Bruce Wall

Thanks, Katharine. It is interesting to see that (so far) Ivan Vasiliev who has guested so much with this company during their past two seasons is not on the Le Scala roster at all whereas Osipova is scheduled to dance both Giselle and Manon aside David Hallberg (who has publicly said that he left the brunt of his principal ABT responsibilities for the Bolshoi in order that he might have a chance to dance more frequently with Osipova - immediately prior, of course, to O/V absconding for further fields.). Lovely also to find that the vividly talented Maria Eichwald has such a prominent La Scala guesting profile in 2014/15.

How can the ROH possibly justify these experiences by Premium Friends and Friends? How can they let this happen after previous dreadful experiences ... especially after their promise buried within their stated apology that the matters would be corrected after the Premium Friends booking this time around? It is not as if they haven't had a ream of major problems before is it? I am beginning to dread the next general booking period opening on 15th July. Talk about losing faith!! Would that they had a reverse frustration charge ....

Sorry, a silly mistake. Daniele Silingardi (in his first role with ENB) portrayed PARIS. Would that I could go in and correct it. Much thanks for your kind understanding.

An equally youthful Roberto Bolle

Ballet, at its best, is an emotional exchange. Derek Deane’s ROMEO AND JULIET as performed by the English National Ballet at the Royal Albert Hall is just one such confabulation played out within the ‘Brigadoon’ of a whale’s mouth. The field of our surround is made especially muscular by the haunt of Howard Harrison’s spectral lighting. It supports the movement of Deane’s picturesque tongue; one propelling bones through the fibre of its teeth in order that the ENB performing artists – amid the dramaturgical marshalling of both dance and music – might add suitable flesh. Each aspect skilfully frames a precisely oiled machine rolling out in the midst of a civil war. The audience is here engaged against the shifting regimen of its watery verse. Tides rise up from the well deployed stairwells, insisting that we too should settle within the ironic intimacy of our own imagination’s surround. The three hour traffic of the world of this first Sunday matinee lived in a balletic circus. It was a heady trick of many moments; a shadow play supreme. It was the epoch of many moments that most profoundly cast this entirety’s spell. Such I know would have been different for every patron depending on where they sat within defining swirl of the Royal Albert Halls’ fulsome compass. For myself I found much to snatch: I delighted in the occasion of the parent/child exchanges so vividly given in evidence here. Unlike the Shakespeare, Deane’s audience had a chance to play witness to an early glimpse of the possessive pride that Lady Montague (so skilfully rendered by that fine choreographer, Stina Quagebeur) stole in her confidential parade aside her son. The command of her determined smile spoke volumes. Indeed so much so that the later reticence of Romeo’s quietude (as buried in Carlos Acosta’s soulful eyes) became entirely understandable as a humane act of outrage. On another familial hand Judith Haworth as Lady Capulet was masterful in her full rendering of the Bard’s detail. Having herself been strapped unto a marriage of social convenience this Lady Capulet was a woman entirely motivated by internal bitterness. She would never relent. Her ‘old girl’ revenge – as brilliantly buoyed by Haworth - was to do unto her children as had been wrought unto her. The pulsating sneer that passed for a grin at the forward march of Daniele Silingardi’s innocent of a Benvolio unto her daughter’s initial throng entirely encapsulated her own built-in hurt. Haworth was never frightened of being ugly. She was always more than courageous. Deane wisely left her still during the turmoil of her husband’s latterly dry spin (blazingly enforced by the always brave James Streeter). Deane knew well that this Lady Capulet could by then no longer care to force herself to propel in his name or anyone else’s. She was crippled. Not so of course when she alone scrambled to greet the horror of Tybalt’s death. This had, after all, been a death wish NOT of her making. Tybalt’s demise had been quick; her own internal violence was still drawing out. Half of her glory having there been slaughtered, the blood stained anguish of this Lady Capulet held rightful prominence at the end of the second act even if Romeo’s exile (that which makes Shakespeare’s play in the strictly classical sense a tragedy) had not. Whereas Juliet’s scream in the crypt would later cry shrill, that of this Lady Capulet was forced silent in the stuffing of Haworth’s riveting sublimation. Both were blood curdling in terms of their own realisation but Haworth’s especially so due to the surprise of its blazing focus. By the time she entered her daughter’s crypt entirely veiled (indeed hermetically sealed) she was in black mourning for herself alone, her mind now always turned at least slightly askance. Hers would be a living death …. and Haworth was magnificent in this masterful assimilation. Indeed it was quite the BEST balletic interpretation I have EVER seen of this role and that includes the fine work of such stellar artists as Celia Franca, Marcia Haydee, Martine van Hammel and, on one occasion with La Scala Ballet, Margot Fonteyn. It was, in fact, the supporting details that made the dilemma of the title characters all the more poignant, giving this production a wealth of flavour: (i) Yonah Acosta - most frequently answering others with the bouffant twist of his Mercutio’s open palm (and some stellar light brises) – not only shared his jocular bonhomie with Junor Souza’s buoyant Benvolio but bravely gilded his characterisation under the light of a muse of immaturity; all but up to his final fear-fuelled seconds. This Acosta made his audience instinctively understand that he believed such might well distract Mercutio’s world away from its class. It didn’t. Indeed, the very fact of that sudden loss of seeming insolence – when this Mercutio suddenly realised there could be no more flippant answers - made his finality all the more atrociously cruel; more sadistically searing. Suddenly we ourselves were left holding his bag of his second