Bruce Wall

Attended this last night and enjoyed the triple bill MUCH more than I did the dreary (a note should be sent with haste to the lighting designer that not everyone in the audience can see in the dark) and oh, so twee BEAUTY AND THE BEAST. That latter was Bintley back on his CYRANO fringes. Not a happy place to be. SO dispiriting. There is NO question but that these dancers deserve better. Certainly better they MUST have if they are to grow. (Thank heavens for the very fine Wright productions this Company is fortunate enough to possess.) Much as with Bintley I prefer my MacMillan early and, thus, I VERY much enjoyed the delicately entrenched brightness of LA FIN DU JOUR and certainly Ian Spurling's vivid deco design. Celine Glittens glittered. Brandon Lawrence is a good dancer with an enchanting smile but he must - simply MUST - work to make his placement more precise. That, too, will contribute to more clarity in his partnering. Tyrone Singleton was thankfully more able on both counts. I SO appreciated the opportunity to see Gillian Lynne's re-vitalisation/re-visualisation of Helpmann's MIRACLE IN THE GORBALS. It transported one immediately back to a time where the decoration of the choreography was certainly simpler and served to do naught but make the stealth of the narrative pungent. I so admired Michael Benthall's courage in his scenario's depiction of the hypocrisy inherent in the Church of England, an institution founded in at least part on deceit. Things, sadly, have not changed in that institution's regard and consequently this piece can still be in that aspect timely. Indeed as I was watching it I felt there might perhaps be a contemporary narrative ballet to be made in a similar light. I would love to see Scarlett tackle such on this fine company. There could I think be much to explore in a one act work that might husband this particular period piece (i.e., MIRACLE) given that same institution's continuing duplicity in its treatment of so many sectors, (e.g., women and gays). Iain Mackay was outstanding in his depiction of the irreverent minister - effectively cloying at his own collar at several junctures - and all the BRB cast clearly shone in their characterful fulfillment. Delia Mathews brought a glowing dignity to the Suicide victim who suffered both physical as well as spiritual indignity at the hands of her so-called protector and Elisha Willis enriched her prostitute with a self-respecting stature so oft missing in MacMillian's frequent one-dimensional depiction of such. Cesar Morales glowed as The Stranger without being sanctimonious; no small feat in this instance. Lynne's knowingly theatrical deployment of Bliss' score was enticingly rich in its West End detail. In that regard her work here reminded me much of DeMille's as first etched on this same stage. The best in this triple bill was kept for the last in Bintley;s (happily on a much more secure EARLY footing) FLOWERS OF THE FOREST and its ever osculating Celtic swirl. I well remember the glory of Yoshida radiating in the Four Scottish Dances the last time I saw this fine piece in the same venue and the stunning Nao Sakuma was I felt every bit her equal. Certainly there could be no doubt but that the exemplary Tzu-Chao Chou was a thrilling thunderbolt of eviscerating exactitude. What a gift that artist is. A word of SPECIAL thanks to the EVER glorious Marion Tait (in MIRACLE) and Jonathan Caguioa throughout for giving virtual masterclasses in meaningful character development through movement which me, myself and I have always believed to be (indeed cherished as) BRB's hallmark. So refreshing.

Could it not be an attempt to make a clear show of attempting to source local dancers. In this way, even in face of some current criticism (largely unjustified in my view) they will have concrete proof of having had made the effort in terms of outreach.

Is that a surprise??? She is, of course, an ABT principal ...and has been so for over a decade. Perhaps you mean it is a surprise because she is 39? P.S: I did not include the website link as it had not yet been put up in the calendar when I made the original posting.

