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  1. Ooh I’m so pleased with my one outing … Akane, Cesar and Annette 👏👏👏
  2. @Lizbie1here’s a clip of Osipova as the Spanish Bride at Bolshoi in 2006. It’s a somewhat distorted video .. but her dynamism shines through 👏
  3. I loved this show! What a super concept to mix different dance styles and performers together, all under the umbrella of being unique, new or unseen in London, and to do it in an unfamiliar venue. Each piece was introduced personally by Jamiel Laurence to explain its uniqueness, and therefore why it had been included in the programme. It was a privilege to be in the audience of these young entrepreneurial dancers (the evening was a joint effort of Jamiel Laurence and Henry Dowden both looking businesslike in suits) bringing a new concept of dance programme to Canary Wharf and to dance audiences. I feel more inclined to look up some of the dancers/companies that I did not know so well now … to widen my experience. I believe that was the point 👏 The programme was in two halves, each half beginning with a Chopin piano solo performed ably by Viktor Erik Emanuel. The dancing was topped and tailed with classical ballet, beginning with the Medora solo from Le Corsaire performed by Ivana Bueno. We were told she had not performed this anywhere before, had offered to learn the solo to perform it here and had been helped by Shiori Kase. She was superb in this demanding variation. She has a lightness of performance that usually comes only after multiple shows. The ending piece was the full Don Quixote pdd. I believe this was the only piece not to have something new or unique about it … and of course it’s a great crowd pleaser to end on. Katja Khaniukova had flown in that morning having performed in Kyiv the night before and was hugely engaging, partnered by Francesco Gabriele Frola on fire 🔥 The other ‘ballet’ on the programme was the Act II pdd from David Dawson’s version of Swan Lake for Scottish Ballet. A first, because it has not been seen in London, and a first occasion for Barnaby Bishop to perform this pdd. And last, as we were also told, as he is leaving Scottish Ballet. He partnered the beautiful Constance Devernay who has wonderful dynamics and movement quality. Probably my highlight of the evening. The contemporary pieces were all new, except a Robert Cohan solo. And all were different in style and intensity, and included a piece by Hannah Rudd originally choreographed for one of the Royal Ballet Draft Works programmes that got COVID cancelled. Jeffrey Cirio’s movement and focus in his own choreography was extraordinary. He performed to a combination of Chopin played live and a new music composition by Fabian Reimar. It was a nice touch to be personally welcomed by Jamiel as we entered the theatre, and, the bar service was great! There were a fair amount of ENB dancers in the audience supporting their dancers which is always good to see. Heartwarming applause from the appreciative audience. Here’s a brief overview of the event from Graham Watts (he says longer review to follow) https://www.instagram.com/p/CVZ4XHJAKt2/?utm_medium=copy_link Curtain call videos from Ballet Nights own Instagram https://www.instagram.com/tv/CVZ6ISnAIeZ/?utm_medium=copy_link The programme https://www.instagram.com/p/CVDpV4KoI6X/?utm_medium=copy_link Regarding Practicalities … - Having psyched myself up for the journey to Canary Wharf with which I was unfamiliar, it turned out to be a non-event. The Jubilee Line takes you into the heart of the business area, at speed from Waterloo. Then it’s a short walk of 5 minutes or so to the Lanterns Theatre across the waterways with the reflections from the lights in the tall buildings around twinkling in the water. Rather beautiful. - the stage itself was huge. The audience of 300 or so (I think) was spread in seven rows up steps along the wide front of the stage. I felt that the seating is not sufficiently raked, but as there are so few rows, it was no hardship to dodge heads. The lucky VIPs in the front row had their feet right up against the dance floor. - including a half hour interval, the show was over around 9.30pm and I was home near Earls Court by 10.15pm
  4. I wonder why the ROH have removed the temperature checking cameras at entrances. That was another layer of check that I wished would be permanent. If I remember correctly, Sadler’s Wells also had manual temperature check scanners. Last year. Not when I attended ENB Creature last month.
  5. Agree. I hope (1) that Fumi is understudying the role this time and (2) that Giselle returns in next season or two. She will be over 30 when she next gets a chance. The other 2 new principals are a bit younger I think.
  6. must be an oversight IMO … she has not been cast as Giselle in this run. Myrtha perhaps?
  7. I recall Fumi as the cunning and devious lead gypsy in Two Pigeons. And remember thinking then how different she seems in person.
