Bruce Wall

I was at the DQ Thursday evening and, while I certainly continue to find much of this production NOT to my taste - above all its orchestration which (as conducted [as it was at that performance] and construed by Martin Yates) is delivered by seeming way of the pump room in Bath - I do heartily applaud Stephen McRae, Thursday's Basilio, for doing considerably more than his level best - which is, heaven knows, considerable - as towards imaginatively filling in and through the gaps that have in some other instances arisen herein. His efforts and their dedicated elan - most keenly in some of Acosta's rather ungainly choreographed partnering demands - were enormously appreciated and deserve our hearty applause (as does this coupling's outstanding hair colour co-ordination being - as it is - aflame.). Sadly this was not a performance where Ms. Salenko's noted technical acumen was showered consistently throughout and, even more unfortunately, Fumi came rather a cropper in her Vision Sequence solo as the Queen of Dryads I fear. (While I am delighted to read that others saw RB representatives/soloists who were able to deliver the Italian fouettees as the Dryad Queen during this run, they were - I fear - not in the selection who attempted such at the performances I paid to attend. Who, I wonder, is minding that aspect of overall RB quality control? ... and I ask that having seen a total of five performances of the Acosta DQ. I must say it made the consistency of ENB Company's deft discipline in all areas of their recent two week string of Swan Lakes even more laudable in my memory.) For this reason alone the petite Anna Rose O'Sullivan came tonight as somewhat of a welcome relief as Amour - if not entirely (and understandably) in the same league as the breathtaking Ms. Hayward who - even in her corps assignment within this performance - managed to stand out. A final special note of sincere thanks during this performance for the ever imaginative Bennett Gartside. His Gamache offered a plethora of comedic detail for which I - as but one of but a full capacity many - was entirely grateful.

Just a brief note. I sent an email yesterday courtesy of NYCB to Ellen Bar to thank her for the wonderful programme she arranged for the Guggenheim Works & Process programme based in/on and around Justin Peck's Heatscape. Within but a few hours I got a glorious and full response from Ms. Bar herself. Ms. Bar was of late a fine NYCB soloist and you may also remember her as being the leading force (i.e., Executive Producer) behind the very fine NY Export: Opus Jazz film. She is now head of Media Projects for NYCB. In my note I asked if Ballet 422 would be shown in any format in Europe. If I might I will quote Ms. Bar's kind response to but that specific inquiry: (Happily it falls within the BcoF three sentence guideline.) We are also actively working on foreign distribution for BALLET 422, and hopefully something will work out in the UK! It is always helpful for distributors and broadcasters to hear directly from their audience, so if you have the time, it never hurts to write BBC Four or similar and let them know that you’d like to see this film. I think it would be grand if this work - Ballet 422 - a cinéma vérité film about the development of Peck's ballet 'Paz de la Jolla'; a documentary which has already been well received in a variety of festivals - could be seen here. If you found yourself remotely interested and knew anyone who you might touch base with - i.e., for whom you felt this work might be appropriate in terms of its UK/European display - I know your knowing note of support would be keenly appreciated.

Here is the full cast for the Bolshoi SWAN LAKE on Sunday for its live relay performance. (This was always listed as a 'live relay', Alison from the time of the initial announcement of the Bolshoi broadcast season.) It's great that the Bolshoi are so fulsome in their casting information (and not just for relay performances). They and NYCB are a true role model in this respect. http://www.bolshoi.ru/en/performances/36/roles/#20150125180000 I wonder if the Bolshoi actually mean to make this season a Denis Rodkin Festival (to take nothing away from the young man's talents)? It seems to me that Rodkin has been a leading principal male in EVERY live relay from the Bolshoi thus far in the 2014/15 season. I wonder what he will be doing or if he will appear in Ivan the Terrible, the last live item in that season's programme? Bets are on that he will. Certainly the current odds have it. More importantly what's happening to such artists as Chudin or Lantratov or Ovcharenko - fine artists all and of Rodkin's generation? Why are they not getting a chance at any one of these relays? Could this be illustrating that the almighty force that is Yury Nikolayevich Grigorovich is once again dominant? All live relay productions are - as it happens - his. World Ballet Day - at least from my take - seemed to be suggesting this. Wisely perhaps Girgorovich would not speak to the camera. The palm of this particular God (Vasiliev was wonderfully witty in his imitation of him at the LBC meeting) stood forcefully in the lens' path. 'Not me' it seemed to demand. It would be interesting to know what Filin is thinking, especially as Smirnova and Chudin were proteges from his previous directorship. I wonder is Filin now merely a puppet? It would, I think, be a sad turn of affairs if that were to be the case ... but hardly surprising.