It is interesting to note that RB principals Osipova and Nunez will guest with ABT during their 75th Anniversary season. Osipova is dancing a huge part of the ABT repertory appearing in Giselle, Romeo and Juliet, the new Ratmansky - (i.e., the choreographer/director who first brought her to balletic prominence) - Sleeping Beauty and Makarova's La Bayadere which was, of course, created for ABT with Dowell as the opening Solar, It's almost as if she never left as an ABT principal herself as she has, in fact, more performances than some of their more long standing ABT residents (e.g., Part) and is partnered with a variety of male leads including Hallberg and Gomes. . Nunez appears for two performances of Ashton's Cinderella opposite James Whiteside. Smirnova and Chudin appear for one performance of La Bayadere and Obraztsova appears in MacMillan's Romeo and Juliet as she has done with the Royal Ballet opposite Steven McRae who himself appeared as an ABT exchange artist some seasons ago in Le Corsaire. Here is the official press release: NEW YORK PREMIERE OF ALEXEI RATMANSKY’S ALL-NEW PRODUCTION OF THE SLEEPING BEAUTY TO HIGHLIGHT AMERICAN BALLET THEATRE’S 2015 SPRING SEASON AT METROPOLITAN OPERA HOUSE MAY 11-JULY 4, 2015 75TH ANNIVERSARY SEASON TO OPEN WITH WEEK OF REPERTORY PROGRAMS FEATURING HISTORIC WORKS 75TH ANNIVERSARY GALA SCHEDULED FOR MONDAY, MAY 18 GUEST ARTISTS FOR THE SEASON TO INCLUDE SEMYON CHUDIN, MARIA KOCHETKOVA, DENYS NEDAK, MARIANELA NUÑEZ, EVGENIA OBRAZTSOVA, NATALIA OSIPOVA AND OLGA SMIRNOVA American Ballet Theatre’s 2015 season at the Metropolitan Opera House was announced today by Artistic Director Kevin McKenzie. The season will be highlighted by the New York Premiere of Alexei Ratmansky’s all-new production of The Sleeping Beauty, a revival of Lar Lubovitch’s Othello and repertory programs featuring historic works in celebration of the Company’s 75th Anniversary Season. Principal Dancers for the 2015 Metropolitan Opera House season include Roberto Bolle, Isabella Boylston, Herman Cornejo, Marcelo Gomes, David Hallberg, Paloma Herrera, Julie Kent, Gillian Murphy, Veronika Part, Xiomara Reyes, Polina Semionova, Hee Seo, Daniil Simkin, Cory Stearns, Diana Vishneva and James Whiteside. Guest Artists for the season include Semyon Chudin, principal dancer with the Bolshoi Ballet, Maria Kochetkova, principal dancer with San Francisco Ballet, Denys Nedak, soloist with the National Ballet of Ukraine, Marianela Nuñez, principal dancer with The Royal (more) ABT SPRING SEASON AT MET ANNOUNCED – Page 2 Ballet, Evgenia Obraztsova, principal dancer with the Bolshoi Ballet, Natalia Osipova, principal dancer with The Royal Ballet and Olga Smirnova, leading soloist with the Bolshoi Ballet. 75th Anniversary Gala Breaking with tradition, ABT’s annual Spring Gala, this year in celebration of the Company’s Diamond Anniversary, will be held during the second week of the Met season, on Monday, May 18 at 6:30 P.M. The evening will feature performances spanning ABT’s seven and a half decades. With guest speakers and film excerpts, the evening will honor the historic of ballets and the dancers who have shaped the Company's identity. For information on ABT’s 75th Anniversary Gala, please call the Special Events Office at 212-477-3030, ext. 3310. New York Premiere of Alexei Ratmansky’s The Sleeping Beauty The New York Premiere of Alexei Ratmansky’s The Sleeping Beauty will take place on Friday evening, May 29 led by Gillian Murphy and David Hallberg. This all-new production set to the classic score by Peter Ilyitch Tchaikovsky, with original choreography by Alexei Ratmansky, will receive its World Premiere on March 3, 2015 at the Segerstrom Center for the Arts in Costa Mesa, California. The Sleeping Beauty will be given eleven performances at the Metropolitan Opera House, May 29 through 30 and June 8 through 13. Ratmansky’s The Sleeping Beauty will feature scenery and costumes by Tony Award®-winning designer Richard Hudson. Hudson’s designs will be based on the historic work of Léon Bakst, who created a seminal version of The Sleeping Beauty for Serge Diaghilev’s Ballets Russes in 1921. The production represents Hudson’s third collaboration with Ratmansky for American Ballet Theatre, having previously designed scenery and costumes forThe Nutcracker (2010) and costumes for Dumbarton (2011). Ratmansky’s The Sleeping Beauty is American Ballet Theatre’s fourth production of the full-length ballet. The Sleeping Beauty received its World Premiere by the Imperial Ballet at the Mariinsky Theatre, St. Petersburg on January 15, 1890. ABT presented its (more) ABT SPRING SEASON AT MET ANNOUNCED – Page 3 first full-length production of the ballet with choreography by Mary Skeaping from the original of Marius Petipa and the staging of Nicholas Sergeyev, at the Metropolitan Opera House, New York, on June 15, 1976. The Sleeping Beauty, with choreography after Petipa and staging and additional choreography by Kenneth MacMillan, received its World Premiere by American Ballet Theatre at the Auditorium Theatre, Chicago, Illinois, on February 11, 1987. A new production with choreography after Petipa and additional choreography and staging by Kevin McKenzie, Gelsey Kirkland and Michael Chernov received its World Premiere at the Metropolitan Opera House on June 1, 2007. ABT gratefully acknowledges Lead Sponsor of The Sleeping