Bruce Wall

The UK, as wonderful/comfortable as it can sometimes be, is - no matter what Alistair Spalding might otherwise suggest in his projections - a very strange balletic bird. Unless the chick was/is initially allowed and ultimately willing to fly, perspectives - of necessity - are often more limited/insular than by rights they might/should otherwise be. Ashton spoke of this. Relatively cheap airfares (historically speaking) have become, at least in my book, a key educational tool in this regard. They have staked out our time for those who are determined to take advantage of this cherished and affordable avenue for growth every bit as much as Youtube has/can wet the appetite (albeit without ever yielding the intrinsic excitement of actually sharing in the cultural space). 'If the mountain won't come to Muhammad ... ' Education, as ever, remains key. That is the greatest gift I personally thank my own parents for. May they rest in peace.

Interesting in light of the comments that Ashton, himself, made more than once on the effects of MacMillan's directorship on the dancing of his own creations. As you suggest, of course, our eyes cannot help but be altered with the drift of time and the various exponents it holds in its ultimate tow.

I very much enjoyed Robbins' THE CAGE ... but then that used the metaphor of insects ... and the choreography itself was supreme.

As has often been pointed out, McGregor 'defines' the current 'Royal Ballet style'. We can say what we like, but one thing is certain: HIs voice is there - and that, in and of itself, surely must be seen as a 'defining' attribute.

He has previously worked with Osipova in a gala piece I seem to recall .... It took place round the same time as Osipova was guesting with the Royal Ballet in Swan Lake I seem to recall ... e.g., shortly after her last date guesting (on that first occasion).

Thank you for sharing that, Sim. That is a most gracious message from a woman who is a very fine and ALWAYS most gracious artist herself. I am so pleased she made these points clear. We will, I'm sure, all look forward to attending various aspects of the final glorious stretches of her own and Muntagirov's extraordinary partnership. Those memories - much like those of the Edurs who were also both long associated with LFB/ENB - will survive in joy in each of our memories for much time to come. Bless all.

Well, I think the Ritzy started out showing the seating to be selected --- and then just making it general (as they did for some of the Met showings). Realising that some people really enjoyed selecting specific seats they reverted to their original practice (e.g., you can select on line) in 2013 for ballet / opera / theatre screenings/performances. Hope that helps, Alison.

Bless you for this, Annamicro. This must be fairly recent. I wonder why ENB made that previous statement when things were obviously not yet firm? I will so look forward to these performances. (Funny, this is just as I suspected when I made my first - (of two) - comments on the board announcing Muntagirov's joining the Royal Ballet.) Again, much thanks for the clarity.

Sorry MAB but I personally feel that is a very unfair comment. I have nothing against Mr. Lantratov as you seem to suggest .... Indeed I have enjoyed much of the work I have been privileged to see him offer - as I have written on this board in the past. I did not mention him on this occasion as he had been mentioned in the comments by others above. I trust (indeed I'm sure) that you yourself do not 'mis-favour' the others simply because you did not mention them in yours. I fear I could not bring myself to believe such a thing about such a generous commentator as your good self and certainly would never state such. I wish you a most delightful day.

