Bruce Wall

Just checked the ABT website. It seems that Vadim Muntagirov will also be guesting with ABT in the 2014 season. Ref: http://www.abt.org/insideabt/news_display.asp?News_ID=471 This is clearly not on an exchange basis as those dancers are very carefully - and separately - identified.

Also interesting to see the line up for the Mikhailovsky season at the Koch Theatre in November with both ABT's Mr. Vasiliev and the Royal's N. Osipova in tow. Perhaps this explains why Mr. Vasiliev is only scheduled to dance three performances with ABT and early on in their season (given the exclusion clause). Ref: http://artsbeat.blogs.nytimes.com/2014/03/12/mikhailovsky-ballet-to-make-american-debut-at-koch-theater/?ref=dance One thing is certain those O/V performances are guaranteed to sell out in NYC.

Yes, would love to see Symphonic Variations too, and Month in the Country (with Osipova and Muntagirov), Ballo and Dances at a Gathering. Wonder what the new narrative ballet (in the ten year plan) will be. Would love some Robbins ... there is a vast amount that has never been seen here; 2 & 3 Part Inventions would be brilliant or In G Major for the divine Ms. Nunez. Would also love to see a revival by the Royal of Liebeslieder Walzer

Yes. I did not list that as Ms. Cojocaru's participation had been announced with the ABT season long ago. The others itemised are being listed today and thus may not have been known to those who were looking to invest in tickets. I assume they will be filling in several of the TBA categories. Certainly it is clear to see that Smirnova will be dancing the 28th May Bayadere.

http://artsbeat.blog...eater/?ref=arts Olga Smirnova, Victoria Tereshkina and Vladamir Shkylarov are guesting with ABT! As noted in the article single ABT tickets go on sale on 30th March at 5.00 pm GMT. ABT is continuing its exchange programme but, sadly, not with the Royal Ballet. It seems this season it is with the Mariinsky and, as was the case last season, the Royal Danish Ballet. I wonder why the ABT/Royal connection was dropped. I have not read any news of the Royal Ballet continuing their exchange programme with any other company. Does anyone know anything of the latter? Kevin O'Hare spoke keenly of the exchange programme's importance at the time of its establishment I remember.

I quite agree with you, Amelia. I felt that way about the majority of the pieces as danced by the Mariinsky reps. They strived in their execution for the steps at the expense of (i) the partnership and, most crucially, (ii) the humane soul which lies in the music and beneath the choreographic inspiration. At least Alexandrova brought the Bolshoi character to bear in Carmen Suite. That was much appreciated. She, and we, deserved better in helping to honour such - not just in this..

As ever, this gala was a well ordered affair as galas go. It peeked without boos. At its heart was the truly extraordinary orchestra of the English National Ballet. What a magical instrument they are. They anchored all by playing sensitively throughout. The highlights in this particular gala were notable against their more run of the mill and, sorry to say, stumble down counterparts. Chief amongst the highs was the delight of seeing Alina Cojocaru and her life partner Johan Kobborg once again inject their unique and pulsating zeal-filled soul into the passionate first pas de deux from MacMillan's Manon. This was happily followed by Balanchine's stunning Diamonds pas (my desert island adagio) so enticingly etched by the luminous Diana of Marianela Nunez as always warmly beckoning her attentive husband Thiago Soares. The first act (the more substantial of the two for me) ended with the delicate passion and perfume of that redolent union (now in its closing throws) we know as Klimentova and Muntagirov here in the third act pas from Sleeping Beauty. Vadim Muntagirov's solo variation alone awoke delight and was, in and of itself, well worth the price of any ticket. For me it etched a musical finesse (and certainly security in partnering) that was missed in Kimin Kim's performance in the Diana and Acteon pas from Esmeralda even though the latter's pyrotechnics were excitingly tossed out - much as if determinedly scoring against a pitcher's throw - and certainly much cheered by an audience in seemingly desperate search of intoxication via such penny highs as Yankee Stadium home runs. The triumph of the second act was (again measured only against my personal taste) the theatrical heart that lay in, behind and through the immaculately partnered depiction of John Neumeire's La Muette by the husband/wife team of Silvia Azoni and Aleksandr Ryabko. Stunning (if perhaps not entirely fitting in terms of the evening's overall theme). Still it was not the chief offender in that specific regard. As the lights rose on their affectionate and telling camera the picture zoomed into immediate focus and only ever grew in its clarity thereafter. What a shame that London is almost entirely unfamiliar with the fine artists from The Hamburg Ballet where one particular Ms. Cojocaru is the choreographer king's chief muse. That said it was as ever lovely to see Maria Alexandrova's sultry back back in scintillating (and saucily smiling) measure in Alberto Alonzo's Carmen - especially after that truly heinous accident we all watched her suffer in horror with the Bolshoi on the Royal Opera House stage last summer. Kudos too to Zelensky for even attempting Ali in what must be the fall of his career. His girded smile still riddles in its determined glee and with delight one was reminded of the silence of his landings' shadowed tread. That said his certainly didn't seem the happiest partnership, e.g., with Iana Salenko who again - as she had done in the Royal's Don Q - twice illustrated with determined force her facility for balanced turns - even when such resisted the music that they were seemingly accompanying. Otherwise there were some unfortunate and notable mishaps in terms of technical renditions (replete with one hand landings, blatantly missed choreography, a wayward curtain, one notable lack of turnout amongst the Russians, some over forced extensions - [was the opening piece meant to be set at the much favoured Russian circus I wondered? If so the chosen projection had rather missed it's mark] - and some rather stodgy partnering). OVERALL however it was a fine event as galas go (e.g., it trotted along) and I do, sincerely look forward to next year's. How lucky we are in London to have access to such undertakings; ones that both entertain and, in their rare and much appreciated parts, occasionally illuminate..