Beauty, David H. Koch. Additional leadership support is generously provided by the Lloyd E. Rigler - Lawrence E. Deutsch Foundation. ABT gratefully acknowledges Linda Allard for her generous support of costumes for The Sleeping Beauty. Additional support is generously provided by The Susan and Leonard Feinstein Foundation, Caroline and Edward Hyman, Howard S. Paley, and The Ted and Mary Jo Shen Charitable Gift Fund. Support has also been provided by the National Endowment for the Arts. This production is generously supported through an endowed gift from The Toni and Martin Sosnoff New Works Fund. This production of The Sleeping Beauty is a co-production with Teatro alla Scala. Historic Repertory American Ballet Theatre will open its Spring season with a week of repertory programs celebrating the Company’s heritage. Eight performances, May 11 through 16, will include Michel Fokine’s Les Sylphides, Antony Tudor’s Pillar of Fire and Jardin aux Lilas, Jerome Robbins’ Fancy Free, George Balanchine’s Theme and Variations and Agnes de Mille’s Rodeo. Hee Seo will lead the season’s first performance of Michel Fokine’s Les Sylphides on Monday evening, May 11. Set to music by Frédéric Chopin, Les Sylphides, a one-act plotless work, was given its Company Premiere at Ballet Theatre's inaugural performance on January 11, 1940 at the Center Theatre in New York City. The ballet received its first performance at the Maryinsky Theatre, St. Petersburg on March 8, 1908. This production of Les Sylphidesfeatures scenery by Alexandre Benois and lighting by Nananne Porcher. The Company will give the season’s first performance of Antony Tudor’s Pillar of Fire on Monday evening, May 11, with Gillian Murphy in the role of Hagar. Pillar of Fire, set to Arnold Schoenberg’s Verklärte Nacht (Transfigured Night), received its (more) ABT SPRING SEASON AT MET ANNOUNCED – Page 4 World Premiere by Ballet Theatre on April 8, 1942 performed by Nora Kaye (Hagar), Lucia Chase (Eldest Sister), Annabelle Lyon (Youngest Sister), Antony Tudor (The Friend) and Hugh Laing (The Young Man From the House Opposite). ABT's current production was revived in 2003 with scenery and costumes by Robert Perdziola and lighting by Duane Schuler. Pillar of Fire is staged for ABT by Amanda McKerrow and John Gardner. Jardin aux Lilas will receive its first performance of the season on Tuesday evening, May 12, led by Hee Seo (Caroline), Cory Stearns (Her Lover), Veronika Part (An Episode in His Past) and Roman Zhurbin (The Man She Must Marry). Jardin aux Lilas, choreographed by Antony Tudor for Ballet Rambert in 1936, entered the repertory of Ballet Theatre on January 15, 1940. Set to music by Ernest Chausson, Jardin aux Lilas features sets and costumes by Peter Cazalet. Amanda McKerrow and John Gardner staged this production for ABT. The first of four performances of Fancy Free on Monday evening, May 11 will be led by Herman Cornejo, David Hallberg and Marcelo Gomes. Jerome Robbins’ Fancy Free, the story of three sailors on shore leave in New York City during World War II, is set to a score by Leonard Bernstein and features scenery by Oliver Smith, costumes by Kermit Love and lighting by Jennifer Tipton after original designs by Nananne Porcher. Robbins’ work received its World Premiere by American Ballet Theatre on April 18, 1944 at the Metropolitan Opera House. Fancy Free is staged for ABT by Jean-Pierre Frohlich. George Balanchine’s Theme and Variations will have its first performance on Tuesday evening, May 12, led by Polina Semionova and Cory Stearns. Theme and Variations, set to music by Peter Ilyitch Tchaikovsky, received its World Premiere on November 26, 1947, danced by Alicia Alonso and Igor Youskevitch. This production, featuring sets and costumes by Zach Brown, with lighting by Brad Fields, received its World Premiere at the David H. Koch Theater on October 30, 2013, led by Gillian Murphy and James Whiteside. Xiomara Reyes and David Hallberg will lead the season’s first performance of Agnes de Mille’s Rodeo on Tuesday, May 12. Rodeo, featuring music by Aaron Copland (more) ABT SPRING SEASON AT MET ANNOUNCED – Page 5 and scenery by Oliver Smith, was first presented by the Ballet Russe de Monte Carlo at the Metropolitan Opera House on October 16, 1942, with Agnes de Mille as the Cowgirl, Frederic Franklin as the Champion Roper and Casimir Kokitch as the Head Wrangler. Rodeo was first performed by Ballet Theatre in Wiesbaden, Germany on August 14, 1950. A new production, featuring sets by Oliver Smith and costumes by Santo Loquasto, was given its Revival Premiere in 1989 in St. Louis, Missouri. Rodeo will be staged for ABT by Paul Sutherland. Revival Premiere Commissioned by American Ballet Theatre in 1997, Lar Lubovitch’s Othello, last performed by ABT in 2007, will have its Revival Premiere on Tuesday evening, May 19 with Julie Kent as Desdemona and Marcelo Gomes in the title role. Choreographed by Lubovitch and set to a commissioned score by Elliot Goldenthal, the full-length work features scenery by George Tsypin, costumes by Ann Hould-Ward and projections by Wendall K. Harrington. Othello received its World Premiere on May 23, 1997 at the Metropolitan Opera House in New York City led by Desmond Richardson (Othello) and Sandra Brown (Desdemona). Othello will be given four performances through May 21. Full-Length Ballets American Ballet Theatre’s 2015 