Bruce Wall

Thanks so for your review, SPD44. Special thanks for telling about the flickering light. I definitely thought it was someone willfully taking flash pictures (especially silly I thought after the interval announcement). This explains it. I was standing at MG34 and I could see people near the front of the stalls (including Dowell) turning and trying to figure out where the reflection of the flash was coming from. Thought it was a good evening overall. ENB's school did themselves proud certainly and there was no question but that Katsura and Braendsrod were the evening's standouts for me in the PDD from MacMillan's Concerto. They were as stunning in this as they had been in the Raymonda Act III last July (not dancing together of course). I pray that they both might join the RB Company upon graduation ... much as I so hope that Leo Dixon might as well. Such a lovely impactful dancer Dixon is with glorious placement and presence. Happily both Dixon and Braendsrod have shown themselves to be more than apt partners and certainly both have that much desired element of height. These two would make a glorious addition to the likes of Muntagirov, Ball and Reece. K. O'Hare's bottom up philosophy will soon ensure that everything is solid from the top down. Katsura already has star potential writ large; one might almost say enormously so. Oh, and wasn't it lovely to catch a glimpse of Patrick Armand again. (Here leading a brief suggestion of a class with members from the four participating schools at the very start of the programme.) In some instances - such as Armand's - time really does appear - for the moment at least - to have stood still.

See Ms. Cope and Mr. Wheeldon on their first day in the Palace (Theater that is ) here.

Wonder if Gudanov will appear on Sunday. A few hours ago was this tweet: Unexpected debuts of Igor Tsvirko as Albrecht tonight. Danced Peasant pdd in Giselle 1st act and replaced Dmitry Gudanov in 2nd act. Would have loved to see Tsvirko as Albrecht myself. Who knows ... maybe he'll do Sunday ... but assume he'd have to have a relevant visa to hand ... and it's been a while since the Bolshoi was last here.

Interesting notations by a former ballerina who is a member of the AiP company here.

Thank you for that, Janet. It's interesting that the Playbill article makes Ms. Cope a RB 'principal' whereas others have listed her as a RB 'corps' member (while she is in reality, of course, a 'First Artist'.) If R. Fairchild appears opposite her in a London production of AiP (and I do, genuinely think they might as I am convinced that it will be a Broadway success) it would be lovely if the two of them (R. Fairchild and Cope that is) might appear together during that sojourn with the RB perhaps doing a guest Apollo or R&J together for a performance or two (no more). I wonder if - once they are in a regular Broadway run/schedule - and once Mr. Fairchild returns to his duties as a NYCB principal - which I'm sure he will do in a split role with his Broadway assignment - (much as his wife is doing in taking over certain performances for her sister-in-law [another NYCB principal, Megan Fairchild] in On Your Town currently on Broadway) - I wonder if Ms. Cope might not guest for a couple of performances (no more) with NYCB in, say, Liebeslieder Waltzer or, certainly, Robbin's Fancy Free - both of which are key in Mr. Fairchild's vast rep. Perhaps they could even do Wheeldon's Carousel spin and she could do the role that was Mr. Fairchild's wife's first principal creation (at 17) with NYCB, then opposite the legendary Damian Woetzel. (Indeed it was Mr. Woetzel who chose her for it when she was still an apprentice.) I would love to see them (Cope/Fairchild that is) together in any of those works and Ms. Cope's refreshed and refreshing acting abilities (such as are so clearly evidenced in AiP) would I know be dearly welcomed in any one of them.

I, myself, (alongside FLOSS) would LOVE to see Balanchine's Liebeslieder Waltzer performed again by the RB as they have some wonderful dancers who I sincerely think would excel in it including Muntagirov, Naghdi, Hayward and Ball. I should think Osipova and Golding would very much glory in this, as would McRae, Morera, Hay, Sambe, Reece, Yanowsky, Acri, Campbell, McGuire, O'Sullivan and others. To my mind it has the potential to spin the most magical of stories. I am hopeful under this new administration that this work might once again re-appear as it certainly wasn't ever going to under the last one. Also I would love it if there might be a work by Justin Peck included in the rep as he is now hailed as a major choreographer on the world stage and NYC - and specifically NYCB - have themselves been so very welcoming to the RB triumvirate of McGregor, Scarlett and Wheeldon, the latter two having more than one work in the NYCB repertory, each of which has appeared more than in one seasonal segment. (POB will have two of Peck's works in their rep next season.) This may, of course, not be practical as Peck (26) is still dancing with NYCB and has already a commitment of three ballets to NYCB and one new one to Paris for the 2015/16 season. Still, Mr. O'Hare at a LBC meeting spoke in most flattering terms of the work by Peck he had seen in NYC and the FT critic C. Crisp gave Peck's one act dance work with the LA Dance Project (the only time any of his work has been seen in London) a five star review. Finally, I would love it if the RB might take Ratmansky's Concerto DSCH into the rep. (I would love to see his Shostakovich trilogy taken on board as well - of which I've only seen two of the three works - but I know there are many here who struggle with Ratmansky so I won't.) I would love to see the RB do a triple bill where both the Ratmansky and the MacMillan takes on Shostakovich's Concerto might be seen on either end of a suitable filler - perhaps Ashton? - Symphonic Variations anyone? - in the middle. You could switch the order of the Ratmansky and the MacMillan at different performances too and see what that might do to the balance (without unbalancing the rehearsal schedule. - Everyone needs lunch!). Just an idea. Both the Ratmansky and the MacMillan are, of course, more than able to stand on their own in any triple bill. This - as indeed everything mentioned here - is but by way of suggestion/desire. Nothing more; nothing less. .