The 2014-15 ballet season at the Kennedy Center has just been announced: http://web.kennedy-c...eason 14-15.pdf November 28-30, 2014 The Suzanne Farrell Ballet December 10-14, 2014 Ballet West’s The Nutcracker January 27 – February 1, 2015 Mariinsky Ballet March 24-29, 2015 American Ballet Theatre April 7-12, 2015 New York City Ballet May 28-30, 2015 Scottish Ballet June 9-14, 2015 The Royal Ballet

Bayerische Staatsoper live video stream: 15 March 2014 at 7:30pm CET La Bayadere (Petipa/Bart) Lucia Lacarra (Nikiya), Marlon Dino (Solor)

Nana Lily, If you ever get the chance there is a fine ballet by Georges Balanchine (I don't know if it has ever been seen in the UK) called Walpurgisnacht Ballet featuring the music you highlighted from Gounod's canon. I well remember stunning performances of this by the luminous Kyra Nichols in the central female role. (This ballet has only one male role.) Here, is a segment (although without that specific piece of music highlighted in the selection) of the ballet (NYCB) itself with Kyra Nichols in it https://www.youtube.com/watch?v=9Q3mTBtTOZ8#t=5 I realise there are many on BcoF who do not favour Balanchine's ethic here, but watching this clip again I could only imagine how glorious the RB's magnificent Francesca Hayward would be in the soloist section shown - danced as it is in this clip by the enchanting Nicole Hlinka. Indeed both women are of a similar height.

Funny, I now wonder - while sincerely respecting the discomfort over the situation with gay rights in Russia - IF in fact the RB tour would/should/will go ahead given the current/on-going situation in the Ukraine with Russia - and certainly were it to escalate even more - or, indeed, no more than it already dangerously has just now. I could very much understand the RB cancelling/delaying that tour given the current situation involving those two countries over a question of ultimate sovereignty ... if for no other reason than safety/security concerns. [i say this too in light of the fact that the US,Canada and UK governments have currently pulled out of preparations for the G8 meetings in June in Sochi which had too been long planned.] I also wonder - if Russia takes Crimea, say, [which in all but name - or is that insignia - it seems to have done already] and were it to incite a Ukrainian civil war so that Russia could be legally said [e.g., given international reason] to deploy Russian troops in other Ukraine regions such as the current Duma has already granted Putin permission for - if, indeed, the Mariinsky tour to London's ROH in the summer would/should/will go forth? I would understand - should the itemised situations prevail - if the Mariinsky too were to cancel/delay.. I do realise - and agree/support - that the arts should be above politics - but, as with everything - it must be relative to the situation at hand. Certainly Swan Lake and Romeo and Juliet WILL survive. They still will be there if situations needed to be waylaid. That much we already DO know.

Am only a little surprised that not one of the Balanchine ballerinas (say Farrell) makes the list - especially given the incredible roles - now replicated throughout the world - that were built on them. Also no Makarova ... and, for me, some surprise that there is no Gelsey Kirkland .... or at least a mention of one of those ... and what of the French stars???. It's the 'all time' notation that troubles here I think. Perhaps that's biting off more than anyone should by rights chew. I wonder - IN TIME - if D. Bussell's name would remain on on just such a list. Does the article mention specifically WHO made these choices?