Spring Season at the Metropolitan Opera House includes five additional full-length ballets beginning with the classicGiselle on Friday evening, May 22 led by Hee Seo in the title role, opposite Cory Stearns as Albrecht and Gillian Murphy as Myrta. Set to music by Adolphe Adam, with scenery by Gianni Quaranta, costumes by Anna Anni and lighting by Jennifer Tipton, Giselle features choreography after Jean Coralli, Jules Perrot and Marius Petipa and has been staged for ABT by Artistic Director Kevin McKenzie. The world premiere of Giselle, one of the oldest continually‑performed ballets, occurred at the Theatre de l’Academie Royale de Musique in Paris on June 28, 1841. The ballet was first presented by ABT (then Ballet Theatre) at the Center Theatre in New York City on January 12, 1940 with choreography by Anton Dolin and scenery and costumes by Lucinda Ballard. The leading roles were (more) ABT SPRING SEASON AT MET ANNOUNCED – Page 6 danced by Annabelle Lyon and Anton Dolin. American Ballet Theatre’s sixth production, featuring scenery by Gianni Quaranta and costumes by Anna Anni, was created for the film Dancers, produced in 1987 by Cannon Films. This production’s first public performance was given on March 20, 1987 at the Shrine Auditorium in Los Angeles, California, with Marianna Tcherkassky as Giselle and Kevin McKenzie as Albrecht. The current staging is by McKenzie, using the Quaranta and Anni designs. Giselle will receive eight performances through May 28. The first of eight performances of La Bayadère on Monday, June 1 will be led by Polina Semionova as Nikiya and Gillian Murphy as Gamzatti. Choreographed by Natalia Makarova after Marius Petipa, La Bayadère is set to music by Ludwig Minkus, specially arranged by John Lanchbery, and features scenery by PierLuigi Samaritani, costumes by Theoni V. Aldredge and lighting by Toshiro Ogawa. The full‑length La Bayadère received its World Premiere by the Imperial Ballet at the Bolshoi Kamenny in St. Petersburg on February 4, 1877. La Bayadère, Act II (The Kingdom of the Shades) was first performed in the West by the Leningrad‑Kirov Ballet in 196l. Natalia Makarova first staged The Kingdom of the Shades scene for American Ballet Theatre in 1974 and it received its premiere at the State Theater in New York City on July 3 of that year, danced by Cynthia Gregory as Nikiya and Ivan Nagy as Solor. Makarova subsequently produced and choreographed the complete version of La Bayadère (in three acts) for American Ballet Theatre, which received its World Premiere on May 21, 1980 with Natalia Makarova as Nikiya, Anthony Dowell as Solor and Cynthia Harvey as Gamzatti. Kenneth MacMillan's Romeo and Juliet will be given eight performances beginning Monday evening, June 15 with Polina Semionova and Cory Stearns in the title roles. Set to the score by Sergei Prokofiev, Romeo and Juliet features scenery and costumes by Nicholas Georgiadis and lighting by Thomas Skelton. The ballet received its World Premiere by The Royal Ballet in London on February 9, 1965 and was given its ABT Company Premiere at the Kennedy Center for the Performing Arts in Washington, D.C. on January 3, 1985 with Leslie Browne and Robert La Fosse in the leading roles. Swan Lake, choreographed by Kevin McKenzie after Marius Petipa and Lev Ivanov and set to the score by Peter Ilyitch Tchaikovsky, will be given eight performances (more) ABT SPRING SEASON AT MET ANNOUNCED – Page 7 beginning Monday evening, June 22 with Gillian Murphy as Odette-Odile, Marcelo Gomes as Prince Siegfried and Cory Stearns as von Rothbart. The first production of Swan Lake, with choreography by Julius (Wentzel) Reisinger, received its World Premiere by the Russian Imperial Ballet at the Bolshoi Theatre, Moscow on March 4, 1877. Swan Lake as we know it, with the Petipa/Ivanov choreography, was given its first full‑length production at the Mariinsky Theatre, St. Petersburg, on January 27, 1895. This production of Swan Lake,featuring scenery and costumes by Zack Brown and lighting by Duane Schuler, premiered on March 24, 2000 at the Kennedy Center for the Performing Arts in Washington, D.C. with Julie Kent (Odette-Odile), Angel Corella (Prince Siegfried) and Marcelo Gomes (von Rothbart). American Ballet Theatre’s 2015 Spring Season will conclude with eight performances of Frederick Ashton’s Cinderella, beginning Monday evening, June 29, with Hee Seo and Cory Stearns in the leading roles. Set to the score by Sergei Prokofiev, Cinderella features sets and costumes by David Walker. The ballet received its World Premiere by Sadler’s Wells Ballet on December 23, 1948 at London’s Royal Opera House with Moira Shearer as Cinderella, Michael Somes as the Prince, Frederick Ashton and Robert Helpmann as the Stepsisters and Alexander Grant as the Jester. The ballet received its ABT Company Premiere on June 9, 2014 led by Hee Seo (Cinderella) and James Whiteside (The Prince). Cinderella was directed, supervised and staged by Wendy Ellis Somes amd Malin Thoors. ABTKids ABTKids, American Ballet Theatre’s annual one-hour introduction to ballet, is scheduled for Saturday morning, June 13 at 11:30 A.M. All tickets for ABTKids are $25. Subscriptions for American Ballet Theatre’s 2015 Spring Season at the Metropolitan Opera House, on sale beginning Monday, October 27, are available by phone at 212-362-6000, or online at ABT’s website www.abt.org.

