Bruce Wall

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.

I still find it hard to shake multiple memories of Suzanne Farrell and Peter Martins in so many key Balanchine roles (some of which were in ballets which have sadly never been seen here). Think Osipova and Vasiliev were, in many ways, MEANT to be a partnership ... much like Daria and Vadim. Also fondly remember Kirkland and Baryishnikov. All to be cherished certainly.

No one I think who tasted it could forget Dowell's fine line and legato magic. That is a prevalent memory for me from the RB's canon of danseur nobles.

ADDENDUM ... I just wanted to add to my list of memories from 2013 that of the stunning force of balletic nature that is the retiring POB etoile Nicholas le Riche in La Jeune Homme et la Mort. As the young folk are wont to say - and as I believe in this instance is more than fully deserved: He was AWESOME I will only add that I feel confident in saying this having been privileged to witness all three - (and let's not mistake it WAS a PRIVILEGE) - of his public performances in that role with the very fine Company that is ENB. I would also like to add what a delight it was to see a dedicated Xander Parish further blossom in the programmes hastily compiled by A Liepa at the Coliseum.. What a gift it was to be able to comfortably cheer the home team in this regard. I very much look forward to the potential of seeing a further extension of his gifts when the Mariinsky visit London in July/August of this year.

For me a definite highlight was the Osipova/Vasiliev Giselle followed a few nights later by another stunning one with Novikova and Sarafanov, both with the very fine Company that is now the Mikhailovsky Ballet. They will only get stronger with its incoming wealth at the top. I pray we see them again soon. I agree with Janet that the ENB Corsaire is supreme and hugely applaud Tamara Rojo for sharing the same courage she gloriously exhibits on stage in the rightful continuation of her own determined administration. Would that there were more like her. She is a brilliant role model. Agree too about the BRB Sleeping Beauty. Wright's SB production far outshines the last few RB efforts in my eyes. I went to see one performance this time round and ended up going to four at Sadler's Wells. Agree Chi Cho and Nao Sakuma were simply stunning. BRB and the current ENB (in its best shape since Schaufuss ) were for me the standout OVERALL UK ballet companies in 2013. They both richly deserve to be applauded. (That said, the Schaufuss Midnight Express was SURELY the nadir of this or perhaps any other season.) The Canadians certainly showed their might in terms of overall Company enchantment .... but then they would, wouldn't they, with another great leader, in the the rightfully legendary hands of one shimmering Karen Kain. In similar major (i.e., world) Company league was the Boston Ballet at the Coliseum who stunningly breathed as one (as opposed to, say, fighting for a particular pride of place in a star based ensemble). They were unquestionably on a mighty (and much appreciated) move in terms of the brave selection of their London rep. I salute you Boston Ballet for your courage - and am only sorry that the London ballet audiences didn't show similar gumption in their support of your fine work. Certainly for me there was no finer male ensemble in evidence this year than that shown in the opening taster as exhibited by the Stuttgart Ballet. While the selection of its rep certainly couldn't be said to be imaginatively overwhelming the Bolshoi had a goodly number of stand out moments. Who could forget the Osiliev effect in Flames (much as had been created for them by Ratmansky, a choreographer who is celebrated through much of the modern world for his extension / enhancement /application of balletic literacy but who was so cruelly lambasted this year in London by certain major critical figures who perhaps - just perhaps - simply don't get it) and Vitaly Biktimirov's Cabulette a la David Niven which is - as far as I'm concerned - one of the best character performances I have EVER seen in Ballet; ranking right up there with Erik Bruhn's unforgettable Madge or Coppelius. (Some memories just will not fade.) The most frightening ballet occurrence I myself was party to (i.e., present for) was Alexandrova's terrifying on-stage accident in La Bayadere. May she recover to full stealth soon. Still it was wonderful to be able to actually taste of Smirnova's ripe potential as much as to see the broad grin of Filin (her mentor) being bravely returned - however briefly - to the boards he had himself once so happily ruled in a time prior to this year's outrageous horror in his personal regard. Osipova's adventures -- e.g., her first Juliet - were a definite highlight with the Royal's season but, for me, so too were the Oneign performances with Alina and a magnificently insightful Jason Reilly. I also very much applaud the continued dawning achievements of James Hay and Francesca Hayward and the ever abundant radiance of one Ms. Nunez.. There is much hope for their futures and our expanding enjoyment which is certainly refreshing to know. McRae too built on this stealth - nowhere more so than in his blistering leadership in Rubies - one of a rightful international league.- but two days ago. (I know he did the exchange with ABT this year, but part of me wishes he could do the same with this assignment with NYCB.) Another highlight for me was the first UK sighting of a Jason Peck piece here performed by and created for the LA Dance Project. I simply had to go back and see its second jubilant performance (although I didn't stay to see the remainder of the programme for a second time - knowing that Peck's piece as evidenced in its thrill through movement was more than worth the price of ANY ticket.) I was, again, only heartbroken that there were so few people in that Sadler's Wells audience. That, too, sadly spoke for itself.) Standing above all, however - and for nothing more than the diversity of its pure joy and intelligence - were BOTH programmes by the Mark Morris Dance Company. Please may we have them back to hold more mirrors up to our nature. How lucky we were to be in London in 2013. Very lucky indeed. This was OUR Olympics!!