The legion of 'what might have been' in the arts is vast and I suspect always has been. It litters hearts internationally and respects no one individual border. That is, I believe, what fate chooses to christen as 'history'. Fate it would appear is not a democratic institution. That said and without a shadow of a doubt it can be 'heartbreaking' not only for the proverbial 'them' but - most emphatically - for us all. There is so much we will never know. We must cherish that which we can knowing it too might all too easily slip away from our time's grasp. The potential buried in that knowing - at least for me - is what makes any present we can snatch special.

I have written a review of a performance I saw last night at the Richmond Theatre. I have typed this on Word. I don't have much luck with copying this over here, but I will try - and hope it appears in some reasonable format. Please forgive my technical ignorance if it does not come across with any kind of reasonable coherence. (Please know that it LOOKS ok on my screen just now .. .but that is I've found to my cost no guarantee of BcoF published respectability I have used the 'Paste from Word' icon and replenished those spaces where they seemed to have disappeared in the copying over from the original. In the spirit of nothing ventured; nothing gained ... Here she blows .... Moscow City Ballet … Romeo and Juliet … Richmond Theatre … 26.2.2014 As ever with Moscow City Ballet one is enchanted by the ideas embedded within. That happily remains the hotbed of this Company’s wealth. It intrigues. Last night a large but not always well behaved audience filled the Richmond Theatre. (Attention the woman in the row opposite me in the stalls who, even when shushed by many, insisted on noisily unwrapping copious sweets to fill her already fulsome frame even during the most quiet bits of Prokofiev’s divine score as carefully led by Igor Shavruk and determinedly – if sometimes sketchily - played by the Moscow City Ballet Orchestra.) Colour dominated this production from the outset until, of course, rightfully clouded in the last act. The dazzling red copula of Verona’s State House stood supreme over the first two sectional forays in a carefully wrought perspective. Here one was continually reminded that there did exist an outside and very real balance that might well hold sway even in face of the societal disarray which led in front. The unit set, off set by the brilliance of its Italianate cardinal glow, stood quite apart from, say, the current design of the Royal Ballet’s production of the much loved MacMillan text. The colours were far from muted in this production by the recently late Moscow City Ballet director Victor Smirnov-Golovanov as drawn from the contributing resources of Sergei Radlov, Adrian Pirtrovsky and Leonid Lavrovsky. A few telling points that appeared in my frame: - From the very opening strains, the motif of the societal cost of the dead was clearly evidenced. It was as if the entire proceedings were etched in a balanced flashback. The musical motifs were clearly highlighted in this regard. The visual motif would not only begin the proceedings but vividly end both the second and third acts. In the Moscow City Ballet’s last act opening Juliet is discovered praying on her bed alone. She awaits Romeo’s return. He does so, now illegally. Could that act have been seen through her eyes? Perhaps. She had, after all, been the first to discover the dead body of Tybalt in the act previous soon to be joined in equal despair by both her parents. Physically above that fray the Duke of Verona was clearly seen to banish Romeo. This defined not only his but everyone’s defiance and clearly gave root/momentum to the last act. As I have said before elsewhere, it is that banishment which makes this play a tragedy in the classic sense. For me any production of this legend no matter what the medium rises or falls by the clarity of that specific depiction. This production (as, say, the balletic takes of Ratmansky and Ashton) blessedly make that clear. - The opening Capulet Feast is here led zealously from the front in a solo by Tybalt (well danced by the talented Kanat Nadyrbek) who we have first seen presenting Juliet with a red dress that she will wear largely throughout. (It will be left to Paris to understandably present the wedding dress in the last act.) The familial bond between Juliet and Tybalt is here closely etched. The men having dominated those now famous dominant strains at the opening of the feast it is left to the female friends of Juliet (here all gloriously taller than so many of their male counterparts replete with the largess of their willowy ‘Balanchinian’ limbs refreshingly choreographed to withstand the constant flux of over extension) to enter and introduce Paris. [The enchanting Rosaline of young Ekaterina Odarenko is especially enhanced by the lofty regard of her considerable instep. One would be eager to see her tackle the title role.] The music given to the mandolin players in the Royal’s second act is here split three ways. One part is given over to the joyful glee of Romeo’s team of four (which includes Mercutio and Benvolio). This dance occurs