Wasn't this broadcast on Sky Arts 2?

I agree, Alison. For this reason I hold only two subscriptions, one to ArtsDesk (which at £25 per year comes out at £2.95 a month - or the cost of one ENB masterclass today) which supports many very fine British writers (at least in terms of published opportunity) who themselves previously had major frames on key UK broadsheets and the New York Times whose dance coverage remains today - as it has throughout my life - not only the most diverse and comprehensive of any newspaper ... but blessedly still one of the most affordable. There are just so many wonderful blogs as well; prime above all in my constant purvey are our very own, ever-wonderful DanceTabs (BLESS YOU, BRUCE) and Deborah Jowitt's fine work from which I've learned so much over (at least) the last thirty five years.

Oh, how wonderful, but I am beginning to feel that I may well be almost alone in simply not being able to any longer justify the expense when a simple masterclass - albeit with the wonderful Ms. Hayward - now costs £28 .... and £25 at our prized English National Ballet. That I fear is out of my budget for auxiliary events and I would imagine it may well soon become so for many of the chronic standees at the opera house. How I wish that was not the case .... but interest rates - which helped support my attendance for such special activities have been going down now consistently for some nine years. It is hard to justify the expense of one masterclass when you know that it could purchase four and a bit ROH ballet performances in Amphi standing. A shame ... as I would very much like to have attended. Does anyone know if the good people from Ivy House film these events on behalf of those who may not be able to afford them? I have in the past gone to programmes there and enjoyed them ... but the last one - a masterclass on Ashton a couple of years ago - was £20 and I thought that a tad pricey at the time.

Personally, if the RB were in need of another Kitri for the USA tour I would love to see them give a chance to Laura Morera rather than importing a - with all due respect - and I mean that sincerely - less than international star name - to take nothing away from the quality of her dancing. It would, I should think be well deserved and surely Ms. Morera would be familiar with the production having been with this particular Acosta take from its earliest inception. Moreover, she would have had RB cinema exposure. I assume that Osipova will be dancing Kitri on the tour as well - having fully rehearsed it in London. That should do wonders for the Washington/Chicago box office I should think as her name is well linked to DQ in the States.

I would think the Royal Ballet would want to showcase their own established principals when away from home - especially as they are the ones who have had key exposure in the RB cinema broadcasts internationally. Still, one never knows ... and, of course, it will I suppose be hinged on Ms. Salenko's availability as she is a principal with the Berlin State Ballet as is her husband (and I'm sure Mr. Duato will want to be using her gifts as well) and the injury demands of the Royal's female principal contingent at the time of their US tour. Is Ms. Salenko known in the US? I know she has danced with Daniil Simkin (an ABT principal) in Europe .. but has she appeared with a major American company previously? Mr. McRae certainly has as he participated in an exchange programme between the Royal and ABT which I do not believe is currently on-going. ABT now seem to have a similar arrangement with at least one major Russian company.) Certainly Golding will be known in the US - even though he has not participated in a RB cinema transmission - as he was previously in the ABT corps and would have danced in all of this tour's venues.

Thanks for this, John. I have spent my lunch happily imbibing this. The influence of Robbins on Peck is obvious in terms of making musical complexity clear. This is a wonderful insight into a major talent. Inspirational. Bless you for this link.

I wonder might this be the way of many futures? The print trade has seen diminishing returns for quite some time as the progressively well-written/authoritative blogs have been on a determined rise.

