Bruce Wall

Oh, dear MAB, I completely bow to your more acute knowledge on these Russian political/fiscal matters. I fear I typed this while trying to write a report - one that in fact I'm still struggling with. As you quite rightly seem to suggest, I shouldn't have bothered. It was obviously 'ludicrous' to do so. Your points are well taken. I did mean Rodkin ... you are quite right and, of course, the other name was Urin. I'm sorry that a 'w' found its way in there. I'm sincerely sorry you couldn't make sense of it. My fingers I fear are clumsy - as seemingly dyslexic as my brain - especially when under the kind of pressure I currently find myself under. The blog I referred to you can find here. Enough said.

Well, it seems that it has gotten to the point - just on the surface of it - where Grigorovitch is once again ruling the Bolshoi roost .... or at least so it seems. (Might that be a marker in favour of an ultimate Tsiskaridze appointment - given that he's such a Grigorovitch cheerleader?) In terms of the high profile Bolshoi items during the season it certainly appears as if those artists that Filin brought in (Smirnova and Chudin for example) and even Lantratov - not to mention any 'Western' influence whose inclusion Filin was so keen in promoting - appear to be getting something of a cold shoulder. There can be no question but that it has been the season of Rodin (and I mean no assertion against the dancer in saying that. Not at all.) It's only that he lies firmly placed in the Tsiskaridze/Grigorovitch camp's favour. Urwin's comments in I. Brown's most recent interview with him (and I applaud the stealth of her questions) were certainly most telling at the end about the overall state of this particular slice of Denmark.

... and resources turned towards serving the very real - and current - fulfillment of need. We know full well it is only ever going to become even greater.

Three points: (i) Given that BRB know in advance that the house is going to be sadly empty ... might there not be a way to get people in for free that might not otherwise be exposed ... in that hope that few might in the future buy tickets to return? (ii) I think that POB have been brave in putting mixed bills on line and allowing free access to such. Here's hoping that just such a policy pays in building a very real audience for such in their two core POB venues, the Palais Garnier and the Bastille. Certainly it can't hurt ... I applaud their bravery certainly. (iii) There's part of me that hopes that - at some point - in the future that pay-per-view may be the/an answer towards the filming/relaying of such wonderful triple bills. Ms. Barr, Head of Media at NYCB, said that the costs of such were basically the same as for the cinema relays. I hope - he says sincerely - that there is some creative way developed to tackle such. I'm certain that over time (albeit probably a considerable time) these may well at least go some distance in answering the need; a very real one as related above. It seems to be a given that there is a lack of very real audience for such triple bills throughout the world short of those occasions when many people come to witness for themselves a coveted brand, piece of architecture or special occasion. Even All Balanchine bills at NYCB today do not seem to sell out unless there is some special event attached. We all agree that something must be done; that a greater education should be served. I assume that to ensure a greater exposure over time there is a need for core INTERNATIONAL/INDEPENDENT subsidy for such - be it public or private. (It will almost certainly I think need to be private at its heart.) Certainly this Lincoln Kirstein knew in underwriting and helping to frame the three goes that he and his wealth supported before what we know today as NYCB was eventually rooted. Had he not been possessed of such genius of foresight, passion and cash there would not, I suppose, have been a Balanchine such as we know him today. It is heartbreaking in the extreme to think that so many of the core masterworks of Ashton or Cranko or Ratmansky or Wheeldon or Peck are not being shared by as large an audience as today's technology might/should rightfully allow. The same goes for the vital musical education that travels alongside such. Perhaps such a fund could also support a special strand of triple bill work specifically created for dance on/through film, I, myself, have dared to think - at least when in a dream state - that such an enterprise might - and I stress MIGHT - be accomplished should just such an international/independent fund to support the relay/distribution of balletic triple bills be wrought. It would, I think, have to be independent and certainly away from the hold/sway of any one specific company. Could such an entity overcome international problems such as exist in our troubled world? One can but pray that it might serve as a unit to inspire cohesion. It would need - I should think - to function and survive as something like the Prix de Lausanne does/has. It would also need to train, inspire and develop film makers in the art of shooting dance. This might well be something that could be set up legally as an international fund - possibly in the USA given the long established tax benefits for international arts strictures that country allows for. (It was on this basis that the Ford Foundation was initially advanced for example.) To my mind, of course, that would serve our world. That is I think something that Jerome Robbins himself may well have envisioned in setting up the Jerome Robbins Dance Collection (free to all - no matter from where in the world you may hail) on the third floor of the LIncoln Center Library. He knew that it is crucially important that this work - this education - be captured, cared for, cherished and shared for the greater edification of ALL. The setting up of such an international distribution/relay tendril on behalf of balletic triple bills would I should think allow for our world's balletic garden to grow. (Cue Leonard Bernstein). It would be but a few more steps in the right direction. Would it be commercial? History suggests not. 'Of course it wouldn't' I murmur to myself. That's why it would demand understanding support. Would it be important? Inevitably so.

