HelenLoveAppleJuice

Have to point out that Ashton's La fille mal gardée was staged in 1960. (Originally staged for the Bolshoi in 1903). The Bright Stream was premiered in 1935. The current version is in 2003 with same story line but different choreography. Talking about choreography I cannot find anything similar in this and La Fille mal gardée. For the story line, I think that The Bright Stream is very typical USSR style story telling. The romantic relationship is somehow important but not weighted that much. The society is what they really focus on. It reflects even more in their movies if comparing to the western style.

Just got home. What a lovely night! Love it very much! 5 star!

Have seen Zakharova's Sat evening and Stepanova's Monday. Agree that Zakharova is in an entirely different class. And yes, they both have flaws in the fouettés. The music speed is fast. But I have seen Osipova doing fouettés in such speed in this year DQ. So apparently it is not a guaranteed skill from Bolshoi:) I don't think that stage is that big issue for Zakharova, who has danced all over the world. Zakharova is famous for her perfect body and control. Turns has always been the weak point of her. But frankly the technical skill they have demonstrated in the rest of time has already made me stunned and happy.

Does it mean that Onegin will not be on live cinema? OMG at least do one recording and release a DVD... I really wish to have!

Review of Saturday evening performance. --------- Cast O/O - Svetlana Zakharova Prince Siegfried - Denis Rodkin The Evil Genius - Mikhail Kryuchkov Fool: Georgy Gusev Act 1 pas de trois (as the prince's friends in this production) - Daria Khokhlova and Ana Turazashvili Princesses (called Brides on the cast sheet) Spanish: Margarita Shrainer Russian: Anastasia Denisova Hungarian: Olga Marchenkova Neapolitan: Maria Vinogradova Polish: Alexandra Trikoz Big Swan: Ana Turazashvili Anastasia Denisova Antonina Chapkina Small Swan: Yulia Skvortsova Svetlana Pavlova Daria Lovtsova Maria Mishina -------- The cast is brilliant. There are still some flaws. But the choreography is very difficult. I appreciate that they continue to perform difficult and challenging choreography. Someone before has mentioned that their Act 1 pas de trois is between the prince and the prince's 2 friends. It fits into this production. In RB's version, the prince is not very happy and focusing with a heavy burden in Act 1. So Benno dances for him instead. Actually I prefer RB's PDT story line. The character dances of Princess is a triumph, technically astonishing. Maria Vinogradova was really really brilliant as the Neapolitan princess. The Spanish dance is very good chereography. I heard that in Bolshoi's production, the Spanish princess is the 2nd important female role in Swan Lake and usually choose the future star of the company. But I have to say that I don't get Margarita Shrainer that much. Svetlana Zakharova is beyond something I can describe. She has the best control of the body of all the ballerinas I have seen so far. But I have to say that her fouette and piqué turns is not in the best of her skill set. Osipova did a better job (piqué turns in last year Swan Lake and Fouette in this year DQ). -------- I don't like, or frankly I really hate the production. Although the dancing and the technical demonstration of the cast is more than satisfying for me(only Zakharova is worth the ticket), I doubt I will bring someone who is not familiar with ballet to see this production. I had never watched the full recording of this production of Bolshoi before yesterday. I watched clips from their ball act and white act before. After last night performance I was so confused by the narrative. When I got home, I opened the souvenir book I purchased on Monday to look for answers... And I watched the DVD recording today. 1. There is no real lake. The lake represented "the hidden landscape of the hero's soul". "Only the prince is real." Okay.... I cannot get this idea. Yes the swan lake has an underlying conception like La Sylphide. But in this production, the white scene has the lighting of Don Quixote dream scene and is not real. It is an imagination (or dream) of the prince. The idea of using the panel of a coat of the arm to switch the scene is funny... And in the middle of the ball scene, when Odile arrives, the panel comes done and covered the rest of the party, the light switches and Odile dances with the prince as if it is the prince's imagination... Quite like what Don Q did... Very confusing. 2 And during the scene changing between Act 1 and Act 2, the prince and the evil dance in parallel.... It looks okay in the recording. But in person it is really funny.... 3 The lighting, costume and staging is out of date. The only part I like is the the court is dressed in yellow/gold theme in Act 1. In RB 2018 version, the walz is in white which makes it a little boring followed by the white act. In Bolshoi production, the court is dressed in Renaissance style. It looks quite luxury in the DVD recording but not good in person. Perhaps it looks better on Bolshoi's own bigger stage? I prefer RB's romantic style. 4 Siegfried is quite different, quite gloomy. During the performance I did not feel the deep love of Siegfried to Odette. At first I thought Denis did not execute well. I cannot get it. What I see is... Act 1 he jumps jumps jumps.... Act 2 he got a new girlfriend, jumps and jumps... Act 3 jumps jumps ... Act 4 oh white swan dies. He jumps jumps.... Maybe someone in the first 2 row on the ground may have some clue. But from my seat (front row in Balcony), I cannot tell any difference from his jumps.... I watched their DVD recording today and some other clips of this production... It claims to reflect the inner mind of Siegfried as a hero (and also representative of Tchaikovsky)... Now I feel that it is more of the problem of this production... Well in RB 2018 production you can see clearly how Siegfried feels and thinks. Fully understand why Vadim won the awards for his Siegfried. RB's story really fits Vadim well and loved by the audience! 5. I have to say that I like the quick speed of the ball scene. I think in RB version, the entrance of the party is too long. Bolshoi's party is quick and almost immediately goes the character dances ( I like it). But where is the Prince during those character dancing? The princess all dressed in white as "brides" in the cast sheet. It does not make sense of all. In the ball scene the prince needs to choose a bride. I doubt any princess will dress in bride clothes before being chosen... It looks all right in individual dance. But not well when all princess dance together. You cannot hardly tell who is who. 6. The orchestra is ... just so so. The brass section and some of the violin went out of control at times. I checked the DVD recording. They have bigger orchestra at home. 2 harps in the DVD and only 1 last night. They were probably tired as the 2nd performance in a single day. ----

