FionaM

I saw both performances yesterday and loved it from start to finish both times. Immensely powerful combination of movement and music and visuals. The way Crystal engages the group body to convey emotion through movements is like no one else. She’s using four dimensions to convey movement and emotion … the group is the 4th … it’s so much MORE and subtle and complex too. The patterns and shapes in relation to each other are ever changing … and this effect is better appreciated from amphitheater (matinee) than the stalls (evening).

Truly thrilled to hear of Vadim’s success and excited for his second show for which I have tickets. It’s such a wonderful role for accomplished male dancers which many aspire to do, and not all get the chance. I doubt there have been any ‘under par’ performers of it, including at other companies … Paris (just getting started), Hungary, Scottish, Stuttgart. Personally I l’ll be keeping fingers crossed for William Bracewell and Calvin Richardson to be given the chance next time around at ROH.

It would be good if this thread could be about ballet developments in Russia without need to comment (either way) on individual dancers for their personal life decisions. It would be a shame for us in US/Europe to become wholly unconnected to Russian companies and dancers and the ballets they are performing. This situation may not resolve itself soon. And only a small number of dancers (whether Ukrainian, Russian or others) have been able to leave and get contracts outside.

@Ian Macmillan I wonder if Alexei himself may have asked not to be mentioned. He has said in interviews that he asked the companies not to perform his ballets. However, as the Bolshoi & Mariinsky own the rights via legal contracts, he cannot stop his own ballets from being performed until the icontracts expire (if they expire.) Separately I’ve heard that some Sergei Polunin collaborators have asked not to be mentioned when his company perform ballets they’ve helped to create. Sad sad situation for all.

Interesting and unusual selection … bravo Ivan 👏👏👏

Interesting choice.

The title of this thread is ‘Recent ballet developments in Russia’. I think this qualifies. I think it’s food for thought that a married couple (one Russian, one British) with young children should choose to live where their children can grow up close to their grandparents, and to choose to do so in Russia in order for their children not to have to experience the new Russiaphobia of the West. I try to be understanding of others having to make such difficult decisions in this awful situation. Those of us who are not split in this way should at least have compassion for their personal decisions. This article highlights Ksenia’s first performance of Giselle tomorrow on her return to the Stanislavsky Theatre.

“When I fall in love, it will be forever” https://balletmagazine.ru/ru/post/kseniya-ryzhkova-i-dzhona-kuk-interview An interview and backstage video from Ballet Magazine of Stanislavsky / Munich / PoluninInk principal dancers Ksenia Ryzhkova and Jonah Cook with their eldest baby Matvei Cook ❤️❤️❤️

Only that I didn’t post it! As I explained I wasn’t finished editing and fell asleep. The phone somehow posted it itself. Oh well. I will repost with info as I would have preferred.

Moderators … please could you remove my post above. I fell asleep whilst editing and it posted itself (!) thank you

As ever … the media reportage is inaccurate. Firstly this song was written and launched by Russian singer Shaman before the 2022 war in Ukraine began. So it was not originally intended to be a patriotic song about active soldiers in Ukraine. It is actually a lament to honour soldiers who fell in WWII. This was also Sergei’s original intent in his dance to this song, which is why he is wearing an old style military uniform. Secondly, there was no ‘unscheduled performance’ at either of the two sold out shows in Tashkent. The contentious piece ‘Vstanem’ was on the programme which was pre-approved by the Uzbek promoter over a week IN ADVANCE of the show. What became clear later is that the ACDFUZ either did not know what they were approving, or didn’t check. It takes only a few seconds to Google ‘Vstanem Polunin’ to find video clips of this solo. Apparently some audience members were offended. However there was no negative reaction voiced in the auditorium, only applause. I know, because I was there. I’m sure many here would agree that one of the purposes of art is to challenge the audience. If something an artist does offends you then you are free to leave, and not come again. It would be wise to reflect on the reaction in yourself. Maybe the artist is telling you something you don’t want to hear? Let’s try a different title to this article … ”Cancel culture hits narrow minded balletomanes”

Yes he did perform in Belgrade on Monday. At his own gala to raise funds for his Foundation which supports talented Serbian students attending ballet schools in Europe … at Neumeier in Hamburg, Cranko school in Stuttgart, Vienna State Academy and Mannheim. Each of these students has been supported by his Foundation for at least 4 years, from when Sergei was 28. As a reminder Sergei was given Serbian citizenship in 2016/17 (as was Ralph Fiennes) when working on the movie ‘The White Crow’ about Nureyev’s defection.

