Bruce Wall

I too much admire the provocative Ms. Gittens, even when embodied, as she so devotedly was last night at the Coliseum, inside the large (albeit substantively hollow) frame of Bintley's Carmina burana. Bintley's is a piece of entertainment by way of the Great White Way rather than a ballet proper; one where semaphore - be it either of a practical or metaphorical nature - plays a crucial role. Its tin proclaims all. It is almost Brechtian. Gittens gallantly riveted beyond demand. In her final pas her tongue was literally - and wisely - caressing its cheek. Her partner, the svelte Mr. Singleton was happily more than decorous as the third seminarian 'sick with love' whilst Mr. Bracewell's frenetic 'naive boy', Joseph Caley's thronging 'boiling rage' - forever on dry spin - and most especially - the wonderfully winsome Momoko Hirata's toying 'lover girl' were - each in their own way - pleasantly alluring. There can be no question but that this piece was a mass. For me what real variety there was present was indicated by the product of its shrewdly savvy scenic makers. How wonderful to be reminded of Philip Prowse's prowess as vividly rendered here on his - as ever - broad canvas. It was oh, so akin to those art-form-altering-designs he stunningly effected in the 70's and 80's for the vivid Glasgow Citizens' Theatre. (Their memory even now is buoyed via enduring admiration in the imaginative work of Lez Brotherston, Bob Crowley, etc..) Certainly that aspect I found transportive as was the rich baritone of William Dazeley in his clear sequential depiction of the Latin text. Balanchine's Serenade is, of course, an entirely different kettle of fish and I think Jillykins has well defined this BRB take as being 'competent'. Sadly some of the exactitude necessary in travelling 'through the music' - so crucial here - was lacking on this occasion. It is just that which oft gives this magnum opus its rightful glow; one which can so easily and magically elevate. Miki Mitzutani as the fast (sometimes called 'Russian') girl made a brave stab - and appeared to be much more comfortable with both the speed and off-balance elements than many others aside her. That said her efforts certainly fell short of that glory exhibited in this role in London by either NYCB's Ashley Bouder in her brilliantine bedazzlement at this address in 2008 or Osipova's brave insight during the last RB outing at the ROH. Iain Mackay in the final 'Dark Angel' movement was by some distance the better overall male partner in last night's BRB Serenade.

Bless you, Sim. That's exactly why I referenced the 'last two' of Muntigirov's performances, knowing that Ms. Salenko would now be honouring his first showing in this production's final run.

Attended the ROH matinee this afternoon and it had some delightful highlights. I was not as struck by Ms. Salenko's performance overall as some above have reported. That said (i) she indeed did pummel out her fouettes - no question of that; - (ii) the hair co-ordination between herself and her partner was as electrifying as it had been in Acosta's DQ and (iii) the headpieces she brought with her from (I assume) Berlin (both white and black) were fetching indeed. The best aspect of her performance for me was the Black act adagio in which her pirouettes were ravishing to behold. Her white act was cool if not downright cold. At times it was imprecise and stiff as well as - surprisingly (as in the opening of the first solo variation) - somewhat turned in. Lost too was the 'in the moment' perfume that had been recently gifted to Odette at this address by such RB principals as Nunez and Osipova. Certainly the musicality of the port de bras that Obratsova exercised on Monday evening was lacking here. (I must confess that I only saw the white act of that latter performance as I had to catch one of those delightful 6.20 am flights on Tuesday morning for work. Ironically my flight was to the hometown of Ms. Salenko's resident company, Berlin.) That said I was appreciative Ms. Salenko had been able to save the RB's day on this occasion and fill a space left vacant due to a confluence of RB ballerina injury/illness. Still - in ALL - I'm glad she is a guest and very much hope that the last two Odettes to Muntigriov's Seigfried might be framed by a member of the gloriously dedicated home team. Such a shame that Cutherbertson is out. Ah, well, perhaps another time. Steven McRae was vivid in his MORE THAN EQUAL all. His partnering was exemplary throughout and his quiet attention to his character's detail was hugely appreciated. How gloriously he has developed/matured during his time as a RB Principal. I heartily applaud his attitude of distraught with the unsavory provocations of that most distasteful of characters in this RB production - that of the 'drunken tutor'. McRae's Seigfried was quite obviously upset when that character greedily reached out for the hand of the second girl. Immediately thereafter he went to the General in a spirit of general - (and rightful from my perspective) - alarm. There were none of Soares' smirks at that juncture for this Seigfried. It was touching in the extreme to note that both mother (the always dignified Genesia Rosato) and son were here knowingly disturbed over this most unfortunate - indeed shameful - of situations. Somehow it brought them together in a fashion I had not previously been aware of in any other production of Swan Lake. The definite high point for me this afternoon was Ashton's Neopolitan Dance. (I pray they do not lose this in the next RB Swan Lake production to grace the ROH stage.) James Hay and the always entrancing Francesca Hayward were - in a word - ravishing in the detail of their joy-filled batterie. Theirs was a precision personified with a kiss of English ingenuity by way of a shower of Italian sun. It was in fact abundant to behold. I only wish these two had been given an opportunity to have the musical rapture of their young love filmed for posterity during this past week. As much as I love - and I do - Cervera and Morera in these roles - they have had such an advantage previously. Why not share the RB wealth? Otherwise, Naghdi delighted with the evocatively musical grace notes of her pas de trois variation; Campbell polished a wonderfully etched Benno and Bennet Gartside produced a most telling - and subtle - von Rothbart; most especially in Act III. What a treasured company member he is.