I woke up at 6AM this morning. I work and live just near Piccadilly line so going to RoH is quite a casual thing for me.... But this time I am so excited! Finger crossed hope tonight live up to my expectations!

I am going tonight. I believe their version has Russian Princess in the ball act right? Really eager to see and hear that music.

I forgot which role Polunin played in his documentary. Indeed that he has played both Spartacus and Crassus . There are some video clips online. I actually prefer his Crassus. Once Osipova was danced opposited to to him i believe. I would say that if time went back 5 years, Polunin as Crassus paired with Osipova and Carlos Acosca as Spartacus paired with Rojo will make a great Royal Ballet cast.

I went on the opening night and returned the Thursday night ticket because I was not feeling well yesterday. I wish I could attend another performance but it seems that completely sold out Powerful performance and very refreshing after seeing many ROH more "reserved" style There are some here-and-there mistakes, small faults during the whole performance. Especially I don't feel that Spartacus(Denis Rodkin) and Phrygia(Anastasia Denisova) give enough emotions. Have to admit that I was spoiled by the recording of Carlos Acosta & Nina Kaptsova. Denisova seems to be not up enough with Rodkin level. I am not being criticizing because to my eyes it is one of the best performances I have had this year. But I want to hold the bar high for Bolshoi. Something else 1. Svetlana Zakharova made a lot of efforts in her solos. Although not 100% perfect, but the difficulty and the control of her body is truly amazing. I am a bit sad that the audience responded quite lukewarm. The role of Aegina is considered to be quite difficult. But the audience seems to be more excited with male dancers high jumps than the female part. 2. It is a higher percentage of audience than usual to be unfrequented RoH audience. Usually the opening night (especially if with big name principles) the front row of Balcony and Amphitheater will be occupied by mostly frequent RoH visitors. A lady sitting in the front row of balcony (not the movable seat) in front of me leaned quite forward and basically rested her head and arms, almost all upper body on the ledge during the performance. I kindly asked her to sit more straight after the 1st act but she responded like I was an alien. Then I had to talk to the RoH staff and they talked to the front row to ask them not laying on the ledge before the 2nd act started. When I sat in the front row, once I leaned forward to see the conductor before the curtain up, I was asked by the 2nd row audience to sit straight and I did not object. 3. I went to the stage door. Some Russian reporters were there and they hold really professional camera including lighting devices... A little bit surprise. I guess that ballet news probably is very important in Russia? I never see BBC or ITV come to interview or record like this... Talking about possibility of Spartacus by Royal Ballet. I see it is saying that Spartacus need 40 male dancers and all demanding. Considering that you still have to have some spare dancers in reserved for replacement. I think that the company need to have 50+ male dancers (not including principles). RB usually gets some graduate year student from Royal Ballet School for big performance. But I doubt if it will work on Spartacus. Thus I think that unless RB grows dramatically or cut the Spartacus corps to fewer, otherwise it won't work. Spartacus is too energy consuming. I remembered that in Sergei Polunin documentary "dancers", he drank energy drinks and looked terribly exhausted in the middle of performing Spartacus. I feel that it is a little "overkill" in act 1&2 with those never ending male jumping and fighting. But it is perhaps why they love it.

