Bruce Wall

Nureyev and (even more famously) Baryishnikov both .... as well as V. Vasiliev (and not just Ivan - no relation but much admired by the former - who in that pas de trois with Osipova and Cornjeo at ABT was a mind-blowing delight. You can see two of them in a pirated video from a 2012 Met performance here: http://www.youtube.com/watch?v=1B4amLHdrTw)!! One misses there, of course, Osipova's constant triples and Rojo's quadruples(!!) - and, yes, you read that right - in the coda's fouettes!!! ... ! I called ENB's Corsaire 'a Brad Pitt of a production', Aileen, only because the poor man is/was cursed with being thought 'pretty' .... much as some of the British dance press (whose time I fear is soon coming as a vocation - as opposed to a concerted avocation) have accused Mr. Golding of simply being the same. Happily both men have now overcome the damning effect of mere 'prettiness' having illustrated sufficient dramatic/balletic steel to underpin all else in their respective regard. That same grit behind the grandeur is rife throughout ENB's Corsaire. It is a joyous measure ultimately separating the wheat from the chaff. May there be ever more power to its resplendent arm. Oh, and thank you, LinMM. That is most kind of you to say.

ENB's Corsaire is a lint brush for depression. It rolls over one leaving a feeling of unblemished optimism. Its lucky audience shares in this Company's new-found and heady aspiration. (I, for one, couldn't resist. I returned to see it again at the matinee yesterday afternoon - and yes, Aileen, Golding did dance - BRILLIANTLY - in this Brad Pitt of a production. (Please know were he to have dashed out the stage door, Golding could easily have made it to Covent Garden for the evening performance. Your eyes may well NOT have been deceived.) The Canadian's partnering skills in the central second act pas de deux (as opposed to the pas d'action - although they were fine there as well) were here but and object of romantic thrill. Matthew's corn-fed fingers tenderly guided (or is that guilded?) the romantic lust of each of his audience's hearts. ALL present left, in fact, in ship shape. We watched the entire company grow with glee before us. Tamara, herself, led from the front. She did so with a fully conscious and rightful pride. Has there ever a better 'ballerina' than this NOW? I think not. Certainly the challenge of the absurd mime - sorry, storytelling - required at the end of Corsaire's third act has NEVER in my experience been more clearly and lovingly etched. Rojo's overall message resounded with a clear ballast: 'We're on our way! JUST WATCH: THERE WILL BE MORE!' There was no way THIS ship could ever REALLY sink: That the bejeweled wonder of ENB's glorious whole might perish under the baton of this life-force. Here IS a leader. We have not seen her like since Madam. The force of our very real joy at that prospect WILL as it MUST float. In my experience ENB has not worked together as such a rich team (and here they blissfully are) at least since the Company's days under Schaufuss. Here they don't just kick, flick and tick together; they sail; skim; soar and steer. As they do so each member swoops us up in the gratifying counterbalances of their dance. The fresh faced front of that alone - as well as the life enhancing vigor found in the pounding of the musical ballasts - pilots ALL hearts in in its heady rapture. Here as before just so much new found confidence was on display. Laurretta Summerscales glowed in her precision as Gulnare. She made clear her initial distress at capture yet reassured all present as she began to unfurl the gaiety of her ensnaring smile; Ksenia Ovsyanick did - as she always does - dazzle. This girl IS special. Stina Quagebeur led as the Lead Villager aside Fabian Reimair's richly etched Birbanto with a fervor in character dance that I had previously thought was only REALLY possessed by the Bolshoi. It 'knived'. It was obviously infectious as the entire male ensemble joined in their thrusting zeal. (Indeed, - and let ME be as clear as they were - especially in the enchanting Jardin sequence: This company CURRENTLY has a strength in numbers - especially with the women - that could - indeed CAN - easily outflank that other major - and certainly more richly endowed London based company (to take nothing away from the assorted gifts that can therein currently be found - cough, Nunez/Morea, cough ... What is it about Spain????). One feels ENB will only build under Tamara's steam. One feels confident she simply won't have it any other way. She knows this competition can be for the good. She, herself, has been a product of it and profited from such. She shows here we can relax in her good taste. Let there be no doubt: This is a woman of sufficient guts to be a leader. NEVER an easy ride for ANYONE. We are ALL the beneficiaries of that. Hers is the courage to be MORE than just popular! That will, of course, shock some. Still here we ALL watched in delight as Junor Souza added to the shape of his new found balletic maturity by the consistency of his characterful concern and anger as Lankendem (itself being the best described theatrical role in this piece) and young Joan Sebastian Zamora surveyed the stage from above as Ali, bravely holding his boss aloft when necessary in tender concern. While acknowledging that Zamora still needs to find a way to shape more immediate theatrical vitality in his relation to his master, Conrad - (the choreography here forces the majority of the dancers to find a dramatic size for themselves - a good thing) - this lad's parents back in Columbia have an ENORMOUS amount to be proud of. Indeed there is much here present that we ALL - as a nation - can beam at. We ARE after all a parental part of this picture. One blessedly that IS to be seen AND heard. 'Daddy, can I see this again?' a little girl squealed excitedly as Bob Ringwood's last magical scrim fell. I knew how she felt. I sympathized with her sentiment. (I say this knowing full well that my own dad keeled over when I was nine. That is now but a few months short of a half a century ago. My own 'inner dad' cocked a smile back at his embedded infant at that moment saying with delight: 'Sure can, son'. As we were rising from the very real comfort of our positions in the Mayflower's majestic dress circle, I asked the very present dad in question if he would be honouring his daughter's request. He smiled saying 'yes', adding: '... and I'll bring my two other children along next time too! They'll love it'). Clever man. In a journalistic world where as many predictions as predilections are flown, mine is this: If ENB has the courage to hold to the electrifying dynamic mast of its current conviction - and I believe under Tamara's leadership it will - THIS production has the capacity to make Le Corsaire become for the UK what The Nutcracker IS for America. Why? Because it encapsulates our need for hope ... and it does so through the universal language of dance. My instinct tells me this gift of THIS joy is critic proof. Better still, it means that Christmas can come at any point of the year without any need for that aftertaste of seasonal guilt. As the UK's economy appears for the moment to be cautiously improving many hacks stick out their frazzled thumbs in seeming knowing. Let mine suggest this: ENB's Corsaire has the capacity to become ITS gold standard celebrating as it does the achievements of the chorus line. I predict it will be through it's prism of THIS joy that future generations of ENB dancers will be able to test their skills and, yes, ultimately see their promotions rightfully hoisted. Certainly I think it will help fill the ENB school with a very real inspiration. This Corsair has the potential to be a yard stick for 'delightful measure' such as Shakespeare might poetically intone. This is an 'Emerging Dancer's' Celebration in the flesh ... and even better ... in an entirely shared measure. . 'Bravi', I say .... We are ALL the winners ... . Oh, and more please. (I say that smiling of course ...