childishness. It stung. (ii) When Fabian Reimair’s diehard zealot of a Tybalt slew his Mercutio it was every bit as much with the force of his protuberantly bulging eyes as with as with any rapier. The skill of this exceptional artist enabled all to share in the slow stealth of his churn of Mercutio’s innards and to feel the gibbous pull of his birthright buried inside the meticulously slow withdrawal of his side sword. (iii) It was every bit as much a joy to be able to behold Luke Heydon’s benevolent Friar Lawrence giving pastoral guidance to his communal flock at the opening as it was to be able to share in the charitable apportionment of his gifts within the chapel. As in all the balance of these effects was abundantly cumulative. (iv) Nowhere was this more so than in the handsome case of Tamarin Stott’s nurse who embodied the innocence, earthy joy and humanity of this extraordinary creature without a shred of the fussiness one can sometimes observe bunched inside the detail of such depictions. I found it riveting to witness her discover with horror the vial of sleeping potion enwrapped in Juliet’s bed covers but minutes after it had been hastily shielded there by her charge. Stott’s face told all. In today’s world she might well have been a long-term contract cleaner discovering cocaine buried in the desk drawer of one her young trader managers. Shakespeare’s line: “Were I to tell this who would believe me?” rang in my ears. Later when Stott discovered her charge’s seemingly lifeless limbs we knew – as did she - that this was not an altogether unexpected event. Somehow that made Lord Capulet’s cloying desperation all the more perilous. There was so much detail to revel in. Shakespeare IS, after all is said and done, fundamentally about community and here Deane ensured that such was celebrated from the children of Verona upwards. Even the harlots had individual identities away from the over-riding nomination of their trade. The lightest haired of the vividly talented four (the others being Laurretta Summerscales, the ever radiant Ksenia Ovsyanick and Araminta Wraith) was one Nancy Osbaldeston. As ever the joy of her bountiful eyes and prodigal feet flashed ripe with the urgent warmth of her generous spirit. I pondered if this might be the last time I had the joy of watching her stand out from amongst the crowd – which she always undoubtedly does given that her charisma ensures such - before moving on to the oh, so lucky Royal Ballet of Flanders as a demi-soloist. It will be a loss for us certainly – most especially after VERA – but then one knows that in THIS house – the ENB house that Rojo continues to so beautifully etch - there will ALWAYS be many more such joys to behold. Rojo has already shown us that she wont let us down. The courage of her fine taste must be cherished. The current burgeoning ENB canvas deserves our national pride. Age itself cannot I think wither the Romeo and Juliet of Carlos Acosta and Tamara Rojo. The rich history of their artistic heritage brings their depiction of these youths to bloom without skittishness. For that we should all be grateful. Nay better, through enhancing such both alone and together allows us to remember the past fruition of our own hearts. No longer ensnared by the duties that his magnificent brute force may once have en-fettered – or certainly clouded the depiction of his own theatrical soul - Carlos Acosta now both reveals and revels in a newfound and bountiful stillness. That he plies such today with perhaps an even greater force is much appreciated. Just as it is now easier to believe in the current rooted balcony (unlike the one that originally motored about the Albert Hall in 1998) there is now more time/space through which to feel the beat of this particular Romeo’s happy grin of approbation and sense the crease of his various passionate concerns. Nothing is ever overstated in Acosta’s hands and yet everything looms in the aforementioned light. His caring support of – at first - a warmly crystalline Rosaline (the glow of Begona Cao encircling all) and then his Juliet were never – EVER - in doubt. The generosity of such a gift serves bounteously. More than one book about Rojo’s Juliet has no doubt been written. Indeed several volumes of worthy critical praise may well have been already scrawled about just this specific undertaking such as was created for this tumescent luminary when she was but a tender 21 years of age. I will notate but one chapter I witnessed on Sunday. It came in the last act after Romeo had fled unto (here unacknowledged) exile and Paris – in an equal squall of bewilderment no doubt - had been well and truly ushered out for the first time. Rojo’s Juliet – after breaking her stilted gaze from a trap of paralyzed fear – suddenly dashed ahead towards the looming primary door and struck a forward – almost contemporary - splay of fingers. This Juliet held her youth in riveted upstage sway – or so we were left to imagine. She did so until she turned and suddenly we saw someone quite different; the profile of a woman. No longer a girl, here was a woman in much more certain command of the dignity of her own destiny. In those upstage moments clearly a decision had been taken. That was key. As she advanced towards the head of her childhood bed (the same in which her youthful passion had only just been consummated) it was if we were privileged to watch Shirely Temple Black materialize into Audrey Hepburn; to glimpse Gigi progress unto Jacqueline Kennedy before our very eyes. No formal step of ballet had been taken during this revelation. None had been needed. This magic had revolved entirely unto itself. It was but a force of nature. No accompanying fireworks were required. Like the music itself it was tremendous. Indeed the music here both literally and figuratively loomed over all as it should. Prokofiev ruled. He defined all space under the skilful baton of that extraordinary maestro, Gavin Sutherland. I found myself wishing that this extraordinarily colourful orchestra – the ENB Orchestra - surely the best ballet orchestra in this country – might hold solitary sway over a deserved Prom for themselves at this same address. What a treat that would be. But then I remembered – with thanks - just how lucky I had been to celebrate the glory of this particular and very special whole during that Sunday afternoon. I was, as all there should be, grateful.