An enchanting performance of RUBIES this afternoon. Osipova made her 'official' RB premiere as the female firebrand and flame and fester in her concerted throng she did. While not yet reaching the overall heights, say, of Ansanelli in the RB's RUBY reservoir of happiest Balanchine moments, (she will I promise, dear reader, SHE WILL) she made here - even on this early outing - those inverted fouettes burn as a heliograph on speed and I (for just one) simply adored her addition of a very personal take on 'the twist' in the second principal female variation. Here the pas de deux rightfully celebrated the original meaning of the word drama ('competition' and/or 'conflict') with more than just a shift of lemon zest. McRae ballooned into his own stratosphere of red hot ignition being - as ever - more than just on his count - (indeed often in front of it as Balanchine desired) - and embellishing each and every aspect with an ebullient bounce. A total delight. Hamilton, as the soloist showgirl, delighted in the infectiousness of her glitzy rudeness whilst blessedly restoring the three entrechats that Yanowsky had chosen - oh, so politely - to round out. Hamilton's devil was in her detail and scintillate in its twinkle she did. BEST OF ALL: T'was SO thrilling to hear this capacity Monday matinee audience EXPLODE in delight at the happy receipt of this balletic masterwork. Nela followed and certainly OWNED all DIAMONDS this afternoon. She radiantly employed her secret weapon - i.e., THAT SMILE - with skilled erudition. It flares brighter than ANY sun could on a rainy day. As the song might have it: 'Who could ask for anything more?' Not I (for just one .... and you could hear from the overwhelming response during those two font of curtain calls that there were a vast many there assembled in jubilant agreement.).

Just for the record, the Sky Arts 2 broadcast of the RB's ALICE was a more recent RB cinema relay featuring Sarah Lamb in the title role and Bonnelli as Jack. It was not the original cast as noted in the Sky Arts 2 blurb and in their on-line broadcast listing. Glad to see they are staying true to their established form in narrative accuracy. That said, one is deeply appreciative to them for so much ballet this Xmas. Long may it continue throughout a variety of seasons.

As opposed to the casting written above, the presentation on Sky Arts 2 of the RB/NBoC co-production of ALICE IN WONDERLAND has the following cast description on the Sky Arts 2 on-line directory. I will assume this is correct ... (but would, myself, prefer if it was possible to see that listed above on this forum .. as I have not seen that specific broadcast. The one noted below has, of course, already been broadcast a couple of times I believe on the BBC.) London's Royal Opera House is the setting for the Royal Ballet's 2011 production, based on Lewis Carroll's famous story. It features the first full-length newly composed score for the company in 20 years, created by Joby Talbot, with choreography by Christopher Wheeldon. Principal dancer Lauren Cuthbertson stars as Alice, alongside Sergei Polunin as Jack and Edward Watson in the dual role of Lewis Carroll/The White Rabbit, while actor Simon Russell Beale makes a cameo appearance

Have to say that I agree with, Dave. This (the Saturday 12.30 pm matinee) was - all round - a much improved effort in the presentation of Balanchine's Jewels. What a perfect time this is for a matinee performance. More please. Emeralds was, unquestionably, the most improved. Stix Brunnell - while not approaching the heady distinction of, say, a Stephanie Saland, brought a spontaneous delicacy to her sensuous perfume that was sadly missing from the dancer in the first cast (not that she wasn't wholly efficient, she was). The trio too was much enhanced and of a piece. While Nature may have given David Trzensimiech the silken legato line that was robbed from the previous cast's counterpart, the stunning turn in counterbalance of his delicate entrechats will surely have been the result of much hard - and musically sensitive - endeavour. Pajdak and Hinkis in turn offered added delight in the trio's relief. Indeed for one brief moment Hinkis reminded me in the gust of her zeal of a fellow country-'person' of hers, the divine Ms. Katrina Killian. (I know, I KNOW - I show my age here.) The handsome Nicol Edmunds was a cavalier to the life, refreshingly building his strength through a tradition appropriate to Balanchine's requirement in partnering as opposed to say, that milled through the much admired current Royal Ballet house style. One was most pleased to make his acquaintance. The Rubies and Diamonds sparkled as before (as Dave suggests) - with, perhaps, an even greater luster ... much as one begins to appreciate through time. McRae IS an animated marvel in Rubies ... Surely this MUST be one of his best roles EVER. How I would love to see him in the fourth movement of Brahams-Schoenberg. It would seem to be his natural progression. ..

Hope Xander Parish gets a fair outing when in London.

Much thanks for the info, Dave. Greatly appreciated as ever.