In this instance I was trying to economically express: A mind entrapped suddenly in an inescapable past - and not just the swirls of escalating dry ice - without the ability to break out no matter how hard they (in this instance the character of Manon) might try (acknowledging that this was a period prior to modern psychology and its associated drugs and even a free at the point of delivery NHS.) My apologies for the lack of clarity. It was scribbled late ... and while I was preparing materials I required to teach three two hour and forty minute classes back to back at a certain noted university. Must now dash to catch a train to accomplish that same. The joyful memory of Ms. Hayward's triumph continues to haunt happily. Long may it continue to do so.

What can one say; Hayward once again bubbled forth and enchanted all within her midst. This was - not unreasonably - an even more assured performance than her initial outing/role debut. THIS Manon hung on her brother. That was abundantly clear from the get go. This Manon was as intoxicated by the material riches of life as he was. He steered; she answered. I loved Hayward's concerted struggle with the diamond bracelet in the 2nd act pas and the longing trace of her brother's intoxicated grin on her sensually aware parade into the second act. Hayward toyed with Watson's DG, yes, but fundamentally knew where her best friends were latched at any point in their particular match. She did so with a fervor that only a child raised in that hunger poverty dictates can possibly comprehend. When Lescaut was killed ... the only person who REALLY understood her ... albeit in a misguided and certainly engineering fashion ... this Manon's body vomited forward with an alarming violence. Her game too - much as during that earlier performance - was up. Her clock had run out. The last act was but wish fulfillment ... T'was but a realisation of motions so different from those girls in the opening cattle train. They still had an appetite to claw. Not Hayward; This Manon was sheathed in a posterior fog ... Hayward's artistry here - as elsewhere - was one devoutly to be wished. Hayward's Manon is a rich blessing to (hopefully) be shared by all. We are supremely lucky to have this talented young lady among the RB's count for this particular moment in time. .... Oh, and I STILL think A. Campbell as Lescaut ... and J Hay as the Beggar Chief are VERY fine indeed .... and both were superbly spontaneous to boot (both figuratively and literally at points within last night's quality compass).