They have to hold - by their ACE funding stipulations - 20% back for the general booking period throughout ...

According the the ROH Summer booking days chart, the general booking on 31st March is still 10.00 am. Source: http://www.roh.org.uk/seasons/2014-15/summer Assume they may change it depending on the response to the 'regular Friends' - (sorry; don't know what else to call them now) - 8am experience. It seems that the responses after (as opposed to before) that experience appears to have been positive for those who cared to respond to their article.

Isn't Acosta's CARMEN already committed for this season ????

As reported on another Board (A three line quote): From Oct. 30 to Nov. 15, 2016 the Mikhailovsky comes back to NY & CA!!! [THE MIKHAILOVSKY PLAYED IN NYC/CA LAST NOVEMBER]. It is already known that they will bring the new production of Le Corsaire. It will open the next ballet season at the Mik on September 8 and it will be a Messerer version with Ekaterina Borchenko dancing Medora.

As reported on another board: From Oct. 30 to Nov. 15, 2016 the Mikhailovaky comes back to NY & CA!!! [THEY WERE IN NYC AND CA LAST NOVEMBER]. It is already known that they will bring the new production of Le Corsaire. It will open the next ballet season at the Mikhailovsky on September 8. It will be a Messerer version with Ekaterina Borchenko dancing Medora.

An in-depth NYT article of today's date on AiP can be found here. It specifically focuses on RB Associate, Christopher Wheeldon, the production's director and choreographer.

A first review for the Ratmansky SLEEPING BEAUTY. The costumes look stunning. http://www.ocregister.com/articles/beauty-653012-production-ratmansky.html

On the day after the launch of the Ratmansky SLEEPING BEAUTY in California, it has been announced that David Hallberg will NOT appear in the ABT Met Spring 2015 Season in NYC celebrating the Company's 75th Anniversary. Source Two Sentence NYT Quote 4.3.15: He will be replaced in some of his 13 scheduled performances by the Mariinsky principal Vladimir Shklyarov, in “Giselle,” and by Leonid Sarafanov, a principal dancer with the Mikhailovsky Ballet, in “La Bayadère” and “The Sleeping Beauty.” It will be Mr. Sarafanov’s debut with Ballet Theater. Hopefully some of the other assignments can be shared with talented ABT soloists like the very gifted, British born, Thomas Forster.

There have been some changes to the line up of dancers (as against the original listing) at the Russian Icons Gala. Sadly the likes of Smirnova, Chudin, Ganio and Rojo as well as the dancers from NYCB (not unexpected given that Chase Finlay didn't do his last Romeo due to injury) are now absent. (Another team of NYCB dancers will be performing in a Gala at the same time in Rome.) Delighted that Kobborg, Kondaurova and the lovely Novikova have been added to the list. So glad too that Klimentova and Muntagirov are both still on the bill. The programme – accompanied by the Orchestra of English National Ballet [surely the ENO website means/intends the ENB Philharmonic] – will be performed by Audric Bezard, Federico Bonelli, Alexander Campbell, Alina Cojocaru, Dorothée Gilbert, Kenneth Greve, Dmitry Gudanov, Kimin Kim, Daria Klimentová, Johan Kobborg, Ekaterina Kondaurova, Ekaterina Krysanova, Daria Makhateli, Ekaterina Osmolkina, Maia Makhateli, Roberta Marquez, Vadim Muntagirov, Olesya Novikova, Marianela Nuñez, Natalia Osipova, Ekaterina Osmolkina, Xander Parish, Giuseppe Picone, Iana Salenko, Artur Shesterikov, Thiago Soares, Marian Walter, Edward Watson and Igor Zelensky.

Wheeldon's THE WINTER'S TALE is a notable addition as performed by its originating co-producers, the National Ballet of Canada. Many other companies (Mariinsky, NYCB, Royal Swedish Ballet, ABT, Joffrey, etc.,) are also featured in a programme mixing both ballet and contemporary companies/works. Source

It has been reported that the National Ballet of Canada will take Christopher Wheeldon's WINTER'S TALE to the Kennedy Center, 19-24, January 2016.

I wonder if Ms. Mearns will be appearing in this? Her name was previously on this Barbican production page but now it seems - if I'm not simply missing it - to have been removed.