I believe Osipova has danced Lise before in Ashton's masterwork with POB. It will only therefore be her RB debut in this role I think.

Very good points/examples, FLOSS. I wonder if Mr. Bintley (given that he is the title reference of this segment) will ever see them.

That is excellent, Janet, I agree. I was only making my suggestion for those who would not otherwise be attending an ATG facility with any frequency. For those living in central London, (which may not be many on this board, I don't know) you would have to make fairly regular trips, say, to Richmond, Wimbledon or Bromley. Not, of course, that such may not be attractive in and of itself should the balance of those particular overall ATG bills (often understandably similar) be of interest. Still, there too, one has to count in the ever increasing London transport costs for those of us still under the increased 'Freedom Pass' threshold which can top up the costs considerably as well.

Another thing for us 'old people' to do is ONLY buy ATG tickets in person at the box office (i.e., not online or over the phone). ENB's Corsaire tour rarely sold out - well, at Oxford and Southampton at any rate - and so I was happily able to buy the least expensive tickets without having to pay for all of ATG's truly exorbitant booking AND administrative fees. This was, of course, a bit of a risk as I don't live locally to either of those theatres so I could only buy them immediately prior to the performances themsleves. Still it was a calculated one - much as one is now - as forced by the government's support of so many of the previously imprudent - to exercise with one's savings. Whereas they (our government that is) used to insist that senior folk exercise a certain caution in protection of what one was previously taught was a rightful status quo they too now (our government authorities again) appear to want all and sundry to spend, spend, spend while they still can. Will 'young people' re-discover ballet in the future? I really cannot tell. Will they support it into their old age? That, I fear, seems uncertain. Will they find (or be able to afford) a leave to care in this regard? I very much doubt it. One thing I am now fairly certain of, however, given the debt they will inevitably (and sadly) inherit in this country, their lives in general will - of necessity - be a struggle and - in the overall scheme of things - poorer. Given the odds I'm glad - indeed proud - to have been born when I was.

At ABT Osipova was sometimes called the 'marmite' ballerina because people were oft so heated in their diverse opinions. Whatever else people were passionate in their responses to this dancer which certainly, I feel, is a key part of that special magic which helps to make a star. Such entities are, by definition, rare and surely we are lucky to be in their presence WHEN they shine.

I have long been a supporter of the company that is now BRB ... and I would love to see them in Serenade a couple of times but, I'm sorry, £22.50 for a restricted seat in the balcony of the Coliseum - that being the cheapest fare - I fear has just restricted my attendance to nulla. Those same seats cost £14 for ENB and ENB has less subsidy - and this past season those were raised from £10. I don't entirely know who BRB think they are appealing to here .... certainly on this occason ... but it certainly isn't going to be me at that rate. It breaks my heart. I'll have to settle for my Swan Lake standing at £6. That I can handle. I pray BRB have a better deal for the good people of Birminham - or perhaps they are just a very wealthy set there.. I, myself, will very much look forward to the return of ENB to that address and to seeing NYCB at the Chatelet where you can sit in an equivalent (or better) seat for eight Euros. Even the relatively over-priced Russian Icons gala had a lowest ceiling at £13. The pricing I think in this instance can speak for itself.