There have been all sorts of apologies to Sergei Polunin from the Red Square organisers (back-pedalling about not being able to create a dance stage in time) and also from the Russian state since his Instagram ‘monologues’ including … extraordinarily… a comment of support on Instagram from the Russian foreign ministry itself. I would not be surprised to learn that ‘they’ have made good on any financial shortfall from the shows in Tashkent, if there is one. The situation does not reflect well on the promoter there … the Arts & Culture Development Fund of Uzbekistan. They have already fired 2 employees over the incident … a clear admission of their error. (Separately that same Uzbek fund is at fault for having used official Bolshoi Theatre photos and logo for the gala of 11 Bolshoi principals. The article above is incorrect, there were 11 dancers involved, not 10. The list is missing Semyon Chudin.) Since his Instagram posts, Sergei has performed with the Chekhov Moscow Art Theatre at a classy artistic tribute evening for renowned actor and director Oleg Efremov, alongside internationally known actor Konstantin Khabensky and pianist Andrei Korobeinnikov. And he and his company has performed Rasputin on tour to sold out audiences in Moscow, St. Petersburg, Yaroslavl and Ivanovo. The StP show was to a crowd of over 3,500 in a venue usually reserved for rock concerts. At interviews after a free masterclass given to local students in IVANOVO, we learnt that his grandmother originates from that city. From the IG monologues, we hear that his grandfather used to play ball with him as a young child asking him each time he caught the ball … what are you? To which he answered “I am Russian” He’s made it very clear that he is Russian and that’s where his allegiance and support is. If you were in doubt before, you cannot be now.

The first performance of this ‘Reunion’ group of exiled dancers was at the beginning of October … https://www.instagram.com/p/CjRHTdbtuAi/?igshid=YmMyMTA2M2Y=

Alina also performed two shows of Sleeping Beauty partnered by Istvan Simon with Melbourne Dance Academy of the Arts, a week earlier than the Manons mentioned above. Istvan is a former principal of Semperoper Dresden, Hungarian National Ballet and Dortmund.

Thank you. I noticed 😉. Not sure the social media team at BSB have realised as the livestream post still says it’s his stage debut !!!! Close enough, I suppose. https://www.instagram.com/p/CjZ67oyuEMG/?igshid=YmMyMTA2M2Y=

It’s one thing dancing alongside one another (like Tchai pdd) with a few lifts, and another thing attempting the complex lifts and throws and catches required in the multiple and long pdd in Mayerling. This ballet is a strength problem for the male dancer when partnering any ballerina … larger ballerinas must create extra strain, whatever the reason for being larger. We’ve all heard interviews of Ed Watson, Matthew Ball and others saying how much extra work they have to do on upper body strength for the many challenging pdd in Mayerling. Many dancers male and female have completely different physiques in their mid20s to mid30s. As we have seen with Steven McRae … perhaps many are too waif-like in their 20s for longterm health. Natalia is a completely different size now than in her 20s. Here after Mayerling on 5.10.22 https://www.instagram.com/p/CjYaW8KIHt1/?igshid=YmMyMTA2M2Y= compared to Anastasia in 2016 https://dancemagazine.com.au/2016/11/anastasia/ For me this issue raises a question about RB management’s responsibility of care to their male dancers. Ryo is tall and strong and understands partnering. Thank goodness! I assume that’s why some principal ballerinas will never be able to be Mary Vetsera.

and of course Ryo Hirano is a big name in ballet in Japan.

I read this is Julian MacKay’s debut with Munich. I guess his international following will watch this free livestream.

oh! I hadn’t realised the significance of the date. I will be there.

I wonder how this will impact free offerings on YouTube of Insights and the like?

Really good news! I loved your first Ballet Nights, and was especially pleased with the MC approach to explain each piece, why it was chosen, who the dancers, choreographers, musicians were etc. (no one gets time to read a programme in advance). I feel this is something that is lacking at all other ‘galas’ . I would love to see some choreo by Ross Freddie Ray McCaw. His most recents ballets ‘Bolero’, ‘Dante Inferno’ and ‘Little Red’ are super examples of classical ballet. A duet I’d like to see live is Valentino Zucchetti’s recent ‘Paolo & Francesca’ pdd for Mayara Magri and Lukas BB. Alternatively Valentino’s ‘Lacrimosa’ solo created for Leticia Dias. Whatever you procure I’m sure it will be interesting. Thank you.

Yes legally he cannot stop Russian (or any companies) from performing his ballets that he created for them. The Bolshoi are currently performing Ratmansky’s Romeo and Juliet … Krysanova & Lantratov today 1.10.22 Stashkevich & Lopatin tomorrow 2.10.22 And they’ve a new website which is easy to get around at first glance (ROH could learn a lot)

I think it’s a smart move … this will then be the basis of any reviews or previews.

Other Empress dancers in this run are Kristen McNally and Itziar Medizabal. Both of which make sense being older dancers and dramatically proven.