And some of his re-stagings of major works (e.g., The Sleeping Beauty for ABT; now with ENB - indeed all his work at ABT) also appear to be absent ...as well as works created in Germany .... (although perhaps the focus of this Wiki page is merely on those works he created at the ROH) ... If the latter IS the case it should I think be clearly specified so as not to confuse/mislead the international reader. (I must say, though, that restricting that focus (IF that is the intent) does rather - at least to my mind - appear somewhat churlish and insular.) I wonder what MacMillan himself would have thought of that. I believe his time at the ROH was not always the happiest.

Source

Source (featuring choreographer Susan Stroman and NYCB principal, Tiler Peck. Presented as part of the much lauded/cherished Guggenheim Works & Process series.)

How exciting to have the potential for dramatic interplay between Osipova and Hayward.

I was actually referring to the (re)-orchestration. Perhaps you are too young to remember how it used to be. (Don't worry, Aileen. You can still hear that same in Toronto, New York or Moscow refreshingly.)

I can only say that I had the better part of an amphi central row to myself, Aileen, and it was entirely clear behind. (I should add that I had only bought standing room - which itself was not full and rapidly became entirely depleted.) Indeed I placed my satchel in the lap of an empty seat in front (and there were more than several seats in its surround) for careful observance - as suggested - indeed requested - by that ever present interval announcement. I must confess, however, that the amphi was a tad more full than it had been for Hayward's entrancing debut.

What was so exciting for me during last night's MANON was the clearly obvious continuing maturation of what we have long known would/will be a truly world class artist. I am not aware that I have ever seen that first meeting pas BETTER performed. The informed and easy partnering present in Muntagirov's DG was for me on a scale with Dowell or Kobborg or Soto and - of perhaps of more current issue - the enthralling genius that is Tyler Angle. It was simply SO thrilling. Muntagirov's (sadly I don't know him personally so I must refrain from referring to him by his given 'christian' name) luxurious arabesques simply melted into music and as the poster choosing to refer to herself as 'capybara' suggests above his new found consistency in the art of naturalistic dramatic embroidery lifted - indeed inflated - the combined artistry of all within its catalytic grasp. Even Yates sadly sodden re-orchestration (forget the minor squeak of any shoe) was less troubling - and that is by way of paying SOME compliment. The theatrical flesh was heady such as was thrown against MacMillan's choreographic bones last night and the additional responses of all were clearly elevated by, through and against Muntagirov's elevation. Zucchetti gleamed with an intoxicating intelligence in his delivery of a maliciously malevolent Lescaut - one always wry in more than just an auspiciously iniquitous grin; Acri dazzled in the precise animation of his beggar boy with a ready catch; Avis delighted in the ever burgeoning tilt of his open jawed delight as Monsieur G.M.; James Hay exuded an especially pointed perfume in the midst of a fine trio of gentlemen; Whitehead glowered with calamitous damnation as the Goaler - making even those lugubrious breeches appear a welcome addition - and, thoughout, this Manon - a phosphorescent Lamb - was allowed to respond with her own shapely (and yes) knowing allure until fate's clock did but stop and we all retired with a grin in our hearts. Those cheers from a less than capacity audience at the ROH last night were well deserved.