Saw three performances of the MODERN MASTERS triple bill and very much enjoyed the energy and excitement of Rojo's first outing by her ENB at SW under their associated banner. May there be ever more strength to her and ENB's already potent arm in this happy remit. For me the standouts of the programme - nay, surprises - were: (i) Begona Cao (Cao appeared to be - as ever - fine ... but - not just that - I found myself thinking - [can this be right?] - that she was a wholly different dancer from that which I earnestly believed I knew from before in both Petite Mort and MOST especially - only because there was more of her to be astounded by - in IN THE MIDDLE. Let there be NO doubt - none at all - about the enticing SOMEWHAT she ELEVATED ... TOTAL MAGIC ... I would so have loved to have seen her aside Ovsyanick ... although - that said - it was delirious to be able to witness Cojocaru both exhibit and enthuse in and around her own snap to glory aside Cao's enervating surround.) AND (ii) Barry Drummond who sizzled in all three performances I saw of the Forsythe (aside the EVER wonderful Crystal Costa) having achieved a very rich 'Post-Freddie' dynamism. That was - much like the youthful ardor of Corrales referenced above in the Neumeier - (where Cojocaru once again illustrated just why she is this particular dance maker's muse) - life enriching. Forsythe's choreography still intrigues (amazingly it provided the most strictly classical element in this particular programme) even if its score has now become rather dated. Certainly when when I first saw the piece in NYC in 1987 with a very young Guillem at its determined helm the Willems had seemed innovative. Not now. Still - in ALL - Rojo continues to build with meaningful strokes. I so enjoyed the six minute segment of PERFECT DISORDER that was presented as an aperitif prior to the Thursday matinee. (I would love to hear reports of those determined followers who saw the whole 30 minute work.) I only wish I could have done so but work on the Friday sadly prevented me. I am such a keen fan of Stina Quagebeur's glorious choreography - such a talent - and it was thrilling to see her be given an opportunity to effectively frame a work of size to a thrilling original score by Chris Swithinbank - he who so, SO beautifully etched the Mozartian keyboard selections for the Kylian. As ever at ENB, we were allowed to revel in the music as realised by the insightful Gavin Sutherland and his ENB Philharmonic. Both conductor and his dedicated ensemble deserve our pride.

A note from Graminlano as what will appear in the SL cinema broadcast features on 17.3.15: [Cynthia] Harvey and Jonathan Cope, who both led the cast on the opening night in 1987, will be interviewed by Darcey Bussell during the interval alongside Sir Anthony [Dowell].

I saw some of the postings up above and giggled to myself at the RB playing a kind of tit for tat - or devil's advocate - and bringing in Cojocaru to replace a dancer who had to go back to the Bolshoi ..... Certainly Cojocaru has danced with McRae before .... Not, of course, that it will happen ... It won't ... Well, not outside the realm of fantasy .... and certainly not now at the RB This was but a muse ...

Polunin will replace David Hallberg as Natalia Osipova's partner in Giselle at La Scala on April 10 and 11. http://www.teatroall...15/giselle.html This is a shame in one sense as Natalia Osipova in a truly WONDERFUL and delightfully annimated BA interview on Wednesday, 11.3.15 said that 'my heart belongs to David Hallberg' in terms of her partners. She said it was just something that happened 'when our eyes meet'. She said he was the only dancer to actually 'anticipate my thoughts'. I am sure she will be well served by Polunin, however, and with any luck Hallberg will be back soon. Hallberg too has publicly stated his affection for dancing with Osipova and he said her being with the Bolshoi was a major driver in his decision to join. The irony was that by the time he had actually arrived Osipova and Vasiliev had departed the Bolshoi, their mother company - and one that Osipova called 'my first love' whilst gently placing her hand to her heart - and, of course, not all that long after Osipova was to leave ABT for the RB too. This was to have been a year where Hallberg and Osipova made up for their lost time together and shared many performances at both ABT and La Scala. Then, of course, came Hallberg's medical difficulties and delayed recovery. Where there is a will, there must be a way. I'm sure they will dance together again soon.

In another Forum it has been reported: Former A.D. of Vaganova Academy of Russian Ballet, Prima Ballerina of the Kirov (Mariinsky) Ballet, Assoc. Ballet Director & Ballet Mistress of the Mikhailovsky Theatre, Altynai Asylmuratova has been appointed Artistic Director of the Astana Ballet in Kazhakstan. http://today.kz/news...a-astana-opera/

Katherine in another forum has just made an announcement and I thought there might be some here who would be interested: Pathe Live has given first indications of the Bolshoi's next cinema season. October 11 - Giselle November 8 - Jewels (repeat) December 6 - The Lady of the Camellias December 20 - The Nutcracker (repeat) January 24 - The Taming of the Shrew March 13 - Spartacus (repeat) April 10 - Don Quixote https://www.facebook...?type=1 So pleased that they are doing The Taming of the Shrew. I'm intrigued to see it after the YouTube enticement and last year's World Ballet Day. With any luck it might have its original cast.

Are you sure, Alison? I must be really losing it. Weren't there at least different news sections for the Mariinsky and the Bolshoi???? I could have sworn there were .. but they may well be a fantastical mirage of my own making

I did realise that Katherine. It was only that I was in a rush and didn't want to start a new item ... thinking at least it was POB ... and heck it is 2015 already and we are almost a quarter of the way through it. Frightening prospect that. I seem to recall that in Ballet.co.uk as was there used to be different pages devoted specifically to different major ballet companies outside of the UK and news, events surrounding them. That said I may be wrong. I frequently am. It may just be my imagination. I am old ... and ever progressively older. My memory is certainly not what it was. I just thought there might be a few who were interested ... especially after Bolle's fine performance with Yanowsky in Manon recently with the RB. That's all. If someone wishes to move this item, then they of course can. I, myself, will look forward to the culturebox outing.

