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Bruce Wall

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Everything posted by Bruce Wall

  1. MAX, thanks so for this. This brought back so many memories. I saw Gregory dance SO many times ... mostly with Bujones. Such a wonderful partnership they were - and so obviously adored dancing with each other. QUESTION: Where was this filmed? Was it at The Riverside? It looks like it might be - or possibly Symphony Space? I remember going to some of these programmes but with age I can't remember where exactly they were?
  2. In that case maybe we might get Sarafanov as well! That would be brilliant. Do you know, Fiona, that Novikova and Sarafanov aren't doing all three performances in Rome? I see Vogel is ALSO down - according to his own website - on the Rome list and he is scheduled to appear in all of the 24,25 and the 26 January 2020 Les Etoiles Gala performances in Rome - so it seems he WON'T be in London and the list quoted above is not entirely accurate as well. Here's Vogel's schedule: http://friedemannvogel.com/schedule I wonder if he knows that Ensemble Productions are listing him here on FB??? Best I think in these instances NOT to get too bothered with who will appear in this London BI gala. There is just so much said and, as it turns out, just so much 'Fake News' - let alone inaccurate advertising. The night will come soon enough and then we will know for sure.
  3. Given that Novikova is listed in the Rome Gala to be dancing with her brilliant husband ... and that she will dance there in March in Corsaire with him I somehow think this much more likely. See Alexandrova and Lantratov are now also on that list. That said very interested to see a few of the new names for the BI programme --- Will very much look forward to seeing Robbie Fairchild again - and DUPONT???? That will be special. They list her as being with the POB ... but she is, of course, retired.
  4. Here you can see a younger Lopatin in a production (Kobborg's La Sylphide as was once in the RB's rep) and opposite a dancer (N. Osipova) perhaps more familiar to local viewers - Turn to 3.13 for a segment of his thrilling second act solo.
  5. So sorry ... Didn't get that link... But now see your note. In that case the title of the enterprise ... as much as some of its stuffing ... was a bit much .. Nay, a trifle preposterous. Not to worry 😃
  6. I believe there was a considerable amount of paper for the latter (i.e., triple bill) programme. I must say I found the choreography of this triple bill far from 'thrilling' as the title of this strand seems to purposefully advance. Quite the opposite in fact. That too was the measure from many I overheard at the interval and on departure. I had been fearing it might be just me. I certainly feel the dancers have all been served better elsewhere. Of course the Modanse programme was originally to have run the majority of week - but the performances were slashed to three when tickets didn't sell. A shame as it turns out. I would certainly have gone to that again. Some truly brilliant dancing. The Friday night was - as it turned out - dark and this triple was added relatively late in the day. From a purely commercial perspective if the producer(s) did not entirely lose their shirt, it surely must have been at least torn - a bit as was the case with SFB at the Wells this year.
  7. A ticket is available for this programme with a mix of Russian and British dancers - including Ed Watson - showcasing different choreographer's work .. including a world premiere by McGregor. I have a balcony ticket - A39 - with full view. That said I'm sure you will be upgraded as it really hasn't sold and be moved to a more expensive level. I paid £12.50 for the seat but will sell it for £5. It is an e-ticket so easily sent. If that is a problem I will be there to pass it over if desired. If interested please PM me.
  8. The variation and coda were even better. Our girl is doing well. VERY well indeed! KOH said Hay had been taken ill. I pray we will see them together at the next performance.
  9. Here's the cast list for Modanse, Alison - A tumultuous team of talents they are Svetlana Zakharova Mikhail Lobukhin Vyacheslav Lopatin Denis Savin Jacopo Tissi Ana Turazashvili Anastasia Stashkevich Victoria Litvinova Nelli Kobakhidze Svetlana Pavlova Marfa Fyodorova Tatiana Osipova Anita Pudikova Karim Abdullin Alexei Gaynutdinov Anna Grigorieva Vasily Danilchuk Anton Gaynutdinov Oscar Lyndon Alexander Frame Here are those two lads in that STUNNING duet in Like a Breath - whose names I didn't know. http://www.jackdevant.com/alexei-gaynutdinov-and-anton-gaynutdinov-in-come-un-respiro/ They are Alexei Gaynutdinov and Anton Gaynutdinov .. They are very much brothers in glory. Bless them.