Better early than late .... or never, huh

This series frequently features dancers at levels which may not always be otherwise highlighted. Often it focuses on the educational adventure which may be of interest to you. Among the number already completed is a session with BRB's wonderful Chi Cao. http://www.networkedblogs.com/blog/balancing-pointe Enjoy.

by various critics on the occasion of ABT's launch of the Ashton masterwork including former RB/NYCB principal, Alexandra Ansanelli http://thebarreflies.com/ Enjoy ....

Especially for Aileen: - DATES JUNE 2014 11 E. 13 E. 15 M.17 E. 12 E. 14 E. 14 M. 19 E. 22M. 18 E. 21 E. 21 M. 20 E. 19 M. Juliet Rojo Cojocaru Klimentova Oliveira Takahashi Cao Glurdjidze Romeo C Acosta Vogel Muntagirov Konvalina Vargas Souza Vargas Mercutio Acosta Bufala Lukovkin Acosta Bufala Acosta Bufala Benvolio Souza Forbat G Menezes Souza Forbat Forbat V Menezes Tybalt Reimair Westwell Streeter Bufala Westwell Bufala Westwell Paris Silingardi Vargas Forbat Vargas Liotardo Silingardi Silingardi Lord C Streeter Streeter Reimair Reimair Streeter Reimair Reimair Lady C Haworth Haworth Quagebeur Glurdjidze Haworth Glurdjidze Haworth Nurse Stott Stott Hunt Stott Hunt Stott Hunt Rosaline Cao Cao McWhinney Cao Ovsyanick Keesler Ovsyanick Friar Heydon Heydon Coleman Heydon Coleman Heydon Coleman Prince V Coleman Coleman Heydon Coleman Heydon Coleman Heydon Sorry. I have tried to copy this table over three times but am obviously failing. The dates give the order that performers will perform. Some performers appear more than once because they appear with more than one set of titled principals.

Thanks for this Katherine. You just sold me a ticket

2012 was SUCH a special year

It is new, Alison. Tres chic and comfy. http://www.curzoncinemas.com/victoria/

Not surprised at the North American cinema chains' reluctance given the fact that all productions for the 2014/15 RB cinema relays (and a healthy number of the Bolshoi's for that matter) have already been broadcast at least once (in some cases more) previously albeit with different casts. The cinema chain managers might, I'm sure, feel - given the cost of these entities and the fact that many of the dancers may well be unknown to the vast majority of North American audiences - that the returns from such might themselves be understandably diminished. Certainly I, myself, could well understand if they were merely holding out for a more unique marketing hook to be provided by the supplier via which they might better/best hang their commercial risk. After all, once having agreed the showing against guarantee any loss(es) will be entirely played out within the domain of their own proverbial ball park. . Those too will have to be answered in our all too real world. Caveat Emptor as ever reigns supreme.