Of her other partners internationally, I would love to see her Manon opposite Sarafanov's DG. (Wishful thinking I know.)

I just want to say that I WHOLLY concur with Sim's beautifully etched and detailed first paragraph in her post no. 91 above. The detail in Osipova's fine performance was both rife and ripe. I certainly didn't mean to suggest otherwise. It was simply - from my own perspective - that she didn't get the support last night that I felt she wholly deserved in terms of its overall and, yes, rightful fulfillment.

What is it they say in NY: 'Meh'. That about sums last night up for me, I'm afraid. I am an Osipova fan but will have to wait to judge her Manon until I can see her opposite someone else where, as suggested immediately above, a relationship can be better forged. Without that central appeal MacMillian's work (at least in this instance) can appear intermittently both shallow and hollow. I, myself, think I could watch MacMillan's Concerto repeatedly and found myself on occasion last night desperately wishing that it was on a loop aside the equally admirable Ratmansky take created for Wendy Whelan and NYCB. Somehow that would - for me - have appeared less repetitive especially when driven by Yates most unfortunate re-orchestration. This work needs that nub of personality mixed with a dedicated spontaneity and a consistent legato line to not only work but catch fire. This was my second Manon of this (as far as I'm concerned) overlong stint of them, and it did nothing but buoy the remembrance of my joy in the extraordinary debut of Francesca Hayward. Her Manon's entry into the second act ALONE was worth the price of any ticket. For me that would not have been true last night That said Osipova's second act solo was entrancing in its heady mixture of willfulness and doubt; each etched through the accouterments of those divine feet with which she has been blessed. For the record, this performance was dedicated to Dame V. Duffield and her support through the Clore Duffield Foundation for the Royal Ballet. The audience groaned as K. O'Hare came out to make the announcement - all booted and three-buttoned-up suited - thinking that there was to be a cast change announcement. (How in one instance I wish there had been.) He delivered a relatively simple note of thanks in his dedication and I, myself, only found it strange - especially given ALL the money that Duffield has given to the RB over the years - and all of her noted interaction - that it had to be read so meticulously from off a written text. Still, the point was made.

Fine artists both. Koen Kessels did a fine job when with NYCB.

Source

I know when I was working at the Met several leading ABT principal female dancers (Makarova was one) asked that the money that people might spend on flowers for them be given to specific charities that each was keen in supporting. (This is something that ABT helped administer) I always thought that was a very caring touch and I know that each of the artists was sent a notice when such a donation was made and each individually thereafter wrote an note of thanks in return. I realise this may be an American tradition, but I, myself, thought it a lovely idea.

I, too, feel privileged to be able to read the Links section daily. (Indeed my day - no matter how busy it may otherwise be - would feel incomplete were I not able to do so. A 'guilty' pleasure on occasion it has certainly been ... but as far as I'm concerned it is one well worth the investment of time whenever or wherever I may find myself. (I remember delaying a conference call from a hotel room in Beijing simply because I wanted a few more minutes (to myself) to read (what I considered to be) an essential article. That it was for my own personal good ONLY did (or so I like to think) lead to an easier and more direct focus when I undertook the task at hand immediately thereafter. I am sure we are all DEEPLY appreciative for the efforts of those who serve so nobly. (I certainly have noted this a number of times previously on this Board.) Bless you. I, too, have subscribed to ArtsDesk, much as 'Coated'. I agree it would be grand if that particular subscription (indeed all) could be codified in some manner as per specific interest (e.g.,Arts) ... [and I have a feeling that may well come to pass in the fullness of time - much as it has in other areas] .... but I am happy to support ArtsDesk specifically knowing that all writers - much like those at the HUGELY VALUED Dancetabs - are dedicated [and extremely knowledgeable] volunteers in the true spirit of the word. As towards The (various) Times to which I do not subscribe (either London - or when my limit has slipped past the New York allowance): On those occasions when there is an article of particular interest as identified in the BcoF Links section (the interview with the stunning Francesa Hayward for recent instance) I do find myself dropping into the Royal Society of Arts (RSA) where for my sins I have been made a Fellow for a touch of old fashioned 'hard copy'. I make sad use of that privilege [i.e., the Fellowship] otherwise - truth to be told - and on those rare occasions when I DO find myself in their Library or assorted coffee rooms (with paper racks) please know I give hearty thanks to the BcoF links page for their encouragement/inspiration in this additional regard. Again, thank you. I think part of the reason there may have been a recent dip in readership on the BcoF Links page could well be attributed to the fact that these Autumn months mark a revving up of curriculum in so many different regards. I'm sure it will be but a blip. Certainly it deserves to be. The BcoF Links page is, without hesitation, an EXCELLENT service; a gold-standard in its own lights.

