maryrosesatonapin

I apologise for the length of this post but would be interested to hear others’ opinions.
 

Swan Lake is my favourite ballet.  Maybe the reason is similar to that of a duckling attach itself to its earliest memory, whether it be a human or a wellington boot.  It was the first ballet I ever experienced (at London Festival Ballet), and since then I’ve been hooked.  And the sublime music was the first LP I ever bought. But there are so many Swan Lakes!  I am about to see another next Saturday – I couldn’t resist the Zakharova/Rodkin combination even though this version isn’t my favourite.  It is more abstract, with minimal mime and a rather abrupt ending, but I am sure the dancing will be transcendent and it will probably be my last chance to enjoy beautiful Svetlana in the role, given that she has passed her fortieth birthday.
 

The best version I’ve seen is by (what was then) the Kirov, in their own theatre.  Their scenery was just magical with a very realistic looking lake glimmering in the moonlight.  The whole production was like an exquisite poem, with dancing to match.  I still have the cast list somewhere but at the time didn’t recognise any of the names even though I can read Cyrillic script.  The only thing I didn’t like was the overly happy ending. 
 

I thoroughly enjoyed the Royal Ballet older versions.  Liam Scarlett’s new SL has some strong points (MacFarlane’s scenery is gorgeous) but I find Benno, Siegfried’s friend, irritatingly omnipresent whilst visually resembling some kind of bellboy.  (For this role I prefer the Bolshoi jester who is terrific albeit perhaps less true to the original production.)  I’m not sure about the late C19th costumes; for what is a fairy story I’d prefer the era to be more ambiguous.  And why is Von Rothbart so visible at court, glowering melodramatically at the Prince who must surely be his social superior?  And the ending is tragic but inappropriately uses the music which signifies triumph and positivity where Tchiakovsky changes the swan theme to a major key (suited to an Apotheosis). Then there is 26-year-old Nureyev’s version  in which he dared to change a great deal of the choreography, and for which he and Fonteyn got a legendary 89 curtain calls in Vienna.   This I have only seen on video of course. There have been many, many other productions by different companies all over the world, and I have seen a few of these too but none remains lodged firmly in my memory.  None is perfect but all are worth watching for this Tchaikovsky addict. I never tire of this ballet.
 

Do YOU have a favourite ‘Lebedinoye Ozero’?  And if so, why?

23 hours ago, Dawnstar said:

Does anyone know whether there being 12 soldiers who refuse to fight with Spartacus is a deliberate reference to Jesus' betrayal by the Disciples?

Given the ballet's background I hardly think this is likely.

33 minutes ago, Bluebird said:

 

I think you have misunderstood. The part of the interview you have quoted comes from the paragraph in which Alina Cojocaru talks about Johan Kobborg’s approach to the ballet - i.e. Kobborg is the one who believes in the tradition of classical ballet. Her remarks about Polunin come in the following paragraph.

Ah, yes, she is talking of the Polunin Romeo and Juliet production but of course, re-reading it you are correct.  Thank you Bluebird. (I love Kobborg but was eager to hope that Polunin was not going to leave classical ballet behind.)

The latest edition of 'Dance Europe' contains a quite lengthy and revealing interview with Alina Cojocaru.  On the subject of Polunin, she says 'I love the fact that he believes in classical ballet - actually he believes in it more than me, so I'm learning from him - he is not giving up on classical ballet, classical steps to create a story.  He believes in that tradition and it's fascinating to see how all this will come together and how I can be a part of it. ... It's so rare,  today, to be in a studio doing a new, classical production, it's almost non-existent.'

It's far too late to be writing on the forum but I still haven't come down from seeing the first performance of Spartacus tonight (or rather, last night!)  It was superb.  It's a long while since I saw it (with Irek Mukhemadov in the nineties) and this production seemed very different.  I was expecting to be dazzled by the quality of the dancing but was surprised at how moving it was.  Denis Rodkin was not only bold, brave and athletic but also tragic and convincing in his love for Phrygia, played with vulnerability and passion by Anastasia Denisova (of whom I've not heard before).  Belyakov enacted Crassus in an appropriately bombastic manner, and took full advantage of being able to snog Svetlana Zakharova at every opportunity   Zakharova was just wonderful.  I always think of her as rather sweet, dignified and virginal (as in her Aurora) but here she embodied a cruel and cunning courtesan with every well-honed muscle.  She was probably the oldest dancer on stage but also the most lithe.  