Didn't the RB do the same thing - i.e., block off the amphitheatre for students - for a triple bill performance not so long ago which included McGregor's Carbon Life? Perhaps the RB Management felt some of those same students would like to return for more of that same, i.e, the McGregor? Perhaps the students at that time felt that they were most enthusiastic with/drawn to McGregor's work? Does anyone know if they did research in terms of those students' response? Please know this notation is naught but a metaphysical speculation and as such it is not based on any authoritative knowledge whatsoever. It is but a series of questions.

The point is well taken. I am so grateful to ALL for your kind and gracious advice. I am so sorry that my attempt at wit misfired. My sincere apologies. As I said no offense was intended. I am so grateful to all at the wonderful BalletcoForum as I have been for almost two decades now (including the brilliant ballet.co.uk as it then was). Bless you all. You are always most kind in your understanding. As I have said repeatedly above I am a great fan of Ms. Cope; most especially her revelatory work in this fine production.

Very much enjoyed this gala - even with two extremely long (unscripted) pauses prior to an associated aria; one in each of the two acts. Thanks for the review, DQF. Just to note the final aria was the Queen of the Night's/Mozart not Strauss as suggested. Very much enjoyed the Grand Defile and know it can only be improved in terms of its overall cohesion by the luxury of rehearsal that the interim time will permit. Mr. Dixon's entrechats were again supreme. Was sorry to miss Muntigirov/Le Train Blue (and was surprised there was no announcement as to its loss given it was clearly listed in the programme) but was delighted with much of the Tchai Pas. The adagio was I think the highlight. So lovely to see Osipova/McRae paired again after their characterful triumph in Rubies. Look forward to their LFMG very much. Loved - as ever - Nunez in Diamonds. She is a Diana here as temptress - replete with her dazzling/conquering smile - whilst the likes of Farrell, Hayden, Nichols, etc., always played their Diana as Huntress in this. Both more than valid turns of course. Especially enjoyed McGregor's Qualia. Agree it's one of his best PDD. T'was the first time that I had seen Watson in this with anyone other than Benjamin. I thought that Cowley delighted through the considerable breadth of her own person/frame and certainly brought a uniquely engaging - certainly theatrical - perfume to the table. Agree that the Brandstrup premiere did not appear to come from his uppermost drawer but did enjoy overall Scarlett's Summertime debut. Once again I was impressed with Golding's skill in musical partnering in the latter given some clearly complicated lifts and definitely demanding cues. For me Lamb was the standout in the Carousel. So lovely to see this MacMillan piece again; the last he ever created. (Has the RB done this before?) This is a dramatic storytelling of the highest order. Lamb made a dramatic meal of this balletic dream sequence employing the simplest of terms. Her character building through determined economy spoke with an entrancing zeal. She seamlessly travelled from innocent tomboy to love questing/questioning woman in but one beautifully etched stretch. (I should think Hayward and Ball might shine in this as well.) Certainly it would be lovely to see this piece again matched, say, with another brief masterwork (perhaps Balanchine's Ballo which is all of 17 minutes in length) as but one act in a full RB triple bill programme. (Thought Nicholas Hytner's film contribution in introduction of the Carousel was the most telling/effecting of the evening.)

Wonder, QueenBee, if you might interest more students by having this item in the 'Doing Dance' section as it specifically states that it is "A place to talk about all aspects of dance training"? I may, of course, be wrong.

Please dear bangorballetboy know that there was CERTAINLY no offense aforethought on my part. That I can promise you. Quite the reverse. I only thought of it when I was typing because of the title of the biography of Gertrude Lawrence by her last husband, a theatrical producer - whose name was Aldrich - and, thus the titled reference to 'Gertrude Lawrence as Mrs. A'. It seems she referred to herself in that manner and a verse she wrote on the subject is quoted in the book. Mine was but a feeble attempt at rhyming wit. Nothing else. PLEASE bangorballetboy know I meant NO offense to anyone. I am a great admirer of Ms. Cope as I have written about at length above. Lest anyone else be offended by this wording - which is certainly far from my desire - can I please ask that my posting No. 58 and any subsequent quotation of MY WORDS ONLY be removed in its entirety. With respect, I thank you for respecting this request. Dr. R B S Wall.

For anyone wanting to catch up with The Incredible Mrs. Kay (not to be confused with 'The Incredible Mrs. A' - who was, of course, Gertrude Lawrence - and, of course, another British musical star on Broadway) there is an AiP preview WQXR video webcast early tomorrow our time. Hopefully we will be able to catch up at another - not so late - GMT hour. Info here. (For those with late night tendencies ... it commences live at 12.30 am GMT.)

.... and Schaufuss' Sleeping Beauty (which was enough to make Lendorf blush and oh, so cruel to Mukhamedov) ... and his Nutcracker in that late pick-up contemporary company 'nightmare' shown at the Coliseum a few years ago. One clings to the remembrances of him as a wonderful dancer and of the quality of his overall regime when running LFB/ENB. Mukhamedov's SL which I saw in Warsaw I thought one of the best (i.e., most imaginative) in fulfilling the narrative requirements) .... but I realise that such a comment is in opposition to the theme of this thread. Thus, I will depart.