Just want to say that IF or SHOULD Ratmansky's production of SLEEPING BEAUTY come to London it will, I think, travel under the auspices of the ballet company of La Scala and not ABT. This is a co-production between those two entities and I would assume that for their share of the initial investment that La Scala would hold the European rights. For this reason it is the National Ballet of Canada who has taken/will take Christopher Wheeldon's Alice and Winter's Tale to Washington, NYC and LA - given that - again as their part of their co-production bargain with the RB - they hold the North American rights to both. I would assume that the RB could take both of the Wheeldon works to Paris, say, or Tokyo as that would be in their remit. Now what would happen to future entities I wonder should the UK leave the EU? The legalities of those listed above will, of course, already be subscribed ... but the future may well fashion a very different kind of oyster from which pearls might be thrust. I believe the future usually does!

For those with abundant Eurostar points:- Ariane Bavelier, dance critic for Le Figaro, announced on her twitter feed that since Herve Moreau is injured, Aurelie Dupont's farewell performance (of Manon) on 18 May will be with Roberto Bolle.

John, I believe - as opposed to some other PNB relays - this one is live in cyber so has to be watched as is or not, sadly, at all.

Just doing my weekly flip through the Sky Arts 2 schedule to see if there is anything worth recording and I was delighted to find that (NEW to Sky Arts 2) tomorrow will see the initial broadcast of AFTERNOON OF A FAUN, which is a documentary about/around the life to Tanaquil Le Clerc. This film was much hailed when it was first presented in a wide variety of film festivals. Also I notice that Sky Arts 2 are also showing the dance-fiction film THE COMPANY later in the week. I'm not certain if Sky Arts have broadcast this before. (There is, of course, other dance - Petit's Carmen, etc., - but those definitely those items have been previously broadcast.

Gilbert had danced in a previous 'Russian Icons' outing. Unlike this year, in past 'Icon' programmes dancers frequently did two selections which gave those London audience members who may not travel widely the chance to better appreciate significant points in the various artistry of those foreign entities who are not frequently seen in Britain. Didn't the POB open the lovely lyric theatre in the Lowry in 2000? I believe they did.

I'm not entirely convinced such a promotion would be on Mr. O'Hare's schedule - or indeed in his better interests. He has in the past said that he wasn't in any rush to stock principals - understandably so - and there is at least one young female dancer who is, I think, on a clear - and in my estimation deserved - path towards the RB principal rank from within. I should think O'Hare would like to promote within and I'm convinced it will come sooner than naught. McRae is valuable in that he can dance with a range of dancers as he has shown with the effective relationships he has thus far established with Osipova (ah, those Rubies), Lamb and, of course, Marquez. Surely Ms. Salenko's RB association has been in but one role in but one production with the RB. It was for this reason I thought she was brought back in for its revival. I do, of course, understand that there is/has been considerable upset in Berlin at the moment with the openings of the Duato regime. Hopefully things will settle for that Company and the family Walter with the passing of time. I found myself giggling at times last night over the 'Russian Icons' title. What I wonder would advertising standards - a body with whom so many in the commercial world have to struggle - make of it? There were, of course, three pieces by that great 'Russian Icon' - Kenneth MacMillan - and still more selections that were as far away from any semblance of Russian influence as one could possibly imagine. My heart sunk after that Sleeping Beauty car crash. Bless Osipova and Watson for coming as something of an oasis in their creative assurance. On the whole I thought previous years' 'Iconic' efforts had more to recommend them overall and were certainly better and more specifically focused from a programming perspective. You pays your money ... and you rolls your dice. You never know where you may land.

Thanks so for referencing the public source, bangorballetboy. That is HUGELY appreciated.

That is truly excellent news ... as are the other situational items reported/muted above. (Just a note of caution: Have the situations herein identified from Item no. 5 down been publicly acknowledged/confirmed/reported? If not the reportage of such on this Board may, I fear, break BcoF rules. Perhaps a moderator might best advise on this score. I say this ONLY as I know I have myself unwittingly run afoul of these wise guidelines on one occasion.) Still, the future is looking - well as it appears from the information herein suggested - EVER brighter. That is a wonderful thing indeed. Roll on, Mr. O'Hare. At a time when many major institutions are cutting their dividends simply to survive your philosophy appears to be paying substantial returns. Hearty congratulations on behalf of a hungry many. Bless you.