Of course, this ballet is a typical Bolshoi warhorse and suits their style perfectly.  The production is ageing well - I think Virsaladze's design still looks fresh (whereas his Swan Lake could do with an update maybe).  The orchestra was seriously good.  Every male dancer looked extraordinarily handsome - especially Denis Rodkin!  And he seemed to enjoy his time on stage so much.  He was captivating.  The whole evening was beautiful and worth the ticket price (£180 something pounds!) as I will remember it for the rest of my life.

Thank you for the heads-up, JNC.  I love the pic of Frankie on the cover but the one inside, not so much... I don't like ballerinas' legs to look too 'sporty' even though they have to do such hard work.  It's nice to see her being acknowledged.  I wonder if Meghan goes to the ballet much?

I've just watched Hallberg's interview, above - how funny Americans are to ask if Moscow is safe for him!  How brainwashed they are   (And so are we to a lesser extent.)

On 24/07/2019 at 08:58, JNC said:

 

Thanks! I'll admit I'm not particularly interested in seeing Polunin's other work (his 'reputation'/controversy aside, I don't think that type of contemporary dance etc is my preference), but the fact that Kobborg and Alina are involved in this certainly makes it more interesting to me. Polunin working with Kobborg/Alina and focusing on more 'traditional' ballet (albeit with a twist) seems promising. 

 

It will be interesting to hear what people report back from Verona (especially if any Balletco members go) and based on that, if it comes to London, I may see it! So please do report back if you do go! 

Although I enjoyed Rasputin, I agree with JNC that if Polunin does more traditional ballet with a twist it will be good to see.

The mention of pointe work for men reminds me of the Georgian National Ballet, where men are en pointe and women are not.  Those men could hardly be more masculine though, nor the women more feminine    One of the things I love about classical ballet is that the difference between the sexes is celebrated rather than neutralised.  Both genders are of great importance, and valued for those particular qualities they epitomise rather than trying to ape each other, as so often happens in our crass modern world.  There isn't a competition - working together is the key.

25 minutes ago, FionaE said:

 

I do feel uncomfortable discussing Sergei's Girlfriend’s life.  That’s private - this forum is about dance.  

Well she was on stage as a bona fide dancer so she is up for discussion as far as her talents are concerned. 

@FionaE this sounds absolutely magical and I am jealous!  Have a wonderful time and please do give us a detailed description afterwards

9 minutes ago, SusanR said:

I'm so sorry you found my comment about the pas de deux between Victoria & Albert so amusing Sharon! In my world, less is more. I would much rather see such moments in my imagination, but these days everything is on display. So crass. 

I saw this a couple of months ago and agree with SusanR.  There were a number of moments which were unintentionally risible IMO.  It isn't a matter of being prudish but rather of taste. L'apres Midi is one of my favourite ballets and I find its sensuality completely appropriate.  Not so Victoria.  Also some of Victoria's steps made her seem rather comical.  I enjoyed some of the ballet but certainly wouldn't see it again, and was surprised at its having so many excellent reviews.

On 23/06/2019 at 12:06, Darlex said:

Possibly it was already mentioned here, so apologies if I am repeating information, but I just wanted to let readers know that there was  an interesting article in June's Dancing Times about The Firebird and also in the same issue, an article about its designer, Natalia Goncharova.

... Also a lovely report of this triple bill in Dance Europe, where Robert Penman's description of 'Symphony in C' as an 'applause machine' made me smile.  It's a glowing review though, especially of Vadmin Muntagirov (whom I didn't see on this occasion).

There is a good review of Rasputin in this month's 'Dance Europe'.  Mike Dixon writes of Polunin's 'ferocity and passion that defines this as one of the greatest moments of dance seen on any stage this year.'  I'm pleased to see he was also as impressed with the teenage Djordje Kalenic as I was.