This item was happily placed by Katherine Barber on another forum ... Thought you might find it of interest: Press release from NBOC June 8, 2014 Karen Kain, Artistic Director of The National Ballet of Canada, today announced that the 2014/15 roster will include three new Principal Dancers. McGee Maddox has been promoted to Principal Dancer and Svetlana Lunkina and Evan McKie will be joining the company as Principal Dancers.

Thought the performance last night of Ashton's DREAM (the first performance by the second cast after their dress rehearsal etching) was exquisite; a ripe treat. There was a defining clarity here ensuring a clear diversity between the leading characters; one comfortably uniting all within its expansive reach. Matthew Golding in his debut as Oberon maintained the weight of a mischievous nobility personified and literally flew through the intricate scherzo movement. (I know many have commented on these boards on the position the poor boy holds his mouth in. It struck me that this is simply because he has to breathe - which surely in his profession - in our world - is a physical necessity. Here he did so knowingly - and - it must be said - joyfully - always moving in glorious tandem with the entrancing music. Each element helped to elevate the space of our fancy. (Well, at least mine.) Valentino Zucchetti (much as the delightful Mr. Kay had in this season's premiere cast) was an extraordinarily (one might almost say exceptionally) focused Puck, sharing his impish delight with any/everyone who might cross his scissor sharp regime's path. His varying relationships were all oh, so carefully and delightfully carved - always maintaining a rightfully SUPER 'natural' spontaneity. However - FOR ME - the REAL difference in this particular outing was the multifarious dimension of Natalia Osipova's Titania. In my mind's eye I thought I saw Ashton tip that cigarette that was seemingly sutured to his bottom lip as his chin peered down - and his eyebrows glowered up - in a struggle with amazed delight. His smile bordered on the naughty as he spied her detailed thrust and delighted thrill in his petits legato.. Ospiova had in her premiere public Titania outing rendered an enticingly substantial suggestion embracing the vast diversity of Shakespeare's entrancing character. Indeed here was a fairy queen who additionally cradled her inner Hypolita. She flounced in anger; she pounced in jest. Her interaction with Jonathan Howell's well framed Bottom was a masterclass in amazement not far removed from the dazed bravery of that catalytic changeling child. The delicacy of Osipova's double take at the final presentation of the lovers (the same casting as in the first cast - here too offering delight - but within a more focused overall frame) was entirely worthy of, say, Dame Maggie Smith (who I once saw play Titania as the Virgin Queen in the 70's glory that was Straford, Ontario under the revolutionary steer of the visionary Robin Phillips.) These mere mortals were for this Tatiana but an obvious and unworthy distraction. Her eyebrows suddenly arched in an amazed social disdain. (Suddenly I heard Ashton hoot - as he was sometimes wont to do - always amazingly keeping that proverbial fag in teetering place.) This performance was enveloped within the private world of its regal couple. The multifarious zeal of their magical dissimilitude clasped all within its otherworldly clasp. Their pas de deux DESERVED to be the celebration it so rightfully was. It had - as it should but understandably not always does have - an ensured beginning, middle and end. When Golding's fine Oberon laid his Titania with pride on the ground he did so in an earned reverence we could all share. As Theseus reminds us in his advice to Hermia (through the Bard's horn): "earthlier happy is the rose distilled / Than that which withering on the virgin thorn / Grows, lives and dies in SINGLE blessedness " I thought I overheard my momentary phantom of an Ashton mumble that it had all been 'just fine'.

Press Release reads: CMP, ACT PRODUCTIONS WILLIAM ARCHER FOR BOB & CO and CELIA ATKIN present the Royal Opera House production of The Wind in the Willows Directed and choreographed by Will Tuckett The Vaudeville Theatre The Royal Opera House production of The Wind in the Willows will return to London’s West End this Christmas from 26 November 2014 Will Tuckett's Olivier Award-winning production will play an eight week season at the Vaudeville Theatre Public booking opens on Tuesday 15 July 2014 at 10am Full casting will be announced soon Director and choreographer Will Tuckett's critically acclaimed The Wind in the Willows is to return to the West End this December. The production’s transfer to the Duchess Theatre in December 2013, presented by CMP, marked the Royal Opera House’s first commercial transfer, a significant first for the organisation. The production, which was named Best Entertainment and Family at the 2014 Olivier Awards, will this year run for eight weeks at the Vaudeville Theatre. Tickets go on sale on Tuesday 15 July at 10am. Based on Kenneth Grahame's timeless classic, the adventures of four woodland friends are retold through dance, song, music and puppetry. From a dusty old attic a wonderful tale unfolds; the peaceful riverbank world is rocked by a speeding car, a racing train and criminal deeds cooked up in the Wild Wood. The escapades of the hot-headed Toad, debonair Ratty, shy Mole and wise Badger are brought vividly to life in a production that has charmed audiences of all ages. Drawing inspiration from the music of Edwardian composer George Butterworth, the action is set to a score by Martin Ward. Through Tuckett's choreography, with narration written by former Poet Laureate Sir Andrew Motion, and designs from The Quay Brothers and Nicky Gillibrand, the Vaudeville Theatre will be transformed into the magical world of Grahame's tale. Full casting will be announced soon.

