true.  She and Kim rehearsed today.  

As far as the visas go, Kim may have gotten his visa earlier because it was announced quite awhile ago that he would be guesting at ABT during the Met.  He is probably going to rehearse for that while he is here.

My guess would be that when they announced Simkin, he had obviously already told ABT/Kevin his plans.  If Masha is going to Berlin, but was not ready to tell SFB/Helgi that she was leaving.   When leaving a company, many dancers wait until contracts are released and then tell their director they will not be signing their contract/returning the following season.  I know that promotion announcements were just made at SFB and contracts were recently released.  Usually, they give dancers a few weeks to return them.  So, perhaps Masha just waited until contracts were due to make her departure known.   

20 hours ago, alison said:

A year on - and again courtesy of the Links page - another principal is leaving:

 

https://www.sfgate.com/entertainment/article/Principal-dancer-Maria-Kochetkova-to-leave-S-F-12838330.php

 

https://www.pointemagazine.com/maria-kochetkova-to-leave-san-francisco-ballet-2560654007.html

 

She doesn't know where she's going yet, apparently, but I'm guessing she won't be severing ties with ABT.  Wherever she goes, I wish her all the best.

She is not slated to dance at ABT for the Met season.  I would imagine if she would be staying with ABT, she would at least be doing several shows.  Speculation on the ballet boards over here is that she will go with Daniil Simkin to Berlin.

On April 15, 2018 at 06:00, Margaret said:

A great evening at the opera house.  I was very moved by the Ferri and Bonelli performance and agree with Anna's description.  It brought back memories of the first performance I ever saw of this ballet - 1965 - with Fonteyn and Nureyev, an evening I have never forgotten.

 

Obsidean Tear was also good, though I think I also  missed some of what was happening, again as Anna said.  There was so much going on, but the view from the amphi was good.  I think I would need to see it again to appreciate it fully.  It was great to finish with Elite Syncopations, wonderful cast and that includes the musicians, especially Robert Clarke!  

 

 

Boston Ballet did Obsidian Tear in the fall of 2017.  They will be taking it to NYC this spring, from what I understand.  On my first viewing, I was not sure I liked it, which was surprising because I enjoy McGregor's work.  I had to see it several times before I really appreciated it.  

Nice interview with Bill Forsythe:

https://www.theguardian.com/stage/2018/apr/11/choreographer-william-forsythe-enb-ballet-voices-of-america

By "wrecked," do you mean a recurring injury in her foot?  I remember she was injured for awhile:

https://www.gramilano.com/2015/10/good-news-osipovas-back/

Boston Ballet uses the traveling fouettés in their version of the Nutcracker.  Do you think they would have the same effect if done in Swan Lake?  

I have been following the story about Misty Copeland.  As for Misty, she has always had trouble with the fouettés, and I do wish that McKenzie would have her do something else in their place.  I would much prefer to see her (and others) perform 16 well-executed single fouettés followed by strong pique turns.  

This is very distressing news for those of us over here in the states.  Prayers for a very speedy recovery.

This is exciting news for us in the US!

https://www.nytimes.com/2018/02/12/arts/akram-khan-giselle-english-national-ballet-chicago.html

13 hours ago, Coated said:

I have seen the effects of bad workplace relations on a number of occasions, and what it can do to reasonably well adjusted, confident individuals. If anyone feels they need to leave a company because they are managed out or they can't continue working in an environment that affects their mental wellbeing, they don't just lose a job, they lose faith in their abilities, their confidence and sometimes their health. Stress can do awful things to people. 

 

Some of the issues mentioned might not sound like the end of the world by themselves, but living in constant expectation of being next in line will wear people down.

 

Sometimes life is more important than art.

Having been in and around a number of ballet schools and companies here in the U.S., "living in constant expectation of being next in line" is a way of life.  I was recently counseling a mom of a 15 year old male dance student at a very prestigious school here in the states.  She was concerned because he was injured, but the men's teacher and the choreographer were insisting he rehearse and perform a number of pas de deux.  Both told the student that if he took himself out as professional dancer, he would be fired.  Now, we know this is not true, but the intimidation was ever present in their conversations.  This young man was fearful he would lose his place at the school, and wanted to dance, although his doctor had recommended otherwise.  Luckily, the mother stepped in and took him out to avoid permanent damage.  But, he has been somewhat ostracized by the men's teacher/coach in the school.  Countless stories of intimidation exist in the ballet school/company world.  I have had students of numerous prestigious schools both here and abroad tell me horror stories of threats about weight gain and girls resorting to eating next to nothing.  And, yet, this type of intimidation is not just part of the ballet world.  It exists everywhere in many industries and walks of life.

My concern here is severalfold.  What is the outcome the "whistleblowers" desire?  That has not been clear.  It is my understanding the Council did a review and found everything to be satisfactory.  Then another article surfaces.  Will the only resolution satisfactory be that Rojo steps down?  Will the ex-dancers (and the alleged others) be happy if the company loses its funding?  What is it they want to see happen?  Or do they just want to continue grinding an axe?  Continued articles will not help this matter.  

Additionally, I find it extremely disturbing to have Loipa Araujo included in the most recent article.  This woman is a jewel in the ballet world both as a dancer and a teacher.  The dancers at ENB are extremely blessed to have her, as she could be teaching and coaching anywhere in the world.  For some, she has been like a mother.  

1 hour ago, Nina G. said:

 

Can't the dancers insist on an independent enquiry? ACE and ENB Management seem to have met up, and settled, whilst the dancers are all away on their mid-Season break. That's not very democratic! 

What makes us think the dancers were not apprised of what has been taking place or that they have had not input?  We cannot make that assumption.

This was also a huge loss to skating.  I loved this couple together - and their love story!