Sorry to be corny, but I'd like Swan Lake.  Also L'Apres Midi.  Others would be once every two, three, five years or more according to my fondness for them

The RAH has put up some photos of the production: 

 https://www.royalalberthall.com/about-the-hall/news/2019/june/cinderella-in-the-round-at-the-royal-albert-hall-the-reviews-are-in/?utm_source=wordfly&utm_medium=email&utm_campaign=postshow&utm_term=2019-cinderella&utm_content=version_A&emailsource=44975

6 hours ago, Jamesrhblack said:

Thanks for this. I’d even bought a programme but there was no cast change flyer with the cast list ...

Me too - annoying, isn't it!

I like the look of that Geisha ballet.... lots of possibilities there!

We went to see the triple bill this afternoon and loved every minute.  Never have three hours flown by so fast.  Others have given super descriptions (thank you all!) so I’ll just add a few comments.

Firebird:  There is so much to love about this ballet, and Magri danced very well.  Just imagine how stunning it must have seemed when it first appeared in 1910!  The music, as well as the dancing, was magical and compelling.

Month in the Country:  I didn’t remember how funny this is, in spite of the underlying sadness.  There were a couple of laugh out loud moments (such as when Vera and Natalia were having a jealous spat over Beliaev).  Hallberg looked handsome enough to be a convincing lady-magnet, and came across as a bit of a bounder until the moving closing scene.  Osipova was perfect for the role IMO.  Visually the ballet was a delight, except for the butler’s coat which for some reason was an over-strident shade of blue.

Luca Acri managed to convey a childlike charm but this was belied by his large size – which spoiled my suspension of disbelief somewhat.

The pianist, Kate Shipway, deserves a mention as this beautiful music is very demanding. 

Symphony in C -  Fumi Kaneko’s mishap right at the beginning caused me to feel anxious for the rest of that movement (hoping she hadn’t hurt herself).    After that I relaxed and was carried away on a wave of exquisite music and movement.  This is a great showcase for the company and made me feel so proud of them.  In the third movement Alexander Campbell was admirable and I could see no affectation so maybe he reads this forum and has amended his habits   I did wish though that the female dancers weren’t of such varied heights because it distracted from the desired uniformity of some groupings.

It’s worth noting that the student Bizet was only seventeen when he composed this symphony.  Clever, eh?

Afterwards we got on a riverboat to see an exhibition of the work of Firebird’s designer, Natalia Goncharova, at Tate Modern – well worth a visit!
https://www.tate.org.uk/whats-on/tate-modern/exhibition/natalia-goncharova

And the film ‘Force of Nature Natalia’ has just come out:

https://www.curzoncinemas.com/film-info/force-of-nature-natalia

1 hour ago, Ivy Lin said:

I saw this last night, and here is my bachtrack review. I was NOT a fan.

https://bachtrack.com/review-jane-eyre-marston-feeney-american-ballet-theatre-new-york-june-2019

Oh dear!  This sounded so bad I almost want to see it!

I just got an email saying they will announce plans tonight:
https://northernballet.com/50years/live?utm_source=Northern+Ballet+newsletter&utm_campaign=c6de27eb40-Livestream+email+Golden+Announcement&utm_medium=email&utm_term=0_3c3bebf4a1-c6de27eb40-202426841

5 hours ago, Jan McNulty said:

 

Cathy Marston indeed created this very fine ballet on Northern Ballet.  Did you see it when it toured the UK last year Maryetc?

No, the only Marston ballet I've seen is 'Victoria'.  I'll look out for Jane Eyre if it appears within reach.

This is such a great story for a ballet.  I hope you enjoy it!

7 hours ago, redshoesgirl2 said:

...it is rather amusing she is billed in appearances as ice dancing champion in sochi, but actually she and her partner came in third. she is pretty good and very dramatic. but they were not the champions, that would have been the americans davis and white.

To be fair, redshoesgirl2, the programme made it perfectly clear which medals Elena had or had not won.  The fact she was in the winning Olympic team surely entitles her to be called a champion?  I feel there was no excess boast or untruth intended.  But as I indicated in my review, that doesn't make her a great dancer!

It's wonderful if this type of event garners a new young audience!  I do think, though, that children can appreciate dance and in particular ballet much more than we sometimes give them credit for.  I have taken young relatives to the Nutcracker when they were quite small, moving on to Sleeping Beauty then Swan Lake, and also Opera (Carmen is a good starter).  They are now hooked!