The Mariinsky is going to Japan in November and December of this year. I'm assuming the guarantees will prove profitable for them ... and in Japan there will be less political concerns (given that they are not involved in the current sanctions, etc.). The casting for the Tokyo stint is ALREADY announced! Nice to see Parish so principally featured. Tokyo Jewels　11/26 Emeralds Shrinkina, Sergeyev, Brilyova, Belyakov. Rubies Batoeva, Kim, Kondaurova Diamonds, Shapran, Askerov. Legend of Love 11/27　Lopatkina, Somova, Yermakov, Smekalov 11/28　Tereshkina, Shirinkina, Shyklyarov, Zverev Romeo & Juliet 11/30 Somova, Shklyarov 12/1 Tereshikina, Parish 12/2 Shapran, Askerov Swan Lake 12/4 Somova & Kim, 12/5 Skorik & Parish, 12/5 Lopatkina & Korsutsev, 12/6 Kondaurova & Askerov

I agree with your supposition, Two Pigeons, but often think that such matters go well beyond national boundaries. So often I find good is good and bad is, sadly, unfortunate no matter where you might - at any particular point in time - be sitting/standing. No one particular nation has I think a steel clad defense. Such phenomena are surely universal at a certain point. The presentations of the works must speak for themselves even when sadly a choreographer/composer (either themselves or via established representatives) are not effectively able to be adequately heard. In reference too to MAB's prudent point in Item No. 14 above, I also wonder how long it will be before certain key balletic artists from long established Russian companies will find themselves forced to consider concrete permanent offers in countries far away from their families given the rout now appearing via Putin's determined actions/isolationism. History will surely tell whether or not he is, in fact, a devilish advocate. I myself somehow doubt we will ever see Lukina return to the Bolshoi fold now that she is established with the National Ballet of Canada and both Smirnova and Chudin are guesting for a second consecutive year with ABT. I would imagine there must be a certain economic - and as MAB suggests perhaps a future artistic - pull on their part to remain abroad. Osipova and Hallberg are safe, of course, in the sense that they already have outside commitments/diverse opportunities. I wonder, given the alarming current state of matters, if we might see Parrish move on - or even perhaps return to his homeland - at a certain point because of it. Certainly as fine a compnay as Northern Ballet - in whose celebratory gala he is proudly appearing - would welcome him into their burgeoning fold. Such an assignment might well serve both ends.

I agree with the review quoted above that the fine performances by BOTH NO and MG in SL last night solidified K. O'Hare's judgement in forging this classical partnership. The chapter that Oneign opened continued to reveal itself here with as keen and clear a hope as towards the destiny of our fortunate future. Long may it (and they) thrive. Golding - well away from those salacious squeals of concern initially heard here as well as in certain other quarters - (cough - Twitter - cough) - was OUTSTANDING as an extremely sensitive partner and his first solo in the BS PDD was - in a word - breathtaking in both its spontaneous excitement and glorious placement. Both of these fine artists again proved this partnership as a wonderful role model. I also enormously appreciated the fact that MG played down the school boy flippancy of this production's opening Act III parade. Indeed this pairing made for a vividly aware and sensitively telling whole. Thus our response to their generous artistry was always alive and, once again, the curtain call stamping was understandably levied. James Hay in the PDT and Yasmine Naghdi (alongside an animated Paul Kay - the husband of a soon to be celebrated British Broadway star) - when appearing both as the lead in the first act waltz and most especially whilst dazzling in Ashton's sun kiss of a Neapolitan Dance - were thrillingly musical and - as seemingly ever - enervated in a life enriching manner. Both of these fine artisans smile as much with their welcome grins as with the magic of their pointed feet. Far from the clang of those foolishly falling mugs in the first act of this production, I defiantly raise a toast to their greater cheer. Here's to many more occasions via which to bless and celebrate all.