I saw this production several times over the past two weeks and enjoyed it hugely alongside capacity audiences. It was a pleasure to watch the Deane as I so much prefer this version to the equally-long-standing Dowell one down the road. The entire ENB company I thought looked in magnificent form. Vividly so. One had the luxury of knowing you could always relax in the presence of the ENB corps. Bless them. They persistently fascinated and enraptured. James Streeter was an intoxicating Von Rothbart and I treasured the several times I was privileged to see Crystal Costa and Fernando Bufala (consistently brilliant artists both) enrich the heady thrill of the intricate Ashton Neapolitan Dance. The wonderful Angela Wood and Daniele Silingardi became my favourite Mazurka couple and captivated my imagination every bit as much as both the haunting Ksenia Ovsyanik (how I wished I could have seen her single O/O matinee in Liverpool - Oh, lucky Liverpool) and the always dramatically incisive Tamarin Stott dazzled in the joy of their multiple assignments. Of the principals I thought Tamara Rojo was the best all round O/O I saw. I loved how she so clearly showed the freeing wonder of the young maiden in the opening moments. This allowed us to readily watch her became ensnared inside two equally firm male fantasies until she could - in her final heart-breaking moments of the fourth act - stand it no longer and demanded to be her own woman even if it meant it had to be in the face of death. Rojo's sheer technical brilliance and musicality - ready as ever - were only adorned by the truly stellar Alban Lendorf who kept to his own thrilling Danish tradition; allowing the drama to be depicted through the dance itself. That he so zealously steered it to stunningly precise and overall bewitching effect cannot be doubted. One so hopes to see this riveting dancer again in London soon with a company as fine as that which ENB has become. In a similar manner SFB's Vitor Luiz was most assured in the confidence with which his Seigfried held Fernanda Oliviera's always clear Odette aloft. Alina Cojocaru's O/O had - as per her own special brand of magic - an ever shifting countenance, one encompassing a cornucopia of stories. Cojocaru radiates just so many rousing signals even when her technical strength might not be entirely forthcoming, especially in this most punishing of roles. (Her Giselle and Titiana remain oh, so vivid in my memory for that reason; especially when in the partnership of her husband, an equally fine artist.) I had only seen Vasiliev dance once before with Cojocaru and that was in a New York performance of Makarova's La Bayadere. In a way I think that production more immediately suits their specific gifts but it was instructive indeed to have an opportunity to see their partnership enliven over the course of the past fortnight. Physically Vasiliev appears ever more like the historical pictures of Ivor Novello with his dark locks darting in tandem with those exclamation points which are his ever climatic eyes; both set off against his glistening alabaster skin. Cojocaru's noble beak now appears to my eye as if Celia Franca had once again come back to dancing life and together in silhouette they were a vivid coupling. In those moments where they both melded/melted the effect was as sensational as a changing wave lapping onto an endarkened shore. Their joint reflexes were almost audible. By his last performance Vasiliev had a much better chart of the danger than on his maiden voyage. Last Saturday night he was entirely possessed by the sight of his mother (the ever illustrious Jane Haworth) instructing marriage. His fingers would constantly find themselves moving towards that mime's insignia as if it had been branded in his brain. I loved how at the opening of the third act he appeared entirely possessed. He was somehow on that lake still; he was stoned by it. His remorse in the final act was heart-wrenching in a brave, child-like manner. It seemed for all the world as if he had regressed and his mad lateral leap at the bitter end was as if towards another womb. He will make a fine stab I'm sure at Mayerling (which he mentioned at the LBC meeting he would be doing for 'one or two performances' this year for the Stanislavsky Ballet. He seems really quite suited to that - as, indeed, Ivan the Terrible - which he said he was also rehearsing but with the Bolshoi. I wonder if the RB might ever consider letting Vasiliev guest for a single performance of Mayerling. It would be thrilling I think to see him and Osipova reunited inside of that particular MacMillan frame. It would have been exciting to see him and Cojoacru in the same but I do understand why that is now not possible in London.)

Well edited promo here. Alu's silhouette is certainly different from that which many may consider traditional for a POB danseur.

http://www.cbsnews.com/news/sergei-filins-undimmed-vision-for-the-bolshoi/

Could it be because Sky broadcasts this with some frequency and they may have purchased the UK broadcasting rights?