I so enjoyed the ballet within the ballet in Lost Illusion's third act. Loved Ratmansky showing claquers being paid in advance of the performance - and that in face of the very real (and often all TOO obvious) claquers in the real (as opposed to stage) audience. With Shipulina's fouettes you could hear both sets of performers in full voice. I'm sure Alexei was having a good snort in that referenced cinema in Dresden. Thought too that the ladies made very believable pirates .... and we could all share in the fun they were obviously having at taking the mickey out of men they have well have known ... as well as in the glories of Ovcharenko's and Shipulina's skill in the roles they had originated. As much as I enjoyed the telling glimpses of Vishneva ... sadly not a dancer one sees much in London ... I would have loved to have seen the original Lucien / Coralie combo ... Vasiliev and Osipova ... You can see their personalities etched large in the movement of Ratmansky's libretto .. especially at that time (2011) when (relative) young love was written broad across both their professional and personal canvases. (As with everything one simply must catch it while you can - or is that 'while you could'?) Really enjoyed the interviews (and wit) with both the composer, Desyatnikov and a delightfully politic David Hallberg. The flash of Ms. Novikova's smile is so vivid and her French is SO exquisite and clear - there really is no need for any (English) translation. Would have been wonderful to see/hear Hallberg respond in French which is he well capable of doing. Just wanted to also mention that I saw this in the relative splendour of the Brixton Rityz's Studio 5 and that it was surprisingly well attended. Certainly it played well through to the end with the personal front of Bolshoi curtain calls and relaxed backstage air kisses in tow. Tradition seems is paying off in terms of building an audience there. So too is showing works in smaller screens that are not in the majority recent repertory repeats that at least one other major company seems to favour. Just wanted to also add that the management informed that MARCO SPADA WILL be shown at the Brixton Ritzy even though it is not now showing on their website. (They said they wanted to clear all the places that were bought for now replaced The Golden Age in advance of its showing next season.) Thus it can be confirmed that MARCO SPADA is definitely down in their calendar for 30th March at 4.00 pm for any locals who may wish to indulge in what looks like some fine dancing .... and a good giggle .... with Hallberg/Obratsova to boot (or so it would appear) ... in Lacotte's decorative redress. One is SO grateful to the Russian taxpayers (et al.) for an opportunity to see these rarities re-imagined.

This is all very confusing .... and - dare I say it - annoying .... One wonders where the Ministry of Misinformation is actually lodged on this occasion ... The official statement - the only one made by ENB as far as I am aware - and as quoted in the forum on this board which first noted Muntagirov's move to the Royal Ballet clearly suggested - indeed states - that he WON'T be dancing in Romeo and Juliet with ENB (from whom he has 'resigned') at the Royal Albert Hall .. Vadim Muntagirov has resigned from English National Ballet to accept a contract at The Royal Ballet. He will be leaving English National Ballet at the end of February and will not now perform in the new works by Russell Maliphant, Akram Khan and Liam Scarlett at the Barbican, nor Romeo & Juliet in-the-round at the Royal Albert Hall as previously announced. Could that be ANY clearer? I don't think so. One (well, me at any rate) REALLY wonders WHO now to believe ... ??????!!! It is I fear, as per The King and I, 'a puzzlement'. I sit here whistling to myself: 'Shall HE dance .... dum, dum, dum' .... to little (certain) avail just now.

I have long thought, Terpsichore, that if the RB were looking for a balance to the dilemma you itemise in Giselle - one where those same women themselves get revenge - they might well consider staging Robbins' THE CAGE. How brilliant Wendy Whelan was in that - as she has been in so, so much. I can well imagine Osipova having (forgive the expression) a feast in this and certainly it might best suit/serve the current Royal Ballet (McGregor) style better than some of those works which celebrate the cherished RB styles from epochs past.

Alison, I do think credit - where earned - should be given to Kevin O'Hare for attempting to improve matters in this regard for his forward successor as opposed to the situation he was left by the last Director. I, for one, applaud his increased intake from the RBS into the company at the lowest rank. In this way he has made it clear that he intends to build the Company from the bottom up. This will, of course, take time to reach fruition. I would hope that a tradition of giving new joiners greater opportunities earlier on - where warranted - is one that might continue. I agree that the pas de six in the Osipova performances (and I mark those out as they are the only ones I have personally seen thus far) was very fine and marked a distinct improvement from some occasions in the past if my memory serves. Could an increase in sharpened focused coaching have been responsible for this as well? I would assume we will have a ready answer in a short period of time. (David T's comment in an opposite direction is certainly a matter of concern if it stretches beyond his own personal circumstance.) In any event, these traditions (e.g., securing the Company's foundation at the earliest juncture) point unto a healthy direction (whereas the lack of a Company lunch break for the dancers does not). If we are to support the criticism then we surely must applaud the positive sides when acknowledging/evaluating Mr. O'Hare's leadership.

Very sad to hear that Vadim won't be dancing with Daria one last time in the R&J. It would have been nice. Glad I was at that final (and her only) Corsaire to see them - in what surely must be their last London performance. Now I understand the true importance of that stunning flower shower. Thought Tamara's message very gracious. I am sure all will be well, however. I know both Vadim and ENB will, in their own separate ways, thrive. We are ALL the richer for that.