  10. Quickly, as I have very little time .... and am pressed in what there is of that. I thought this absolutely magical with a thrilling panoply of dancers from the Bolshoi dancing pieces in which you feel their commitment is visceral. That’s something we rarely got I felt in their sojourn at the ROH last summer. Never seen Zakharova better than in either of these pieces – be it with the Bolshoi or, indeed, at La Scala - and it was a true thrill to be at the opening of the Chanel ballet with both the choreographer and composer present. Let’s face it. The Russians just don’t do elaborate – or in many instances any – mime. This was a series of snap shots gloriously lit and dressed in ballet costumes – not yards and yards of oft unnecessarily heavy Georigiadis – that were created in homage to their titled doyen BY the Maison Chanel. (OK the Nazis didn’t appear – but this was bio light. We had to take this as read and was I often felt it was – from a Russian perspective – more effective for it.) This was Russian/French cool not a British sense of ballet hot seemingly seeking to cross T’s and dot narrative eyes. At the heart of the Chanel dance work were two extraordinary PDD for Zhakarova and Tissi which I’m sure will live forever more in Russian ballet gala heaven. To my own mind, however, it brought perhaps a shard of a different memory no less poignant and certainly no less telling. . Let me explain. When I was VERY young my parents had a flat in Paris on the Rue Cambon - in a building – one of those Francophone inverted complexes – this one with a large blue front door – still there - next to a school - which is still there - and just across from the back door of the Maison Chanel - which - replete with that mirrored staircase which rises atop its tiny lobby – too amazingly survives intacto long after the flesh of its patron saint has evaporated. I would sometimes go with my mother and my governess and squeeze into that little lobby space somewhere beneath my mother’s handbag. It was I remember a wall of well appointed flesh. Chanel - then still breathing – would – with grand panache - perch atop of those marble slabs. She would stare down in chilly swank at the entities crammed beneath through the fringe of her heavily etched bangs and wide black rimmed glasses both being in total harmony with her stunningly appointed 'little black dress'. Every so often - when a mannequin would dare to make her descent down those accordian stairs in one or other of the seemingly new creations - Chanel - who was, for all her gargantuan stealth, tiny - would get up and tear something off it or make some adjustment. It was, of course, a commercial ploy but beautifully stage managed. Nothing was ever said. All the women beneath would applaud and, of course, crave that particular outfit because they had seen Chanel touch it. Chanel would then take her time. She would turn, arch her back towards the crowd and then prowl back to the top of the staircase where she would once again gracefully sit, pause in thought, swivel – always at well calculated angles – and again glare down at the doting assemblage and then - as if by cue in some sort of elaborate Swiss clockwork display marking the hour - smile. It was an icy but oh, so voguish sliver. The ladies would sigh. I saw this a goodly number of times. My governess would leave me there (I know, I know it was a different time) allowing Chanel to somehow babysit. I couldn’t have been more than five. Somehow it entranced me. Chanel would watch over me. Sometimes I imagined she was smiling at me. Certainly I believe I felt the direct stare of those piercing eyes. It was always as if it was a Christmas window – no matter what the time of year – and this the most vivid, breathing display. It was that sleeping beauty at Madame Tussauds – with its undulating breast - come alive in the truest sense. The image kissed. The mystery, however, was preserved. It enticed. That was its joy. I would press my face against that large window pane watching Chanel give repeat performances from far above. (You have to remember I was relatively small then too.) I was mesmerised by the theatricality of it. It was to have – I’ve since learned – a noted effect on my own life. I realise now it was one of the first (and I believe one of the best) lessons I was to have in effective staging. It was, too, of course, a different world. Fashions may come and go but style as Chanel showed us doesn't. Women are, after all, - and thank heavens - still wearing the trousers such as Chanel gave them the nod they could. As for me I was - as I have so often said - simply lucky to have been born when I was. That I do know. But back to the heart of this performance – the dancing IS extraordinary. I’ve gone twice. I will go again and feel lucky at having the opportunity to do so. What joy it was to see Jacopo Tissi shine. He was for many here (myself included) such a disappointment when he guested as a replacement in the RB's R&J – Please don’t ask him or Zahkarova to act. They radiate from within. It is, or so we lucky few saw – a gift. Here he could just be uncontrollably pretty (reminding one of another Italian who recently guested at the RB at a similar vintage) and dance - both of which he was - it has to be said - EXCEEDINGLY good at. Has a leap ever exploded at such length from such a coiled fifth??? The combination of Vyacheslav Lopatin and Anastasia Stashkevich in the first ballet dazzled .... Both were sorely missed in the last Bolshoi Company visit here. Lopatin is a masterwork of a dancer – with Zelensky-like landings – i.e., panther like in their prowling silence. Lopatin and Denis Savin (what a living joy this man is – and here so well used) in both pieces were mesmerising. Oh, and that male duet in the first piece with those two extraordinary young Bolshoi men – so gloriously sensitive – and please forgive me for not having their names which is my failing – were both in their riveting tandem heart-rending. Last night the audience exploded in their appreciation as well we might. Still one could not take one's eyes off Zakharova as the immortal Chanel or indeed as the central progenitor of Like a Breath . She more than realised Chanel's incisive words and totally deserved the prolonged applause. Now I really must run. I’ve gone on far longer than I intended and have a mountain of work to attend to. Please forgive any errors. Off I go. I've stayed far longer than I intended.
