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Bruce Wall

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  1. Yes, but not as often as she might ... or once did at the Bolshoi.
  2. I, myself, have often felt - much like Deborah Bull - that Laura Morera falls into this category - but understand that there are often reasons that we cannot be aware of why this may be so. Certainly I would have LOVED to have seen her in Month in the Country - as much as I would - once more - adore to see her in Oneign - which, obviously, is not to be. She has done such yeoman service. I pray that she might be kept about even after she has stopped dancing on the ROH stage - to handle some of the Ashton coaching in the RB future. I can but feel that it would be keenly appreciated. Elsewhere I have often felt that Novikova at the Mariinsky has not achieved all that she deserved/deserves - but I understand that many - perhaps even most - here will not have had a chance to see her live. She is, I promise, magical.
  3. I agree with much of what you say, Sim - and think too that today companies - including (or perhaps most especially) major ones - are much more homogeneous than they used to be. There are far fewer clear defining elements - concrete and unique demarcations - especially when so many are now sharing styles and techniques which seem to mesh much more generally than once they seemed to do. That's just my observation.
  4. Thanks so for this notation, Jane S. Much appreciated. Here's a trailer:-
  5. Capybara, I would be grateful if you had quoted my entire entry. I was NOT referring to Biktimriov - who, it is true, I have always admired - but, as clearly noted, 'one of the lads of the Fandango team (stage left side)' in terms of his unique headdress. Somehow I can't imagine as consequential an artist as Biktimirov - who clearly was NOT in the Fandango section - donning such. Blessedly Rob S had no difficulty in figuring my FULL statement out for which much appreciated thanks as much for that as for your stunning photo. So beautifully framed.
  6. Did anyone else notice that one of the lads of the Fandango team (stage left side) - all in their glistening white - entered this evening - immediately after the magnificent Vitaly Biktimirov and Oxana Sharova dazzled in the Bolero - wearing a white construction helmet instead of the apportioned hat such as was donned by the remainder of his brethren. I wonder - if anything - what he might have been trying to tell us?
  7. Alban Lendorf (formerly of the RDB) has now been removed from ABT's principal roster. One wishes him the best for his future whatever it may entail.
  8. Don't want to start a new thread - but interesting to see that ENB will be doing a Khan piece in NY City Center's upcoming Fall for Dance series:- On Program Three, the storied Mariinsky Ballet will dance the American premiere of Alexander Sergeev’s “At the Wrong Time”; the evening’s other troupes are the English National Ballet, performing a work by Akram Khan; Skanes Dansteater of Sweden; and Alvin Ailey American Dance Theater, presenting a portion of Rennie Harris’s “Lazarus,” which had its premiere last season. Don't glad to see Kim Brandstrup show up doing a piece for two NYCB principals:- Program Five includes appearances by Les Ballets Jazz de Montréal, Monica Bill Barnes & Company and the Martha Graham Dance Company — in Graham’s 1936 work “Chronicle.” But the main draw may be the New York City Ballet stars Taylor Stanleyand Sara Mearns, a Fall for Dance regular, in a world premiere by Kim Brandstrup.
  9. If that WERE to be the case, it would be sad indeed - and I think blur so much key historical input in meaningful terms of 20th Century ballet.
  10. How grand. What a wonderful idea. Guess there will be a lot of red. It was, after all, Chanel's favourite colour
  11. Surely Bridem the Shechter, Khan, McGregor, Pite and Scarlett pieces are all of the 21st Century. Classics??? Time will, of course, tell. It always does. There are definite additions to that list if it is to include this current century. Could there be a list for the 21st Century and NO Ratmansky??? His Concerto DSCH; his Plato's Symposium; his Pictures at an Exhibition; his Namouna - so many works to choose from. Still, that's out of context for this particular strand. With Balanchine I would like to think that Square Dance, Stravinsky Violin Concerto and Brahms Schoenberg Quartet might be added.
