Bruce Wall

That is one of the most camp Xmas greetings I have EVER seen .... In that regard it is, I think, quite an achievement.

A lovely interview with the legendary PATRICIA McBRIDE ... as interviewed by none other than WYNTON MARSALIS .... Enjoy these six minutes ...

I too support LinMM's sentiment insofar that I'm SURE the RB management thought VERY long and hard as to what best to feature as the Royal Ballet's current strengths for their upcoming American tour, inclusive of New York. Of course they will have wanted to present the Company in its very best light. They have chosen Acosta's DQ and McGregor's Art of the Fugue for - surely short of anything else - their contrasting variety. [scarlett's Age of Anxiety also was featured on that original list - I'm not certain if that is still current - it did not have a title at the time of choosing - although I could certainly see the attraction as towards the American market of that piece - and, of course, Scarlett is now a known entity in NYC having created three ballets there in the last year alone.] I'm sure the RB must - as the Nation's representatives - have EVERY confidence that these works will show all the fine creative assets of the Royal Ballet as they exist/stand at this particular point in time. Certainly they will give a lot of opportunities to feature different artists from the Company. The works themselves, of course, will - as they must - stand or fall on their own merits - much as is being discussed above. K. O'Hare DID say at a BA meeting - even before its premiere - that he would have LIKED to have taken The Winter's Tale (which I can, for one, WELL understand) but, of course, the North American rights to that work are appropriately owned by the productions 'co-producers' the National Ballet of Canada - as had been the case with 'Alice'. That is, of equal course - only right and fair. I'm sure the NBoC would have loved to present The Winter's Tale in Paris - given the fact that is a long established centre for world dance and Canada's own close French connection - but, of course, the European and (I assume) other World rights to the Wheeldon will be the rightful property of the Royal Ballet, the originating presenters. For those who are missing the most recent Osipova take in Don Quixote ... Here is a film of a live performance (via an Italian TV transmission) of Nureyev's version with Osipova and Sarafanov filmed at La Scala but only a few short months ago. (It's now shown up on YouTube I see ... and it was in this same recent run that the glorious Tamara Rojo - late, of course, of the RB; now spearhead of the wonderfully refreshed ENB - made such a STUNNING impact.) In any event, here she (i.e., Osipova) blows:

I, for one, am all for that.

A fascinating peek penned by a NYCB dancer - Troy Schumacher - on what it takes to dance the one minute and five second Candy Cane sequence here. Insightful and well written I thought.

(In answer to the item immediately above. Sorry I didn't push the quote button in advance.) Yes it is, DonQFan, but you have to get in as soon as they are announced - there are so few places ... and each programme only costs $20 (circa £12.50). They can sell out within an hour of the announcement .... but you get to be SO close ... (two rows on one side and three in the centre) much as if you were sitting in one of Balanchine's own rehearsals as I was - for two ballets - oh, so privileged to do - but that was in the days before they had these kind of organised programmes. There are approximately three of these a year at City Center in Balanchine's Studio 5 ... and this year Damien Woetzel is handing the reigns over to Wendy Whelan in terms of heading them up. It should continue to be exciting I'm sure. (These, of course, are not to be confused with the Guggenheim Programmes ... which are a separate entity altogether.) Glad you enjoyed the film. I thought it myself very special .... It brought back so many memories. I just wish it didn't cut off at the end .... I would have loved to have seen the complete resolution. but you can't have everything ... and this was certainly a wonderful 'something' ... or so I thought.

Oh, you may well be right, LinMM. I am in the middle of writing a report for the Arts Council so I fear I do not have my ticket with me ... and little time. That's for tomorrow (he reminds his brain). It was early though I recall. Bless you for the correction. I wouldn't want to mislead anyone. Bless you.

Could it be because it is during the established 'holiday period' and they wanted to appeal to families who have younger children, whereas an opera like 'Ballo' could not be placed in that category and begins at 7.30 pm. I wonder too if has to do with the fact that the next day there is a DQ matinee beginning at 12.00 noon and there may be a provision about adequate rest periods for the dancers/musicians. Again, these are just guesses on my part.

Wanted to share this YouTube link from one of the wonderful recent insight programmes at City Center (where so many of Balanchine's key works were built). This one focuses on (i) input from Violette Verdy [a past LFB - now ENB - veteran]; (ii) features T. Peck and J. De Luz as noted above and (iii) is introduced by (as referenced earlier/featured in the NYCB Nutcracker film) Damien Woetzel. Enjoy.

You are most welcome, LinMM. Here is a link with a clip at the bottom of it which might contribute a couple of reasons as to why Balanchine was driven to be (i) so imaginative and (ii) so, so very musical; indeed driven by it. (I STILL remember those magical rehearsals I was so privileged to attend and the great master and his metronome.) http://blog.oup.com/2013/07/george-balanchine-youth-russia-finland

Yes. He had been an SAB student ... and at the time offered the film company certain commercial attributes towards the distribution of the film ... as did Kevin Kline who did the narration.