just after Romeo has first engaged with Juliet. That moment is refreshingly not ‘over’-emphasised here. It occurs because: ‘Stuff happens’ as today’s youth are wont to say. Somehow this interim gives added depth to the re-appearance of the instantaneous lovers thereafter. There is no balcony at the end of this act where, of course, MacMillian (as so oft) wins hands down in the pas de deux stakes. In this instance there are just too many (and somewhat repetitive) ideas stuffed within the pas’ frame. Indeed it somewhat bursts its own seems. It and we, as always, need a certain space to breathe. Still, no harm is done, there has been such vivid imagination deployed otherwise. It is the overall details that captivate. - The music for the Royal’s first act trio of the three lads – Romeo, Benvolio and Mercutio - delightfully opens the second act of the Moscow City Ballet’s production. Brilliant. The mime, as is so often the case in many Russian balletic texts in my experience, is broad where it has not been excised altogether. There is a wonderful moment here after Romeo has dashed to Friar Lawrence’s cell, when the goodly father – in preparation for the marriage has turned his back to pray. The two lovers understandably simply can’t resist each other – both turning away as the goodly father turns back in humane suspicion. He does so twice. [The laughter from the audience at those points held a most telling character-filled balm.] When the friar gives them permission to rightfully kiss it is an explosion we can all share as Romeo holds the figure of his joy aloft. This production is almost entirely told through dance not pantomine. (Balanchine’s dictum ‘See the music; hear the dance’ rings ripe again.) [To wit: the music that in the Royal’s production is given over to the shifting departure of certain personages and their bath chairs from the Capulet ball is here devoted to a wonderful dance establishing the noble attractions of Paris as was attractively danced by Andrei Zhuravlev.] The majority of the mandolin dance music is here danced by a team of female players dressed as young lads replete with … erm … mandolins who invite in Romeo’s team of four. It is at this point they introduce their foils. It is a clever juxtaposition. (The fights here are not overwhelming in their expanse but readily built in terms of focus. In the first act’s opening the city lads fight choreographically, as they might, with their fists. Only Capulet and Montague go to it with long swords – being able to afford such - and Mercutio and Tybalt alone have foils.) - It is in the fights that this production’s societal and spiritual elements become most vivid. Mercutio and Tybalt have already begun fighting (as they did in the beginning of the first act) when Romeo enters and tries to break them apart. Mercutio’s frustration at his friend’s seeming whimsy leads to his slicing the inside of Tybalt’s thigh whence they again set to. Romeo, of course, keeps attempting to stop Mercutio and it is when he finally pulls the foil from his hand that Tybalt strikes his deadly blow from behind. As Mercutio staggers back the women who had danced the mandolin sequence re-enter swathed in large black hats and sheathed in dark tulle. They are now figures of spiritual death. Mercutio shares his protracted death sequence with these figures to Romeo’s (and our) horror. Death, it clearly appears, is inescapable. On the one back platform that remains throughout the performance, Tybalt’s henchmen have now re-entered striped to the waist and covered in their black death masks. They are executioners. Mercutio dies as Tybalt brings down his hand from above and his men encircle. Tybalt comes forward taunting Romeo. Their ensuing fight is excitingly mirrored by both the spirits of death and the executioners. It is almost as if it is out of their control. When Tybalt is slain he dances a spectacular solo etched by all in each dying fall. He doesn’t laugh in its thrust like Mercutio; he fights. It is his own figures that here win. They have overruled. The spectrum of ultimate retreat as Juliet runs forward and over Tybalt's body is piercing. The affection between these two having been previously etched stings in terror as the horrific beat of Prokofiev’s strains pound. In the last act when Juliet is contemplating taking serum given her by the Friar the figures of death will again pull a dead Tybalt across her mind’s path. There is, of course, much else one could here report in detail here but this review is already lengthy. It is, as I said, the choreographic concepts that largely dance here and happily they are vivid. The Juliet of Yuliya Zhuravleva, while technically apt, is somewhat overwrought; driven by her determined sense of ‘presentation’. An injection of certain trust and soul might well round her grace with a more secure naturalness. Talgat Kozhabayev’s Romeo, while more mechanically jagged, is enhanced by a humane (and welcome) vulnerability in its zest. Still it is the production itself that in so many ways dances for both of them. It is Smirnov-Golovanov’s ideas that intrigue. They can and do. He helps us look beyond. We are all, I think, the richer for that.