Marina Harss has just tweeted: Angel Corella has sadly given up on his company and is leaving Spain, he told a Spanish paper http://www.vanitatis...-bailar_139662/ The dream of a current classical ballet company for Spain looks as if it is on yet a further horizon. All kudos to Mr. Corella for striving to both show and fulfill a national need; for striving to make his dream a reality. History I'm certain will remember his courageous efforts kindly. It will be most interesting to see what new paths now open up for both him and his family away from the Spanish domain. Interesting to note that he turned down the current AD role for the RNZB (replacing his former ABT cohort, Ethan Steifel) to focus on his Spanish concerns.

That's a lot of happenings! Oh, joy, oh rapture ... and in the case of Bayadere LIVE this time round ... un - fore (and aft) - seen!

This is a three minute video clip which ABT has hastily placed on YouTube (something in the past they have not been known to do AT ALL) as (perhaps) a direct response to much press/blog notation during the current ABT/Met season concerning (i) an excessive use of foreign artists on the current NYC roster and (ii) the vast number of [a] foreign born / artists drawn from widely differing schools in the current overall Company make-up. The latter point (e.g., ii) in a way made me think of a certain similarity with both the current Royal Ballet and English National Ballet companies. (That said, one must of course take into consideration the vastly different size in population between the US and a small island nation like the UK which itself is, of course, currently a member state in the larger European union). It is clear that the ABT film makers (unidentified short of the ABT logo at the clip's conclusion) wish to push ABT's diversity as a definite key asset - which it may well be (as opposed, say, to NYCB, POB or the Bolshoi/Mariinsky companies where the majority of artists are largely native born respective nationals who have been primarily recruited through their long established designated feeder academies). .

It's obviously being shown in London - as it is currently selling tickets at the Odeon in Covent Garden. A healthy £18 fare for a normal working adult. Heady, I'd say. (Discounts ARE available for the usual suspects.) Cheaper to stand and watch them live at the ROH shortly thereafter if you are an employed punter. Cinema performance of La Bayadere on 14.7 (my birthday as it happens - oh, and Bastille Day) is listed as starting at 6.30 pm. Something tells me it is NOT a simultaneous relay ... as Alison so kindly pointed out.

Thought you might enjoy .... http://www.vogue.com/culture/article/sascha-radetsky-last-rehearsal-abt-ballet-studios/#1

It is interesting that it is over a human rights concern and yet I assume that the same two dancers may well be joining for the China portion where certain human rights issues are equally strained. Such considerations - on a global scale - are oft hard to balance methinks.

I am so sorry to hear this. I have so enjoyed Ms. Simpson's incredible literary acumen as towards depicting and describing dance. Certainly it has enhanced my own life and understanding. Without question I will feel its loss. May this brief entry on BcoF mark a note of my own personal and true appreciation for all that Ms. Simpson has offered. Bless you.

Yes, but it is exactly the same programme --- or at least as far as I can tell.

A little more detailed information about the appearance in NYC. It would be grand to see Patricia Neary in London as well. Solo for Two will begin with an extract from MEA CULPA, a full-length ballet by the award-winning Belgian choreographer Sidi Larbi Cherkaoui. The music is by Heinrich Schu?tz and will be performed live by a chamber ensemble conducted by Franc?oise Lasserre. Next is PASSO, choreographed by Ohad Naharin, artistic director of Batsheva Dance Company, danced to the British electronic music duo Autechre (Sean Booth and Rob Brown) and English traditional folk music. The evening concludes with FACADA by Portuguese choreographer Arthur Pita, performed to live music by Frank Moon, Phil King and traditional Portuguese fado played by Frank Moon. FACADA has been adapted for Solo for Two from Pita's God's Garden. Osipova and Vasiliev will portray the roles of The Bride and The Groom, respectively, and former New York City Ballet star Patricia Neary will be the Lady in Black.