August 15 has Vasiliev listed originally and now replaced by Tsvirko. Margarita Shrayner and Tsvirko pair seems not lived up to the opening night expectation level so they brought Anna

Just checked and found that my booked DQ opening night is now Shrainer/Tsvirko... I will return the ticket probably. I also booked for Krysanova. Originally I believe it is with Lantratov but now replaced. Not very happy...

Having seen that perticular performance mentioned a lot in the last season highlight form. I went to the opening night and the night of Corrales performance. Sad I did not book the other night. I went back into the long form of La Bayadere but still want to ask if you went to that night... What happened and what still remains in your mind after half a year?

Highlight: 1. La Bayerdere. Nunez/Osipova/Vadim, dreamy. I went to 3 performances and had tears. 2. Vadeam pretty much in everything 3. Les Patineurs opening night opened my holiday season 4. ground floor coffee counter has great coffee....... Lowlight: 1. DQ Don't like the set. 2. Forever changing ROH website.

Asylmuratova did a fantastic job. But overall for the whole ballet, I think last year recording the music is better (or perhaps it is the due to the improved technology). And for me Bayadere is not only dancing but the best story telling ballet music! And also Gary Avis did a fantastic job last year. The acting was so touching and moving. Nunez and Osipova's acting are also brilliant. And for the 1st time I see Ganzatii and Solar's jumping sync so well lol...

It is a very enjoyable night and I had tears on my face at the end seeing Fonteyn dancing with Ashton Some interesting details of tonight. 1 One of the R&J lift seemed not executed well. But the rest of dance were lovely performed by Hallberg and Osipova. 2 La Corsaire: Y Naghdi danced the variation with music of Queen of the Dryads from Don Quixote and many steps were like Queen of the Dryads as well. I asked about it at stage door. And the answer was that Fonteyn performed this version. The music seemed a bit rushed during the middle of the variation and Naghdi made a mistake at the first one of Grand Fouettes but well executed the rest. Vadim at the other hand, was spotless. 3 Durcey retired exactly 8 years on the same date here I was a little surprised that M&A was not included in the program as it was a ballet created especially for Margot Fonteyn.

Well it is my personal opinion. I have attended Vadim's all 4 DQ performances and Symphony in C and 2 pigenons. Have seen him with Nela/Lauren/Natalia/Fumi and tonight with Yasmine. I felt that probably because of Yasmine's tall height. Vadim was a bit kept out when they stood together. But it is kind of personal preference.

Personally I don't think that Yasmine and Vadim has a very matched line and style. I feel that Vadim matches better with Nela and Natalia. And Yasmine a better match with Ball.

Chatted after today's show at stage door. It is indicated that following the Swan Lake, last year's LB, nutcracker and the coming Coppelia and Ramonda is going to be released DVD/Blueray. Such a delightful news! I think that last year LB Nela/Vadim/Natalia is a truly "dream team" for La Bayadare. I watched the previous 2 recording (Asylmuratova/Darcey and Rojo/Nunez) and personally think that last year's performance is the best of all three, or probably the best of all time.

Actually I found ROH audience age is much better distributed than the rest of places I had been. Partially because there are many art students in London and partially because many tourists put RoH on the list of thing to do in west end... Well I started my opera years when I was 21-22 in SF war memorial opera house. I could hardy find anyone of the same age as me or even anyone without grey hair. In ROH I often make the opening night of a ballet on the front row of Amphi to get a overall view then pick some other dates to sit downstairs. Usually the front row of the opening night is a treat, surrounding by real fans:)

I am not sure if the topic fits into this category but I don't know where to put it. It is kind of a general discussion? Have any of you tried dinning at ROH before? How is the experience? I have been to ROH so many times and the dinning section is the only part I have not experienced... Quite curious.

I found them doing well last year with La Bayadere also Minkus. What happens now...

Haha I sat at K row on the floor but I never really care that much of the shoes... In my view I hope them all wear safe and comfortable shoes. I struggle and suffer a lot not in dancing but in everyday life because my feet are a bit flat . So I am very open mind on this.

I had only seen a short clip of Hallberg&Osipova's Giselle interview in Bolshoi of Hallberg dancing before last night. So at the opening I was a little surprised to see his dancing style. But after Act 1 I felt a great passion between them and I saw a sense of self-destructive on both of them.

Completely not related to the dancers... I saw a gentleman speaking of his thought of the dance very passionately to the sales girl in the gift shop during the 1st interval. He kept speaking and I felt that all his words so beautiful. English is not my native language so I often feel difficult to express my feeling.

I felt the same as you. I had tears during the balcony PDD which I usually don't because this time I kept thinking that such a love will result in tragedy.