There will be a free live relay of the Duato Romeo & Juliet created for the Mikhailsovsky Ballet starring RB principal Natalia Osipova and Mikhailovsky principal Leonid Sarafanov (who have oft been a great dancing partnership in the past) on March 5th at 7.00 pm local St. Petersburg Time which, by my calculation - never certain - is 1500 / 3.00 pm GMT/local time. Ref: Mikhailsovsky Website : http://www.mikhailovsky.ru/en/afisha/performances/detail/467522/ The stream will be available on several web sites, including the Mikhailovsky's own and the site of Paraclassics. Apparently the performance will also be available later for viewing on demand. http://www.mikhailov...juliet_webcast/ http://mikhailovsky....n/media/online/ http://paraclassics.com/

Anjuli, I agree that the NYT reporting of the ABT announcement is not entirely clear in its detail. (It did attempt to clarify it further down in the announcement which is now in today's BcoF links section.) You might here find a little more specific light in the ABT press release itself. The inspiration from the Bakst is to be taken from the tenor of his designs by British born designer Richard Hudson in his 2015 ABT realisation. I will quote a few (e.g., three) sentences from the ABT press release here (which I think is still in keeping with the BcoF guidelines): American Ballet Theatre’s all-new production of 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. .... “I have long wanted to choreograph a version of The Sleeping Beauty,” said Ratmansky. “Tchaikovsky’s complex score and Petipa’s choreography represent the highest achievement of Russian classical art. It symbolizes the harmony and magic of classical dance for me.” I am, of course, only responding to your query - as I placed the ABT note here in the first place. May we now return to an on-going discussion of the splendours of our local (e.g., native) Company's current SB run.

To speak of the devil (source: NYT) American Ballet Theater will mark the 75th anniversary of its founding next year with a new production of “The Sleeping Beauty” choreographed by Alexei Ratmansky and based on the production Léon Bakst created for Diaghilev’s Ballets Russes in 1921, the company announced.

You made me laugh, taxi4ballet. How bout having a 'Most Amusing' one as well .... Who knows we may well have a veritable cornucopia of buttons appear on BalletcoForum .... aiming to suit ALL tastes (well, most of them) much as they have striven to do with those (oft bewildering and ever multiplying) emoticons.

I agree, Dave. For this reason my engagement oft feels very fidgety during substantial stretches of, say, Mayerling or, heaven forefend, Anastasia. Just so much over-amplified theatrical filler ... and, boy, does it take a truly EXTRAordinary talent to fill that with any kind of meaningful substance. If I were wearing a hat on those very rare occasions (and I wouldn't inside the theatre lest it block the person's view behind me -- as does so many of those people with piled on/back hair) I would doff it.

Just stumbled over this rather amusing YT clip (highly illegal in its filming I assume) from Peter Martins' SB at the Koch (formerly NYS) Theatre - or as it is frequently known: 'The House that Balanchine Built'. This is filmed in the fourth circle (ROH Amphi equiv.) those side ring seats - where they are in my experience/opinion is awful - but the majority in the 4th Circle centre are grand. You will be able to see that from this clip's pan of the interior of the theatre. (Certainly the sight lines for any production's perspective are more readily attained than at the ROH). Brings back a lot of memories. Very much like the clip because it has a brief segment of Balanchine's Garland Dance (a very small slice of it is inserted here - and you can see some of the wonderful SAB children entering into it and, as usual, doing the same steps as the adults) Enjoy. Here are two NYCB ballerinas talking (apparently freely) about their work on Aurora. Amazed they allow private rehearsals with their partners to be filmed. You can see (not in focus) a very small segment of the Floramund solo to the 'boat part' here Dave - This clip is not fair to it ... Wish I had one in full. It's really very exciting ... Remember that production's opening with Damian Woetzel - He was supreme.... So sad that he danced practically not at all in London. One of the great dancers of the last century in my book. You can see the lead up to that solo in NYCB SB by the wonderful Tyler Angle if you look at the last clip in his NYCB entry here: http://www.nycballet.com/Dancers/Dancers-Bios/Tyler-Angle.aspx

Hey, Dave ... Think you would LOVE Peter Martins' SB .... Oh, and part of the 'boat part' in that is another glorious solo for Florimund!! Still think that BRB's is the best version - the Wright one so to speak - in the UK at present. Still that is but MY personal preference ... My 'like' as t'were ... Nothing more.

I have to say I 'dislike' the 'dislike' option as well. Too easy an option for far too many I think. A bit like so much of the background grunting (e.g., 'noise') in PM Questions. Not 'interesting' at all in my book I fear.

This is most sad. He was a great partner for Makarova. One of the few people who could really keep her on the music ... which sometimes took some doing. He will be much missed and the memories of his gift much treasured.

Bless you for this, Katherine. That looks SO exciting on screen in terms of its potential. .

Wondering if anyone has heard if the dancer exchange between the RB and ABT is to be continued????? .... or was it just a one season wonder????