  12. Here is the Company's rep: http://www.gatob.kz/en/posetitelyu/repertuar/#tab30
  13. Here's hoping that you are relatively pain free this morning, LinMM, and will make a complete and speedy recovery. Have enjoyed the two performances - the second more fervently certainly as I had the second over the first of Bolshoi's Spartacus - of The Bright Stream; a feast of ironic joy fed by the ever glorious wit and wisdom of Ratmansky. The Bolshoi orchestra was - as it has been in other performances - brighter and certainly less plastic in terms of tempi - when not under Sorokin. In last night's instance it was another Pavel (Klinichev) at the helm and the entire instrument of this zealous instrument found renewed zeal in inflating Shostakovich's satiric balloon allowing it to pop in any number of different directions. I so loved the heightened use of the xylophone's usage in Zina's disguised solo variation which Nikulina excelled in much as she so aptly did in all else. What a happy journey his particular artist has been on not just in this ballet but in her career. Her ravishing development is clear for all to see. One key reason why the second performance (IMHO) was superior was because the roles of Zina and The Ballerina (and their relevant status) were so much more clearly delineated than they had been in the first performance. No grumblers in my earshot certainly last night. This clear distinction made the whole thing appear less cliched as it sadly had sometimes been made to seem the evening previous. I loved how Nikulina in her opening set of fouettes illustrated the fact that her character was out of practice aside the key largess of stunningly authoritative Shipulina as 'The Ballerina' - by making her porte de bras rather gauche. Her fingers there were seen as whirlwind spokes. Happily at the end of the act Nikulina did the actual choreography and in doing so clearly illustrated her character's development. This may be because at this juncture such is just not in the gift of Khokhlova (the Zina of the night before) who was most certainly winsome. I wonder if this had Ratmansky's approval. Nikulina was so much more full and distinct in her modulation and it helped stitch the synopsis of the whole with a greater clarity. You could actively see/hear this in the response of the whole company. It was heartening to see the corps as a whole applaud her when she modestly stepped forward to take her featured bow at the final call. Most crucially it also led to a much more enhanced and understanding response from the entire audience. Here they were totally unified in the build of their joy. At the close of that second variation at the end of the first act Nikulina went from singles to doubles and back before ending - as had been seen in 2007 at the ROH - with the closed fouettes so often favoured by Balanchine in, say, his Wilde or Hayden variations. She helped build a solid platform for the gloriously varied delight of all of the variations from all that were to come. Each and all were rightly celebrated. The one performance I preferred from Monday was that of Tsvirko as Pyotr as opposed to that of Chudin last night. It wasn't just the fact that Chudin didn't finish his first act solo and changed the end of this second act variation (again I wonder if this had Ratmansky's approval) but the depiction of the character was just so much more on one level. Tsvirko brought so much more varied life in the chart of this colourful characterisation - much as Vasiliev who I had the good fortune to see in it some years ago had. Such a shame that we hadn't had a chance to see that as originally planned for this tour. Loparevich as The Old Dacha-dweller also was much more detailed - with less obvious buffoonery - than the night previous and that gave Skvortsov so much more opportunities for meaningful play as The Classical Dancer en travesty. (By the bye that role is one of the highlights in the repertory the Royal's new 'permanent guest artist' - being one to which he is uniquely suited and appears to delight in. Perhaps for this reason I, myself, would not be surprised if the Cranko Estate had chosen to restrict his appearance in the title role opposite Osipova in RB's upcoming run of Oneign - especially after having him perform such opposite her recently in Munich.) The one shared depiction that glued the two Bright Stream performances together in honour - again in my lights and my lights ONLY - was that of Denis Savin as The Accordion Player, a role he originated. What a stunning theatrical presence Savin is; one replete with the dramatic acuity of, say, a Peter Sellers. His is a performance I hope the National Dance Awards might consider nominating. This artist - who is consistently fine - deserves every recognition going and then some as far as I'm concerned. As it is I don't think he has got the rewards he so clearly deserves. I kept thinking of the wide breadth of repertory that I'd love to see him in including Pyotr in this very work which I know is in his rep. I so wish we could have seen Nureyev as had originally been put forward for this tour. His segment from that - as well as that by Shipulina - were very much the highlight for me in that programme Vishneva ran at Sadler's Wells last season. Each and all of Savin's outings are a full and happy repast for which one offers keen thanks.
  14. I tend to agree with much of what you say, JNC. I had a smooth purchase on the ROH site this morning for a large number of tickets for which I was keenly grateful - although I don't remember spending quite so much in the past. (I see that as a good thing. So much to choose from and so much I'm eager to see.) Still the situation you describe is I fear simply the way that things may go in the future and I'm now priming my brain just to accept it as best I can. At a certain point - and I know this has happened with some friends in terms of the opera - we may simply feel priced out. It is there, of course, but perhaps not now as much for all as before. As it is the ACE funding for the ROH is being curtailed on the edges and with the Linbury specifically I still wonder that they still remain selling at greater cost, say, than for mixed bills in the main house several standing places in the 'renewed format' with virtually NO viewing sight line AT ALL. The market it seems is bearing much ... at least at the moment.
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