Then it might well be very beneficial for the Tring Park School. They would have the benefit of training by members of the Balanchine Trust were that to be the case. Thank you for this much valued information. So very kind, Rowan. Bless you and Happy New Year.

Why am I not surprised ....

Sounds to me as if someone was simply not looking

Might it not provide an incentive for ENB to start a junior/(associate?) programme; educationally partnering perhaps with one of these new-dangled 'free schools' so that their students got a fully rounded/mulit-lingual regime? I believe such programmes can be profitable ... plus there has been that report (I remember seeing it in the Evening Standard) that ENB are currently searching for an expanded physical base. This too might help ENB to further fulfill a 'national' remit - be it either British or - should it remain current in the future - European. That said, I am, of course, uncertain in such matters. Perhaps there would no longer be the necessary demand for such given all the different and very fine outlets currently extant in greater London and outside UK/European locales .

Oh, and, of course, LinMM, the BALANCHINE NUTCRACKER SPF/Cavalier adagio DOES end with a pretty spectacular 'fish dive' .... (obviously Balanchine agreed with you!) .... so it may well be an ever more perfect world .... perhaps

Yes. It has been there as long as I can (still) remember. It is apparently an old Russian stage convention ... or so I was told. Have seen many fine ballerinas slide ... in safety ... and joy. :-)

Here you can see promos for BALANCHINE'S NUTCRACKER ... in different physical productions for (i) Miami City Ballet and (ii) Pennsylvania Ballet and even (iii) the Central Youth Pennsylvania Ballet. The choreography, of course, (as copyrighted) remains more or less the same.

Here you can see a behind the scenes tour of Balachines's NUTCRACKER from five years ago. Lovely to see former NYCB principal - the wonderful Philip Neal teaching the young children. Here is the NYCB promo for the 60th Anniversary BALANCHINE NUTCRACKER. You can briefly see Tiler Peck (referred to above) appear.

Bless you, DQF, for this TRULY exquisite review. It brought back SO many memories for me - THANK YOU SO MUCH - and I do so envy you the opportunity of seeing Tiler Peck dance the SPF TWICE!!! (By the bye, Susan Stroman said in an NYT interview re her upcoming production of THE MERRY WIDOW for the Metropolitan Opera that the next step in the development of LITTLE DANCER starring the stunning Ms. Peck would be in Los Angeles in the summer of 2015 - which is good as she will be off season - i.e., after Saratoga - from NYCB and needn't miss out.) As I said earlier, Balanchine's is my personal all-time favourite NUTCRACKER overall. I'm so pleased that you enjoyed it. (Again thank you for taking to pen this inspired report of those two performances.) In answer to the question above, Balanchine uses the established Nutcracker score - with the only addition being in the first act where the music used by Ashton for Aurora's Awakening pas de deux (as it is in Sir Peter Wright's glorious production for BRB - my current favourite of all SB productions in this country) is employed as an interlude. You can, of course, see this Nutcracker on film in that presentation that was commercially released some years ago with Darci Kistler and the truly stunning Damian Woetzel as the SPF and her Cavalier and the breathtaking Kyra Nichols (who Clement Crisp claimed to be one of the world's great dancers) as the Dewdrop. You can purchase this 1993 DVD (Region 1 ONLY it seems - but many machines can play that now) for less than £4 (i.e., less than an ROH amphi standing ticket for even a RB mixed bill.) Well worth the investment methinks. You can see a segment of the main PDD with Kistler and Woetzel here. Here too is the SPF variation which in the Balanchine comes near the top of Act II. (Off topic for a second: It is such a shame that Damian Woetzel danced in London only once over his LONG career - [he first became a principal dancer when he was 16] - and then only one movement in one ballet just before his retirement. In my book he was up there with Baryishnikov. Indeed, I once overheard Baryishnikov say: 'You out-Baryishnikoved ME!' to him. Certainly he was the best Candy Cane I ever saw ... and how he managed to pull that triple hoop through a third sequence and still keep within the music is a mystery which will probably NEVER be answered. The audience would simply go wild - something akin to those London Osiliev DQ's in terms of volume. I won't be surprised to see Woetzel inherit the reigns at NYCB. Not only would he be able to fully maintain the Balanchine/Robbins Rep [even now he coaches it with his wife, NYCB veteran Heather Watts] but he also has a seat on the Congressional Committee for the Arts and additionally sits on the National Endowment's Board. Woetzel holds a Masters in Public Administration from Harvard’s Kennedy School of Government which he got while he was still dancing with NYCB in that VERY long career and he has additionally lectured at Harvard Law School in the realm of Performance Law itself.) Thank you, THANK YOU, DQF. Your review is more than merely illustrious, it provides a wonderful public service. I think it would be grand if ENB were to adopt the BALANCHINE NUTCRACKER as Aileen and LinMM suggest and thereby be the first ones to be able to present it in this country. I can think of no other company here better equipped to do so outside of course of NYCB. It would be another feather in Rojo's already dazzling cap - and I know Gavin Sutherland would more than honour the score as ever with the ENB Philharmonic; the best ballet ensemble in this country for my money. Furthermore I think it would provide wonderful opportunities for the children from the ENBS as well as, perhaps, other training ensembles (outside of the RBS of course). I think too it would be wonderful - especially given Nureyev's close association with LFB/ENB - if Rojo might consider exchanging ENB's LE CORSAIRE production for a season for La Scala's DON CHISCIOTTE by Nureyev (such as Rojo herself danced earlier this year) and show London a more vibrant forward thrust on the home front in that work than the rather muted affair that I accept many think more appropriate for the current - and much admired - RB throng. One thing ENB's LE CORSAIRE film via digitaltheatre.com continues to prove is that TODAY'S ENB is especially rich in deploying expansive character through balletic dance itself.