Stanley Williams was so important to the development of the Bournonville technique at NYCB/SAB - (Bujones always said 'he made me a dancer') - largely because Balanchine was such a huge fan. There is a wonderful bit in the upcoming clip made just over a year ago where Wendy Whelan talks about her teachers - including, of course, Danilova and Stanley Williams. (She compares Williams' teaching to calculus.) Pull through to the 13 minute mark here if you'd like to listen to her talk about this.

Source - a moving one. Wonderful too that they have Hillaire aboard the artistic team.

I saw that LFB/ENB production at the Met ... several times in fact. I can still remember the audiences cheering that third act. I remember coming out and Adam Luders (then a NYCB principal but who I had seen when I was but a child partner M. Gielgud in LFB/ENB's SL at the RFH) remarking that it was: 'Wonderful; just wonderful'. It was a truly glorious enterprise ... as was so much under the Schaufuss LFB/ENB regime.

Oh, that Nikolai ... He does love a good taunt does he not? Still, the sweep of that glorious Georgian mane is always .... how does one say .... intriguing. Both he and Farage do have smiles that seem to charm many.

Just a small point, Alison. This may be the first 'native' company doing a 'full' Napoli in the USA, I don't know ... but I am certainly aware that both LFB/ENB and RDB presented a full length Napoli in NYC previously - albeit some time ago. Also I don't think it is particularly strange that Arizona Ballet should be presenting such given (i) their AD's (Ib Andersen) Danish heritage - (he attended the RDBS and became that Company's youngest principal at 20 years of age) - and (ii) due to his close association with Stanley Williams during his many years as a fine performer with NYCB. Indeed, I believe the physical production (both scenery and costumes) has been borrowed on this occasion from the RDB.

It was a watershed moment for the LFB/ENB company ... much as I think today's regime will be seen historically.

People interested in this strand may be interested too in this new DVD of old (but good) highlights:- http://www.vaimusic.com/product/4581.html

Bless you, Janet. I did try to quickly look it up - but was obviously trying to do too many things at once. They mistakenly list 1988 on Makarova's Wikipedia listing so at least I am not alone in that confusion. At that time, 1987 of course, BRB would have been SWRB ... and it would have been the first year of Christopher Gable's extraordinary tenure in shaping (the then) NBT.

Source

True, Alison, but those companies - BRB and NB - have their established bases in centres other than in London, i.e., Birmingham and Leeds respectively. It would, I think, be most strange if they chose to premiere the majority of their new works in centres other than in their own committed territories. ENB is, after all, - if not always historically - the English National Ballet, and I would assume that they would be under somewhat more pressure to premiere their new works in the 'English' capital which remains, I believe, London (much, say, as the extraordinary Lest We Forget triple bill was). Of course in 1991 (the time of the Makarova SL) ENB would still have been known as LFB and BRB would have been in only the first year of its use of that title as opposed to its former name, Sadlers Wells Royal Ballet.

The full Joffrey 2015-16 season is listed below. It includes Ashton's Cinderella and a world premiere by UK born and ex-RB/SB associate, Ashley Page. http://www.joffrey.org/1516season

Met Season (with full casting) - http://metopera.org/metopera/season/index.aspx?type=next&sn=st Cinema Relays - http://metopera.org/metopera/liveinhd/live-in-hd-2015-16-season

Oh, the lucky, lucky people of Bradford on that occasion. I'm so pleased that ENB still continues the tradition of opening major productions outside of London. ENB's radiant Le Corsaire production opened in Milton Keynes I seem to recall.

Truer words - or so we are told - are oft spoke in jest.

I think the idea behind SHE SAID is particularly inspired ... and is, even now, perhaps a tad overdue. ENB has, of course, among its ranks two VERY talented female choreographers, the insightful Tamarin Stott (who is part of the February programme for The Print Room) and the ever glorious Stina Quagebeur. I very much hope that some of their fine work can be seen in and around this celebration of ever potent female inspiration. Bless Ms. Rojo for making this possible and for once again leading in a fine and definitive way. Let's hope that some of the works from this triple bill can be seen (and supported) around the UK. The need for/importance of such effective role models is unquestioned.

Source

1) I see that Oxford (the New Theatre) has been left off of the tour schedule this time round for any of the main stage items as well - but Bristol gained. 2) Very often, I think, it is the venue that plays a major role in determining the fare presented when dealing with major tour destinations (given that the Company will - I assume - be playing against guarantee). I should think this beautiful production of Le Corsaire will look ravishing in the Palais Garnier.

One of the lifts in the mirror PDD was fudged (the second in a series of three) but their handling of the recovery was inspired. If you hadn't of known ... you wouldn't. Magic.