Just longing to know what Tamara has now on her books for ENB .... She said in another article that she had her eyes on several men from outside the UK ... and was prominent at the Stuttgart Ballet's taster programme ... One can dream, huh ... Could make for some very interesting/exciting balletic times in London. I'm certain that Vadim will profit from his time as a principal with the Royal Ballet ... and will be another who can speak Russian to the divine Osipova!!! Guess, though, he won't be so free to guest in so many other places. Ah, well, he is still young ... There are many wonderful times to follow in his burgeoning career. (Wonder too if he will still honour his R&J performances at RAH with Daria. I bet you anything he will.)

I so agree SPD444. Sadly the same was the case - at least to my eyes - in the performances I had the good fortune to attend in Southampton and Oxford. This production - from all perspectives - not only deserves to be attended; it should be cherished.

What a shame ... especially when the Royal is in a desperate position for (i) talented males ... and certainly (ii) in truly desperate need of talented males of above middling height. So sad. A talented dancer. I'm sure he'll grace ANY company he chooses to join. Romania's gain is definitely our local company's loss. I pray he finds the support and most crucially coaching he craves there ... and most certainly deserves. Perhaps we'll see him here again if the RNB has an opportunity to tour.

As Winter's Tale is a co-production with the NBoC (as was Alice) perhaps NBoC again have the North American rights and are hoping to broadcast the NBoC production as a native premiere. Just an idea. (Or perhaps they simply want to ensure every possible live attendance in the production's initial outing in Canada.)

What a shambles this all has been ... Most uncomfortable .... One would think they are making you struggle with one booking at a time just so you might overlook the initially enforced £3 donation. NOT!!!! Where justified yes .... Today they should be paying US methinks.

Forgive me, Alison .... but if they are going to send out TWO emails saying that their systems will be up and running for the new booking period at 10.00 am ... and they put a big announcement on their Facebook page ... then ONE would expect the system to be able to handle their custom ... wouldn't one??????? It's not as if they hadn't gone on this particular round before ..... I don't know .... Perhaps it's a ploy to send more people to an already hugely overburdened A&E .... What is it the PM says: We're all this together!!! TOO RIGHT WE ARE!!!!

I have tried with THREE browsers ... THIS IS BEYOND ABSURD. PEOPLE TAKE TIME OUT OF THEIR DAY ... AND THEY CAN'T EVEN GIVE AN ERROR MESSAGE. WHAT GIVES ROH!! VERY POOR SHOW.

Very interesting that Crisp, himself, should say: "Most criticism is trumpery and pointless, based on ignorance rather than knowledge. " I think one of the most interesting pieces of advice in this realm I ever heard given was from the American actor, Kevin Kline, in a drama session I was running with prisoners. He turned to one inmate and said: 'Take the best and leave the rest'. It's your choice. So wise. And to think this forum is in major part entitled 'Jewels' .... One wonders just what Balanchine would have made of this particular wandering off of his oh, so glorious topic! (As a means of relief I've just bought myself a ticket - to Balanchine's Jewels that is - at La Scala on 15th March.)

How wonderful to see Alexandrova's name included after that truly horrid incident which occurred at the ROH last summer. Most encouraging.

Stunning. Simply Stunning. Thanks so for sharing this Katherine. This is so, so moving ... Just to see Jacques D'Amboise - one of the world's most masterful partners - who truly has given his ENTIRE life to dance - respond in that way ... Overwhelming. This seems so, so much more than a mere 'poster' job. I long to see this entire feature.

In Danish, but you can see him flying into London, briefly rehearsing Etudes and dancing with Tamara and the very fine ENB company. http://www.dr.dk/tv/se/ballettens-laudrup/ballettens-laudrup-portraet-af-alban-lendorf#!/14:47 You also get to see interview clips with Hubbe. Even though I don't understand a word he remains - even now - charisma personified. What a fine dancer he was .... Sitting here I so vividly remember one performance of Robbins' Faun with Kistler that was simply .... erm .... rapturous. Enjoy.