In response, Linda ... I typed this text in Word (not emboldened apart from the title ...promise) and then used the forum 'Paste from Word' element (that second from the right of the top row of BcoF editing assists) to transfer my text. I am not certain why it ALL came across as bold. That it did so is best known to the element itself. Certainly that had not been my intent and no further/deeper meaning was, of consequence, implied. I hope this answers your question.

For the poster identifying herself(?) as 'assoluta': In the notation above you seem most concerned about the powers that be at the Mariinsky and - entirely appropriately - their honouring Ms. Stepanova BY name vis a vis her receipt of the noted award. Surely - with such fervent concerns - which I do understand - it is only fair that you should reveal your own identification in turn. To do otherwise in my eyes, - and I would suspect a goodly number of others - borders on being hypocritical. .By this I don't mean to take a dig simply at your good self. I so treasure BcoF, but one aspect I struggle with now is that where people make negative comments and then are not - forgive the term - man enough to own up to them by name, i.e., in their own legal person. I now sincerely believe that there should be a BcoF constitutional ruling against such. (I realise that there are major 'social media' sites that foster such practices but I was brought up to believe that two wrongs do not make a right and I would love it if BcoF might help lead in this aspect as it does in so many other ways.) In some quarters - indeed the one within which I am proud to be professionally engaged - such behaviour might easily/well be deemed criminal. I am happy to stand by what I said as quoted. I still believe any corps dancer would be overjoyed to have such opportunities. The majority don't in my experience. I am sure that we ALL wish Ms. Stepanova well in her further career, where'er that may take her. Enough said.

Much thanks for letting me know, Petunia. The link must of got mangled in copying it over. Let's have another go: http://culturebox.francetvinfo.fr/live/danse/danse-classique/icare-hommage-a-lifar-a-lopera-national-de-bordeaux-191849 Just checked and that (happily) seems to work. You can see I posted this item at 3.20 am .... You can perhaps blame that particular failure on my having to prepare accounts (for the auditing accountant - how ironic -) for the Charity I am responsible for. To be read: NOT my favourite job ... BY A LONG SHOT. Indeed, can't wait to be shot of it .... not the job - just the account prep ... (Have come to think of that process as 'an annual horror' .... but then I have been doing it for the better part of 20 years. .... What I think of as 'the real work' - the creative work on the ground as t'were - I absolutely adore As ever, the rough comes with the smooth. Why do I think Sergey Mikhaylovich might well have understood that? ... .... Now where are those wings I can crush under my own arms?

France's Culturebox is planning a live stream of the Bordeaux Ballet under the leadership of Charles Jude (former POB Etoile under Nureyev who, if you didn't seen him dance live, you may have caught as the prince in the original cast DVD of Nureyev's '30's Hollywood' CINDERELLA with a very young Guillem) with a program of ballets by Serge Lifar. It will be streamed on Tuesday, October 28th. The programme is to include Icare, L’après-midi d’un faune (credited to Lifar, after Nijinsky) and Suite en Blanc.(as was so brilliantly danced by ENB a some seasons back under a former management.) http://culturebox.francetvinfo.fr/live/danse/danse-classique/icare-hommage-a-lifar-a-lopera-national-de-bordeaux-191849

This will be in tomorrow's links I'm sure ... but if you wanted an advance peek here is a very telling interview with the irreplaceable Wendy Whelan from today's NYT. One is only sad that so much of her extraordinary career - including the 40 new principal roles with NYCB such as were created for her by the leading choreographers of our time - from Robbins to Ratmansky - (i) have not actually been seen locally and in many instances - although film of the same exists in the NY Public Library and is free to all comers - (ii) an active record will not be available of this gloriously varied panorama for balletomanes who reside solely in the UK. Heartbreaking.