  11. I have a balcony seat for MODANSE (the Chanel Programme) with S. Zakharova and other Bolshoi Dancers in the Balcony (C45) - Fairly certain you would/will be upgraded. I now have other seats so will be there to pass on. Will sell this for £3 ... I paid £12.50. If interested please PM me.
  12. Don't know if this has already been mentioned ... but thought that I'd list it here if it has not already been done so. Moderators - Please remove if this is a repeat item. Ref: https://www.stjohns-hydepark.com/whats-on/2019/11/29/dancing-the-roof-off
  13. I had the GREAT privilege of working with Jonathan. I've always considered him the last of the really great Renaissance Men of the arts. I very much doubt I will see his like again. I was so lucky to have been able to profit from his genius. A total inspiration. No question. This is one extraordinary soul who TRULY deserves to RIP. I have every confidence he will do so with a broad grin and with a feast of original invention still whirring about somewhere in his midst.
  14. Oh, this is great news ... I so enjoyed the performances I saw at the Wells. With this and the film of the RB dancers in the cut MacMillan R&J it promises to be a very good Xmas all round
  15. Thanks, Cackles. Yes, it is. I typed it out by hand from the flyer I got from the store counter at the Coliseum when seeing Orphee. The list was not up on their (i.e., the Coli) website listing when I last looked. Some names had been dripped out on Ensemble's Facebook postings but certainly not all. As I and BBB suggests you really - as ever - won't know until MUCH closer to the time as towards the actual reality.
  16. A list of names has suddenly appeared for the 2020 programme in January. Sounds good - as usual - should all of them show up. Due to lack of time will just do last names: Ball (RB), Alexandrova (Bolshoi), Cirio (ENB), Coviello (La Scala), Bernal (National Ballet of Spain), M. Golding, Hayward (RB), Heymann (POB) - [that made me smile], Khaniukova (ENB), Kim, (Mariinsky), Kittelberger (Stuttgart), Kochetkova (ex-ABT/SFB), Konovalova (Vienna), Krysanova (Bolshoi), Lacarra, Limenko (Stanislavsky), Lantratov (Bolshoi), Makhateli (DNB), Novikova (Mariinsky) - [an even bigger smile from me], Osipova (RB/Bolshoi), Ovcharenko (Bolshoi), Pagliero (POB), Parish (Mariinsky), Picone (San Carlo), Reveillon (Mariinsky), Salenko (Berlin), Shesterikov (DNB), Simkin (Berlin/ABT), Tereshkina (Mariinsky), Valerio (La Scala), Walter (Berlin), J. MacKay (Mikhailovsky) ... Plus it says there will be others ... Of course you can't be sure until they show on the night
  17. Back in the day at NYCB - certainly while Balanchine was alive - the casting would go up on a weekly basis in framed boxes either side of the main entrance of what was then called 'NY State Theater'. How I remember eagerly dashing on the subway and climbing those stairs to see what riches were potentially on offer. I'd then bound across the marble to the box office and buy my Fourth Ring standing room for copious performances. In the case of Robbins - most especially for new works - the casting would often be announced on the day - and frequently written in by hand. In fact I once remember seeing Robbins standing there just before the half hour while the box was opened - and making a change to casting in his own hand while the rest of us crowded about. Robbins was known to rehearse a number of principal casts and then choose individuals from that mix at seemingly the last point in time where it was possible to do so. It must be said he gave many young dancers their first prominent opportunities (Chris Wheeldon was certainly one dancer where this was the case in the late stages of the Choreographer's career) and re-invigorated others who had - even momentarily - appeared to be somewhat lost in their rank. There were also occasions - such as Wendy Whelan in The Cage - where one dancer would make a considerable success in a Robbins' role and then seem to more or less own it forever more whilst they were about. (That certainly would have been very 'un-Balanchine' at that point given that you'd see a revolving door of potential glory in his ballets which would, the new ballets that is, just keep coming more regularly than the buses on Broadway - or at least such seemed to be the case with the one I took to go home - the M17 - where you'd often see the likes of MacMillan or Tallchief standing amongst the crowded mix.) It would not then have been strange to get casting to DAAG very late in the day ... as this was one instance - like, say, Goldberg Variations or Four Seasons - where Robbins would ensure that many young dancers would be given notable chances. I am more than happy to wait til the day for the RB's current DAAG celebration. The Company is so rich in the depth of its ranks I hope than many are presented with this glorious opportunity. It will be I know to the benefit of us all. For this reason I have booked to see them every performance. Such a gift.
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