  8. Fumi Kaneko and Akane Takada are both brilliant principals. They can do anything I believe. And there is much to admire amongst the new generation at RB particularly Mariko Sasaki among the young women who is currently a Juliet friend, usually a sign of a soloist in the making (not always). Also the virtuoso young men Daichi Ikarachi and Taisuke Nakao. Both performed in Les Lutins at Athelhampton … their technique is amazing, Taisuke’s more pure and correct, but it was his portrayal of the humour that I particularly noted 👏
  9. The performance of Sacre & TMTC plus the conversation between in Cluj, Romania is still available here. Sergei Polunin: Up, Close and Personal la TIFF 2021 on TIFF Unlimited http://unlimited.tiff.ro/videos/vizioneaza-aici-show-ul-sergei-polunin-up-close-and-personal-la-tiff-2021
  10. SOLD OUT All 5,272 seats in the RAH for this R&J are fully sold out. Standing tickets in the gallery have now been made available at £33.75. It’s a good view from there, but you might like to use binos 😉 However, … there will be late returns from international ticket buyers who may not be able to travel due to UK or their own country’s quarantine rules. Some are waiting on possible rule changes before deciding. Let me know if you are interested in attending and I may be able to match you up. £100-£250 (front row) 😉 I notice a few have been returned this week and resold.
  11. Alina Cojocaru has not retired. She was rehearsing for Giselle in July with Tim Andrijshenko in Sicily (huge outdoor venue) but had to pull out due to injury. Nicolette Manni replaced her at late notice. I’m told Alina was due to perform Neumeier’s A Midsummer Night’s Dream with Hamburg Ballet in Baden Baden earlier in October, but was not fully recovered. They hope she will be able to dance Neumeier’s Glass Menagerie in early November. This ballet was created on Alina two years ago. And she is due to perform in Johan Kobborg’s Romeo & Juliet with Sergei Polunin at the Albert Hall on 1st December. Rescheduled from April 2020. Seating for R&J is fully sold out, so standing tickets in the gallery have now been made available £33.75. It’s a really good view from there! But, there will be late returns from international ticket buyers who will not be able to travel due to UK quarantine rules. Some are waiting on possible rule changes before deciding. Let me know if you are interested in attending and I may be able to match you up. £100-£250 (front row) 😉
  12. UPDATE … I see Bolero has been removed from the World Ballet Day video, which is also available free on the Transilvania International Film Festival app. It was there earlier. Why, who knows? It’s a mystery to me, as the Bolero video is freely available on Sergei’s YouTube channel 🤷🏼‍♀️ (it was duplication).
  13. A gift from Sergei Polunin. I urge the naysayers to have a look at this … I hope you can see the quality work here. It’s his show from beautiful Bánffy Castle in Transilvania this summer … in full and available for 24 hours. Fabulous solos and an entertaining onstage conversation with the director of the film festival where Sergei was the key guest. It’s been impossible for Sergei’s international group of dancers ‘PoluninInk’ to work together during this pandemic, so this show is all solos. Running order: - Intro - BOLERO, music by Ravel, concept and choreography by Ross Freddie Ray. This version was made to support Multiple Sclerosis sufferers by depicting their symptoms and resilience. Look out for the loss of abilities. (This is a relay of the original video, it was not performed live … as the next solo is 40 minutes, which is a feat of stamina in itself.) - SACRE, music Stravinsky’s Rite of Spring, concept & choreography by Yuka Oishi. This version is based around Nijinsky’s life. - conversation. Listen out for Romeo & Juliet discussion … shortly to be at Royal Albert Hall, plus some explanations of Sacre. - extra gift of TAKE ME TO CHURCH. The audience went bonkers during this .. cheering & hollering at every move, but the video has used a separate soundtrack. I was there …. spontaneous standing ovation and deafening applause from the 2000+ audience most of whom who will not have seen him dance before.
  14. Yes ! Do not disagree with a royal! Hilarious. And the way he delivers it 👏👏👏 Of course he is Russian by passport now, but wasn’t at 13. Only Ukrainian. Earlier in the conversation he’d talked about having a place at Vaganova school but couldn’t accept it as his family couldn’t afford it (not free to non-Russians). He added it would have been free if he had converted to a Russian passport. But of course his family couldn’t afford the cost of doing that either. Considering how many interviews there have been over the years, it’s surprising to learn these details only now. I guess the interviewers haven’t asked the right questions.
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