I would imagine the reason why there is no Osipova and Muntagirov in this run of Song of the Earth is the fact that the RB will need to balance the principal casting for the US tour (giving as many principals a chance to be seen as possible - especially those featured in the cinema broadcasts and therefore better known by the US audiences) and Osipova and Muntagirov are both principals in the single full length - the Acosta DQ - which the Royal Ballet have chosen as best to highlight the their current skills level/overall oeuvre in that Nation's capital city and Chicago. Both would (I should imagine) also feature (definitely Osipova with Golding) in Ashton's Dream, the one established narrative ballet which is to be shown in NYC only (respecting, of course, the fact that Scarlett's The Age of Anxiety does also, of course, have a narrative loosely based in and around the Auden). Of course it might well be that Osipova and Muntagirov - both of course well known to NYC audiences - have guesting commitments during that very brief time period of the London triple bill. Perhaps we will see them in the MacMillan in the next round. They would both be well suited to it I should imagine. Especially I feel Muntagirov would be after having had the prized opportunity to see him in his very fine performance in ENB's presentation of Song of a Wayfarer. That, for me, remains a definite highlight in his overall dancing canon thus far. It's up there with his stunning debut in Manon. The 2014/15 season will have definitely been a banner one for our friends in NYC given that they will have enjoyed appearances by the Mariinsky (there right now), the dancers from the Royal Danish Ballet, the Bolshoi, the Mikhailovsky, the National Ballet of Canada and the Royal Ballet (amongst visiting others) all in addition, of course, to ABT's 75th Anniversary Season and the always thrilling rep of NYCB which is now happily - after the lull of a some years ago - in as high a state of performance as it has (reputedly) ever been. It is suggested that Hamburg Ballet may also take Lilliom (which I'm sure will feature Ms. Cojocaru) as part of the LIncoln Center Festival this season. We were, of course, lucky to see a pas de deux from the latter in a previous gala which was lovely.

Thanks so for that, Jane. . Here's another treat: Deborah Jowitt's glowing review of the RDB dancers in NYC ... http://www.artsjournal.com/dancebeat/2015/01/from-denmark-with-love/

On that same 'other board' it has been revealed in Manhattan by Aschengreen that "the Royal Swedish Ballet will dance a reconstruction of Bournonville's complete final ballet, From Siberia to Moscow, next year". (This is the same ballet which features the British 'Jockey Dance' such as was shown in Mr. Birkkjaer's brilliant programme of just over a week ago at the Peacock.) That reconstruction sounds potentially exciting to me ... and anyone who hasn't been ... the Opera House in Stockholm alone is well worth a visit ... being an all too true slice of 'Ballo in Maschara' ... and it, itself, is just across from the Royal National Theatre which often has truly thrilling theatrical fare as well. You can also get very reasonably priced tickets to both.

Just a nod .... At last night's LBC meeting with Ivan Vasiliev, the dancer himself said he would be appearing in a programme in London for one night only on 17th July. I assumed this was to be at the Coliseum although that wasn't I think entirely specified. (The host was rather inexperienced and did not pick up on many of the key points of emphasis which left some in the large audience rather wanting I fear.) Vasiliev said he would be dancing the Pita piece from Solo for Two ... and also said something else but, sadly, given the unfortunate state of the sound system - which led to much gleeful animation from Mr. Vasiliev himself - I sadly couldn't make it out.

It was grand to see an audience - certainly in the stalls - at the Peacock which was larger than I might have otherwise expected/feared given past experiences with similar ensembles in London. I sincerely pray that the wonderful Mr. Birkkjaer and his dedicated and highly gifted team managed to break even from that stint. Perhaps the key in such presentations is to do exactly what they did; to concentrate on pure ballet/dance itself and excise as many other additional costs as possible and focus purely on a dedicated ensemble in order to make these kinds of programmes affordable/viable in London. Perhaps the fact that the presentation itself was restricted to three performances in but two weekend days was also key to answering what the traffic will now (happily) bear. I see that RSB's Streetcar has a similar short burst - I think three days - at SW. This programme with dancers from the RDB was a true delight and I'm so pleased that I was privileged to be able to attend two of the three performances. It was as much an honour as it was a joy.

Source Includes the ever popular Darcey Bussell and, latterly, BRB's David Bintley in a documentary focusing on the influences of Louis XIV, the supposed father/foundation layer of ballet as we now know it. Mr. Bintley is creating a new ballet around that particular theme entitled 'The King Dances' for the rightly admired BRB. Let's hope we have a chance to see it in London after it has served its designated regional tour path. All programmes will be broadcast on BBC4. Perhaps 'The King Dances' will take a special place of merit on the main BBC programming schedule for Xmas 2015.