Here's a central Nutcracker pas de deux that I've not seen before. It is reputedly from the mid-60s and is definitely with Villella and Hayden. (A bit before my dance-going time I only saw each of them dance live once; Hayden in a gala with Peter Martins and Villella in Robbins' Watermill at NYCB some time after he had formally retired - although I did hear both speak a number of times about their careers - and I once watched Hayden give class.) The choreography is decidedly not Balanchine's ... It would be interesting to know whose it was ... I well remember Villella in one of those free NYC Library programmes saying that in those days all the dance filming took place in studios with concrete floors. His elevation in those two solos is - under those circumstances - remarkable. Really liked the Sugar Plum Fairy variation and coda choreography although - my word - it can't have been easy.

You might enjoy the fouettes (though not a la couronne) of NYCB principal Tiler Peck from Corsaire (here seen with a BcoF favourite of many, former RB principal, Sergei Polunin) in the clip below (pull through to 0.51 to see). It is, I think, notable that the current crop of NYCB female principals are - in large measure - much more comfortable with such being the first generation to have [in NYCB] danced full length Sleeping Beauties, Swan Lakes (as well as the one act Balanchine), Romeo and Juliets in addition to the long standing Balanchine productions of Nutcracker, Coppelia and Midsummer Night's Dream on a not infrequent basis. This season they also get La Sylphide ... all of course in addition to the vast Balanchine and Robbins rep ... as well as seasonally originating several works by the likes of Wheeldon, Scarlett, Peck (no relation to Tiler) and Ratmansky, etc. If you have time, the sequence of Peck and the adorable Lill Buck is glorious I think ... and uses traditional Jewish folk dances as its lift off point ... and Ms. Peck performs such STILL wearing pointe shoes.

So enjoyed both Hayward and Muntagirov in ALICE (my only one of this run). What an wonderfully astute comedienne she is. (She entirely enervated that ;stuck in the red door' segment for me.) The pairing of these two - from a balletic point of view - is manna from Royal Ballet heaven. I would love to see that partnership firmly established. They feed off each other's extraordinary capacities and flow oh, so naturally together. Muntagirov's third act solo variation was - in a word - spectacular. James Hay was wonderfully animated as the White Rabbit ... but the poor lad does seem to get stuck with the world's worst wigs ... be it as Lewis Carroll in the opening of ALICE or as the son in A MONTH IN THE COUNTRY (i.e., how to make an attractive chap look unnecessarily ugly in one easy lesson.) Cervera, McNally and Underwood all built on the glorious detail of the roles they originated .... and I found myself wondering whether or not Mosley has finally found his calling in life: an utter delight. Acri and Dyer additionally lionized their vaudeville turns as both frog and fish while Ball and Campbell showed admirable precision as one of the painters and an attending card respectively. (Why are some of these roles no longer itemised on the cast list I wonder?) Agree that some careful internal pruning of the overall piece might well be in order ... and feel confident that Wheeldon would now be well primed for such following his AN AMERICAN IN PARIS triumph which - as we all know - led directly to that linear marvel which is THE WINTER'S TALE; itself oh, so much more spare from a narrative - and every other - perspective. NBoC's Briskin cherished each and every crevice of Talbot's score and the ROH orchestra responded much more potently than their sullen account of 'Ballo' might have suggested but a few nights earlier. In all it was an enjoyable afternoon. I'm so glad I went.

Aileen, has the Nureyev Nutcracker not been seen in London? It is very dark .... I remember Galina Panova being a very fine Clara in it, however .... but that wasn't in London.

The documentary celebrates the work of Justin Peck creating the 422nd ballet for NYCB. Official Trailer Interview with Director/Cinematographer and here.