Bruce Wall

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.

I'm certain she will re-appear with vim in the near future. It looks as if there are a goodly number of imminent openings at ABT with three female principals retiring next season and all female ranks loosening in hope ... Who knows, the Bolshoi might well come a-knocking as they have for several other noted same in the recent past. ... (That said to step into another enormous web after having just left one may not be the most prudent path.) ..... No matter, I'm sure we will see her gifts again. Hopefully this will, however, quell the recently fervent internet anxiety about her. I, like Bruce Marriott, became most concerned for Stepanova's overall artistic health when faced with the same. It must have been most trying. It would have been for anyone. I pray she can now gather her considerable resources and move on with a deservedly dignified calm.

Sorry, Alison. Yes, both appeared in the SFB segment for World Ballet Day. Diaz ran the class and Armand was interviewed about running the School.

I see that he attended the National Ballet School of Canada ... and has portrayed the title role of 'Billy Elliott' in a number of North American productions, won a Prix de Lausanne 2013 and a medal this year in the senior category at YGAP. He has also it seems been with the ABT II Company. Where have you seen him dance, 'Capybara'? There is an interesting article on him here.

Yes, both were with ENB ... and both are at San Francisco in senior roles. Armand heads up the SFB School. Lucky them.

Nina, I didn't mean to suggest that Ms. Nunez, (one of the most generous of artists I have always felt), should have been excluded merely that the assignment might well/best have been - in this historic instance - and recognising the importance of the RB anniversary - shared. There are so many talented people undertaking the roles - a goodly number for the first time. I'm sorry if the sloppiness of my own rapid construction in framing that sentence was unclear.

Now having had the privilege of taking a peek at a large part of the 20 hours, what a joy it was. The award for best coiffed hair MUST go to Mr. Filin. It also seemed (or certainly was made to appear) that he moved about and observed freely and so one prays that a tad more of his eyesight has been restored and the scars on his face are now certainly well disguised. I felt the actual media presentation of the Australians - in terms of planned continuity - was very good. The film on 'ballet men' was beautifully shot and it was exciting to at last get a peek at a rehearsal for the Stanton Welsh take on BAYADERE which I know is now lodged in several respected companies including Boston Ballet. The Bolshoi certainly wins hands down for the best facilities. The studio where class was conducted was breathtaking .... and that mock rehearsal space ... with a full stage and orchestra pit was a luxury devoutly to be wished. Mr. Grigorovitch was certainly all about business but it was (at least for me) extraordinary to be able to see one of my personal favourites in the LEGEND OF LOVE rehearsal room, Ludmilla Semenyaka. (I vitally remember her as an entrancing Bolshoi Raymonda. I last saw her as an enchanting Cinderella in Michael Corder's production for ENB, which I must confess I do consider a internationally vital company. Having fielded performances from the likes of Makarova to Maximova; from Nureyev to Sombert how could it not be?) I was reminded that Semenyaka was Osipova's first coach and you can certainly see so much of her VERY special focused zeal in the Royal Ballet principal's performances. I was also thrilled to see Christophe Malliot rehearse his production of THE TAMING OF THE SHREW for the Bolshoi. What an apt treat it seems. I so enjoyed the illegally filmed production video bits (over an hour of them) that I saw on the net before they were (rightfully) removed just after its premiere. There was such a beautiful pas de deux for Chudin and Seminova following in the Bianca strand. I do so hope the Bolshoi bring it with them the next time they appear here. I'm so sorry that it's not being included in their cinema broadcasts. I, for one, would happily buy a ticket. It is so sad that the likes of certain British critics (CC included) damned Malliot's take on Lac without specifically noting their critical measure in its regard (i.e., entirely out of hand) [Of course that now is often blamed on a lack of space. I begin to question why they need their reviews at all if they must be so incomplete.] There was much in that presentation I felt and certainly his fine Monte Carlo Company. I had been warned against it but I did find myself enjoying it and certainly many audience members surrounding me at the Coliseum - not that it was anywhere near full - appeared to be thrilled. (I was surprised that the very good Russian host didn't chat with Chudin briefly at some point as he could easily slip between both Russian and English and would have saved her the need to translate.) I felt in all presentations of various company classes that the men somehow came out better than the women. There was no question but that Artem Overcharenko had perfect placement throughout as did Steven MacRae in the Royal's addition. The San Francisco crowd were AMAZING. Luke Ingram and Joseph Walsh shone. I know the latter has never danced here. I was so lucky to have seen him in five different ballets in Paris this summer (which with New York must still remain the two KEY centres for exposure to world dance, with London undeniably coming tops in the next rank) when SFB did their 18 programmes over three weeks there this summer. San Francisco won hands down I think for the largest number of principals in a class and I thought Felipe Diaz was a most winning ballet master. Unquestionably I admired his dazzling lingual skills, watching him so easily slip between English, French, Spanish and, at one point I noticed, a casual comment in Portuguese. (How wonderful to see Diaz and the fantastic Patrick Armand, both former ENB stalwarts, move on to further glory in San Francisco and a company which is surely one of the jewels in our world's ballet crown.) It was also lovely to catch glimpses of the very talented Esteban Hernandez in the SFB class and Forsythe rehearsal. He was very much an audience favourite in the RBS graduation show the year before last. He is obviously in a good place to further develop his own very obvious skill much as his brother had before him. I thought Helgi Thommason was most caring and direct in his support and corrections of his SFB productions. The respect for him was clearly palpable. He too is an alum of major international companies, his native Royal Danish Ballet, that major hitter LFB/ENB and, of course, NYCB where Balanchine latterly created so many roles on him. He was, in fact, the very first Seigfried I ever saw over half a century ago when he partnered Mania Gielgud in SWAN LAKE for LFB/ENB at the Royal Festival Hall. I was five years old at the time and I STILL remember it vividly. He was always the most musical of dancers. (By the bye -- does ANYONE know what the special announcement that was supposed to be broadcast yesterday at 9.00 am by ENB actually WAS??? I can't find record of it myself and would be keen to know.) The highlight of the Royal's programme FOR ME was the rehearsal of the THE AGE (indeed 'Art' as it here seemed we witnessed) OF ANXIETY. I can't wait to see this. Scarlett came over gloriously well and was enticingly precise in his mature authority. With its three men and one stunningly featured woman ... not to mention the fantastic Bernstein score ... it very much reminded me of the glory that is Robbins' FANCY FREE ... but, then, how could it not? T'was SO exciting. The Canadian segment was occasionally a bit of a media muddle I felt (I didn't warm to the host at all) but it was lovely to see Dowell coach a variety of dancers in the segments from MANON. (Cote handled the partnering very well I thought). I was so pleased when Dowell praised him. In the Royal's MANON segment I felt it only a tad unfortunate that they did not give a go to another principal pairing. It would have been a wonderful gift if they might have considered giving Hayward a follow-up on her riveting debut the day previous. Assuredly it would have introduced her to a deserving world audience. As it was it did appear to be a somewhat blatant commercial for the upcoming cinema broadcast (taking nothing away, of course, from the principals who fulfilled their responsibilities more than dutifully.) Never mind. It was a great thrill to see Christopher Carr work his legendary magic over one of Ashton's masterworks in the final segment. It was also refreshing to be able to see NBoC's Dylan Tedaldi (who had been the film maker for young Rob Binet's ROH 'Myth' film last month) dance the soldier solo from Neumeier's NIJINSKY. Neumeier's many productions over the years have not had much of a look-see locally so this was indeed a privilege. In ALL World Ballet Day provided such a wonderful feast for us to enjoy. I selfishly wanted them to do it all over again and bring in other notable companies like New York City Ballet, Paris Opera Ballet, National Ballet of China, the Royal Danish Ballet, ENB and the Mikhailovsky and/or the Mariinksy. Much thanks to ALL responsible for this act of much joy.

