Bruce Wall

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.

Did Osipova dance the in the Rubies dress rehearsal???? It seems from Dave's press photos that it was Sarah Lamb in the Rubies pas???? Perhaps they did it twice. (Now there's a happy prospect .... but I would imagine incredibly tiring for Mr. McRae who was so spectacular in it in the evening - which I certainly DID see. Divine he was!)

As was reported on the Balletcoforum pages the other day, the Royal Ballet are doing Aeternum during their 2015 US tour package programme (Chicago, Washington, DC and NYC).

MAB, I fear you mistook the purpose of the quote. It was frequently quoted by Noel Coward - that 'little Englander' as you so very generously put it. This was quoted ONLY in defense of the current young .. .and certainly nothing 'against' Mr. Acosta such as you may have taken it.. I too saw his fine programme at the Coliseum this summer and very much enjoyed its diversity. I wish you, MAB, naught but the most joyous of Xmas tides.

There is an old theatrical saying: 'Lose yourself; lose your audience'. Perhaps someone needs to whisper such into Mr. Acosta's ear.

I seem to recall MB's original Swan at Sadler's Wells (mit A Cooper) had a live orchestra .... and certainly it did at the Piccadilly Theatre in the West End run shortly thereafter..

Luke Jennings has said in his single review of the two Mark Morris programmes today: (and I will only quote three sentences in keeping with the Board's guidelines): "He [Morris] offers a sense of Arcadian possibility: a return to an age of gold. .... So it almost certainly reflects poorly on me when I write that there are elements of Morris's work that I can't quite digest ... but I'm afraid I can't, quite. It's just not my idea of heaven." Here is a man for whom the current 'Royal Ballet' style MUST be prime. He seems almost shaped by it himself. Perhaps he has been substantive in some small way in its creation. THAT I myself would not pretend to know. What I am certain of, however, .... now having seen the second Mark Morris programme which i thought even better than the first ... is that I personally am glad that there was a full theatre of patrons who more than digested what was on offer ... they were merrily begging: 'Please, sir, we want some more.' They at least did not make me feel foreign in their acceptance of that particular sense of happiness ...... And, yes, Martha, that small slice of heaven that moved oh, so fleetingly across and about the Sadler's Wells stage this week. With THEM I felt fully able to accept the happiness I myself derived. Indeed I am left reveling in it. I realise THAT may make ME foreign to oh, so many of the current RB devout ... and for THAT I do confess I feel guilty .... Still please know there is a goodly portion of the McGregor that I can and do ADMIRE. Indeed, I have written so within this Board's frames. Let there be no question: I hear his voice .... I do .... It lives .... but that admiration is always at a distance. It is a sensation that I distinctly sense one could (if you wanted) calculate quantitatively through mathematics. With Morris you are always made to FEEL. Although the boundaries of that may always be more fuzzy .. less clinical perhaps ... you can I think trust in it. (I do know this is a not a popular sentiment in certain local regions.) Morris not only - as I suggested - warmly invites you in ... he PROUDLY stands at his temple's door and welcomes you through it by means of the joyful diversity of his rich choreographic vocabulary. (Funny, I was reminded when watching both CROSSWALK and FESTIVAL DANCE of a quote that MacMillan (yes, he who so celebrated rape) made when he said that: 'it is [sic] very much more difficult to choreograph joy'. Perhaps that is reason why Morris' work has been so celebrated by the repertories of a wide number of major international ballet companies. (Here, of course, I will remove the Royal Ballet .... for fairly obvious reasons .... Morris' work would simply not fit into it's much admired current and prevailing house frame. Funny, I do think Ashton, however, would have celebrated such programmes .. or at least the two we (obviously few from here) have been privileged to see. [And, of course, I am aware of the pull of the darkness for many in R&J.] Still I make the former statement being especially aware of Ashton's keen respect for balance through music. (Ashton's respect for the latter was ALWAYS palpable.)... Moreover I am equally all too aware that such times for our dearly beloved Royal Ballet have long since passed to other shores in the NAME of progression. Let there be no doubt: Luke Morris has safely found HIS spiritual home .... well, from a balletic perspective at least. ... He has clearly purchased a key .... He has set out his mark. Certainly he has raised the walls on his critical criteria. No more needs to be said. He has offered us all a guide to his future writings .... (while, of course, The Observer continues to support such). I wonder .... would it be going TOO far to wish HIM a HAPPY Christmas?

Can't believe that no one has posted in response to Alison's request. Did no one (e.g., no 'Balletcoforum-er') go to see this.... well, thus far? Can't believe THAT. I dropped into Programme A last night .... A TOTAL DELIGHT. This is as far as one could get from the current 'Royal Ballet' style .... e.g., that oh, so carefully calculated (and much admired) coolness. I must confess to finding it sometimes a touch distant. (I know ... I KNOW ... it's just me. I - like Ashton - wasn't born here .... so it always feel a tad foreign in its climb ... Still, that said I DO keep trying ...) .... The Morris programme ('Morris' Dancing ... was entirely warm and welcoming .... It was a bit like coming home. Well, for me at least. I can see it might well be 'despised' by the McGregor throng ... But then the world needs its diversity ... ) This Programme felt comfortable and challenging throughout ... An exercise in good taste (i.e.., no need to expectorate after.) It was a bit, say, like ENB's Corsaire in the concentrated joy of its welcome and appreciation of its music. The latter was key .... and is not always to be found, say, in the native creations of the ROH .... or Sadler's Wells for that matter. Loved the cleanness of the overall production .... and the fact that it was well lit .... (meaning you could see everything .... or was it simply that there was nothing that needed or wanted to be hid.) Proud to say that the large audience responded with concerted rapture ... Deservedly so .... and it was thrilling indeed to see the great man himself .... and the sincere respect he was shown not only by the punters but from his company as well. Catch it today or tomorrow if you can ... I honestly think you may well find something you might enjoy. (Oh, and the running times ... at least for programme A ... are accurate .... Happily So .... One hour and 36 minutes made for a VERY full and happy evening).