A report of Nunez/Soares in a Rome Gala (alongside many others of course) is here. They danced the DQ and White Swan pas it seems.

Now there's an idea ... the construct of a balletic ON THE WATERFRONT for Vasiliev .... Right up his proverbial alley I should imagine Perhaps he could have samples of (appropriately associated) verse such as he is known to write published in the programme too!

Yes, but just to play the devil's advocate here for a moment, do not the Russian touring outfits (be it Siberia or Moscow City) often play in those venues .... and do not even other SW associate members - I'm thinking of the like of AMP with their Swan Lake, Car Man, Cinderella, Nutcracker, etc., and Random Dance - both now with public subsidy - also play / overlap with more local (i.e., more locally regionally) dance (i.e., contemporary) companies in those cities? I believe they do ... whilst acknowledging that I'm sure the immediate nature of their product does not overlap. And just for the sake of clarity - the reason why I focused above with an interest on Sadler's Wells in terms of presentation of major BALLET companies in London - [and, yes, I did restrict myself to LONDON ONLY as I was striving to talk about LONDON in comparison, say, with New York or Paris as a potential WESTERN World BALLET city] - is because Sadler's Wells was the last subsidized entity to support - [well, - again for precision's sake and not knowing the SW specifics in such - were certainly the ones who physically helped to house them be it at either their own primary or indeed secondary (in terms, say, of the last two RDB showcase rentals) venue - or, indeed, in association with the Coliseum's more commodious space] - such companies as Stuttgart, NYCB, ABT, SFB, POB - during their most recent London visits (with the acknowledgement that the presentation of the two primary Russian Companies - i.e., the Bolshoi and Mariinsky/Kirov has historically been the entire commercial domain of the Hochhausers who are ... well, certainly have been ... themselves a very fine private presenting outfit; one who have presented those specific same plenteously.) As Bruce kindly suggests above Sadler's priority has clearly shifted in this regard and they are understandably - especially given a restriction in national resources - clearly now much more focused on showing/celebrating a more national product of dance - well, given an emphasis on 'newer/contemporary' fare first - and those individuals in this country who are most committed towards it. Quite right too. The nation's resources (be they in space or monies) are, of course, primary and limited and should be reserved for the companies that do most to serve/support this nation itself. For those interested in getting an international picture/overview - be it of the BALLETIC world itself or anything else - there are airplanes. It's only that the umbrella - for whatever reason - and in terms of MAJOR WESTERN BALLET presentation I suggest it has to do primarily with the available facilities to house such - Paris and New York are different in terms of the overall stretch of their canvas. That is/has been their municipal choice/priority. That it is all. It is - a bit like international horse racing. It's a privileged sport; no question. That kind of international education has sadly never come cheaply. Times are different certainly for London - in so many ways - from when I was growing up ... and, who knows, - given that things are cyclical - they may well come round to being as they were then. Who knows? I don't. That's the exciting bit. (Somehow I doubt - given the state of my own matters sadly - that I will be around to see it - but I would, I promise, oh, so love to be able to do so ..... if I could only find an outfit - ANYWHERE IN THIS PRACTICAL WORLD - AND I'M NOT FUSSY - PROMISE - which has proven that freezing actually works!!! Heaven knows it has certainly been talked about for a long time too.) .... or should that bracket be a ..... (That's me attempting ... meekly I realise ... to be modern .... THERE ... i did it again. .

Yes, that Cinderella was at the Edinburgh Playhouse not the really beautiful Edinburgh Festival Theatre .... I was just wondering if any our major national dance companies ... the Royal or ENB had been there? It would be shame if they hadn't. And on the second score ... Northern and Birmingham now come to London ... and certainly Northern have overlapped venues with ENB .... although it appears that ENB may be cutting down on national venues now to some degree to represent the nation more internationally ...

He is wonderful. He was a former member of ENB; then left ... and oh, so wisely Ms. Rojo has brought him back. It is indeed our gain. His performances in Corsaire and Coppelia were to be cherished.