Concur that Hayward's was a very special debut; ripe with enormous promise. (The best kind methinks.) Whilst I generally prefer my MacMillan early, Hayward held the focus of this mature piece throughout (a ripe 40 now rippling under the waterlogged re-orchestration of a certain Maestro Yates who also conducted) with a perfume redolent of a young Sofia Loren, mixing a defining innocence with an exotic sensuality that was never knowing in and of itself. (That is a special gift seeded to few. Certainly it escaped Bussell.) The fact that her Des Grieux's (E. Watson) classical technique was so rough hewn only made his depiction - one physically looking for all the world like a young (albeit wearied) Leslie Howard - all that much more poignant somehow. This was a girl clearly never ever meant for a convent and yet her arcadian naivete was never sullied nor broken until faced with her brother's ugly demise. Agree Alexander Campbell was simply phenomenal in his majestically detailed etching of that role as was Thomas Whitehead's portrayal of a monumentally monstrous Monsieur G.M. It was at the juncture of Lescault's death that Hayward's Manon suddenly lost her innocence. Her will to live was stripped in his final bloodied turn. Her game was proverbially up. It parried for me that moment when Hedda Gabler sees her husband run to Thea to sort out Loveborg's genius whilst she is left to face the frightening prospect of Judge Brack alone. Hayward's final act is deservedly absent in mind frame once the silent axe has sluiced. She now hears in vacuum. If Hayward's Manon doesn't yet have the instinctive freedom of, say, a Sibley or Guillem in her final swamp swim one feels buoyed by the prospect that it will. Undoubtedly it WILL. I adored the fact that she looked so refreshed as the curtain rose after the matinee's demise to the heady screams of a small but adoring crowd. "I know what I have to do," her enchantingly relaxed smile telegraphed as the 'ERs' once more coincided, 'and I'm going to love every minute of doing it.' T'was a job well done, Girl. Bless you.

T'was just a hope, Alison. I had heard a rumour that the RB was intending to mount summer seasons again ... but that obviously is not true ... and at least does give leeway to the possibility of visiting international dance companies as we have sometimes known in the past at the ROH.

Not at all.

Slightly off-topic .... I wonder if that means we'll see a season by the Bolshoi at the ROH during the summer of 2016?