Would it be Lynn Seymour???

Of course .... Elgar variations ....

Daphnis and Cloe ..... Pan plays the pipes ... but wouldn't exactly call him a 'major' (dancing) character ... but is certainly catalytic.

Month in the Country .... the daughter plays the piano .... That springs to mind.

So heartily agree with Janet. Cranko's wit is troweled with delight. Barankiewicz was a particular delight ... as was the lovely pas de six. As to the Northern Line .... Not just Angel today .... but from Morden to East Finchley are not operative .... A tip from the Boy Scouts: BE PREPARED!!!

Moving away from the past and unto a new future - (well, a richly new one for us just now it seems): Natalia Osipova is a truly EXTRAordinary artist; one as assertively double jointed in her theatrical prowess as in her intuitive acumen. To paraphrase Oswald from Ibsen's Ghosts - (and there is a vast amount in Osipova's performance as Juliet that will haunt for some time) - "That STARE, Mother. THAT STARE'" It had the very devilment about it. Assuredly such was buried in the many shadows of her dying (and dead) falls. This radiant young girl's first steps into the court ball impishly imitated those she had seen of her parents and their like. They elongated with an almost innocent mocking. They lived in Osipova's 'now' as would all. She would return to such several times throughout the evening. On each occasion she attempted in progressive determination to return to the restraint of her formerly secure world of play. Surrounding Osipova by much of that world we now know is drawn from the understandably admired and much applauded current RB house style can I fear at times - via the dominance of its hovered draw unto austere distances - render many key 'otherwise' responses not only oblique but downright cod. Not so Ms. Osipova. She demands as much of herself as she does of us. Blessedly the heaving ROH throng tonight responded - or is that exploded - in a throw of delighted amazement. How grateful we are to be in the presence not only of Osipova's Juliet, but of the gift of her mind-(and heart)-boggling artistry. It elevates, thrills and delights in more than equal measure. It brims. It IS (without hesitation) ultimate. Long may we be so privileged to live amongst such courage. A word of appreciation too for Laura Morea's harlot. (Is she the only RB principal to still be doing soloist roles?) The wit of this woman made her stand out from the crowd in a most incisive and witty manner. Consequently hers was also a performance marked by its own contrasting and knowing points of stillness. The edges of her focus were here personally clear and not simply shared as framed by a stage manager's hand. A fine and full effort. Much appreciated.

I understand the sentiment about the 'bittiness' of the Stuttgart Ballet's MADE IN GERMANY programme by the reviewers ... and concur about the chop and change elements of the overall programme. I can but feel that was inevitable.. Given that so many current balletic works - say those made in that which we must now call the current RB house style which is even now being wildly applauded by an obviously happy and growing number and (as has been made clear here in several very recent postings) 'despised' by others - celebrate just so many jolts of diversity even within one whole I was myself a trifle surprised that several (especially Mackrells' swallow) appeared to be just SO overwhelmed by the format itself. I think if this internationally reputed Company had (as it deserves to be) been better known to UK audiences and certainly by those reviewing for local broadsheets as a professional vocation (surely a dying breed) this particular menu might not have been so difficult for them to digest. Were that to have been the case surely their attentions might helpfully have been otherwise focused. One thing it did put into relief, is that Spalding's desire for London to be seen a 'the dance capital of the world' is, I fear, a long way off. This will be accomplished methinks not simply by the local addition a mid-scale facility, but by an overall culture change in terms of significant programming (certainly in terms of ballet) allowing the UK dance mindsets to open via a greater global access. (Sadly SW's programme for Spring 2014, if anything moves away from such a purpose.) Had the Stuttgart Ballet been not SO foreign an entity in this country then perhaps just such a programme would NOT have been necessary. Clearly there was a lot of catching up to do. I, for one, was appreciative for this opportunity. For me what this bill did - e.g., its purpose - was to introduce to London the extraordinary range of dancers united by their truly extraordinary interpretive capacity. Surely THIS will NOW allow us (i) to have a better sense of THEM when we come to see Cranko's 'Shrew' (which I first saw - unforgettably - with Haydee & Cragen and last saw with a fiery Osipova in Munich) and (ii) further enforce the need for greater future London exposure if Spalding's aims can ever hope to be met. For this, I was/am ENORMOUSLY appreciative to Reid Anderson. Such a smorgasbord of gifts were here on display. A little pick and choose can sometimes go a long way ... and at least the tastes represented on this particular programme were hugely varied ... as has been (at least on this board fairly) represented.