I do actually, Alison. I think if you filmed the production that would be grand ... with the heady and now noted combo of Alina and Vadim ... and the glowing contribution of so many key ENB players ... but I'd also include a bonus track, hosted by Tamara (to ensure depiction of her overall vision - crucial - and showing hightlights with her dancing with Matthew Golding .... Within that element I would bring in Anna-Marie Holmes (to again emphasise the Canadian takeover- LOL .... well, Tamara, Matthew and Anna-Marie!!!) ... but also include interviews with, say, Osipova and Vasiliev who could both talk about dancing both the Bolshoi's version and Holmes' take for ABT ... as well as some others who have graced this production's boards ... including Marcello Gomes and one Johan Kobborg .... even Steven McRae to appease the local set for that matter ..... and, of course, have Michael Coleman talk about the Nureyev / Fonteyn effect. Bob Ringwood could probably have a very decorative track all to himself. All will be in London certainly by March. This could be ready for broadcast I'd imagine by end June ... or certainly September. The production broadcast on Sky Arts 2 should I think be limited .... but the documentary bonus could play for years on repeats such as Sky is wont to do. It could - with agreements in place - in support of ENB - be fiscally light - as these things go. Of course I realise this is probably in the realm of fantasy ... still one can but dream, huh. It would be nice if ENB could capitalise on the carpe diem effect. Such doesn't come along all that often. Here you (to be read 'I') have a sense that the Corsaire effect travels in spades in the entertainment stakes and could potentially last for generations in behalf of Tamara's ENB. The latter gives EVERY indication (at least to me) of being a very worthy cause..

I applaud Mr. O'Hare's commitment to building from the bottom up .... He showed his commitment to that in his first round of hirings ... and again here. It should, I think, (indeed I hope) relieve some the anxiety/concern that certain members hereabouts hold vis a vis the bringing in of guests of international stature. Once Carlos stops dancing I really do believe the RB should hold those funds (e.g., those set aside originally for Guillem in a 'Resident Guest Principal' in reserve for guests ONLY and not over-step that boundary .... allowing the main resources to build the then resident base as by right they should do.

It's more than OK Victoria ..... I think if Sky Arts has their wits about them .... they will be filming this during the London run .... for broadcast on Sky Arts 2 pronto. The release of the DVD will, I think, far outstrip the Alice sales for the chaps down the street.

The Mayflower on Tuesday wasn't entirely full, Fonteyn22. (The balcony was closed.) But then this is the fourth largest theatre in the UK and I suspect it was much fuller for a Tuesday night than it would normally otherwise be. The friend who I attended with (who is a local) said that one contributing factor might be that many commerical productions (especially ones searching for a family audience) locally begin at 7.00 pm on week/school nights as opposed to 7.30 pm. One thing I think you can be assured of, Fonteyn22, is that the next time this production sails into town - as it inevitably will, should and MUST- the place WILL BE packed. There will be just SO many people wanting to take their families and friends to see this for, I suspect, generations to come.

ENB's Le Corsaire (which I had the great good fortune to see at its opening performance on Tuesday at Southampton's vibrant Mayflower Theatre) doesn't just begin. It explodes. The orchestra as lead by the insightful Gavin Sutherland blasts forth the opening notes. You jump from your seat at this mix of nine composers and remain elevated BY ALL for a full three acts. The rich colours of Bob Ringwood's glorious sets and costumes blaze forth allowing the wholly befitting vivaciousness of classical balletic shapes here vitally apparent to hold their appropriate and true substance. It matters not a jot that the narrative shards left over from from the muscle of Byron's verse drift ever further into the decorative ether. Here they are but bones that house this wonderfully festive dancing flesh. In ENB's courageous hands Anne-Marie Holmes' production more than breathes; it laughs, it weeps, it sneers (both with and at our human foibles). Yes, of course, it emotes but it does so with the most vital ornamentation. This is balletic 'bel canto'. Above ALL it dances forward with every possible shape of possibility (and, as a result, we believe, probability) both here and to come. It is a production SO NEEDED for our times. It sustains with a renewed (and renewing) zeal. THAT for me IS the real achievement; one that marks this calling card out, say, from the careful reserve of the toreadors in the Royal Ballet's new go at Don Quixote. (That is, I think, a fitting comparison as both works share with latticed glee in the absurdity with which they view their original source materials.) The TRUE victory here - FOR ENB - and let us be clear this IS a TRIUMPH - is that of the courage of TAMARA ROJO. To shout a mere 'Brava' seems in her vision's regard almost churlish. This extraordinary young woman possesses the courage not only to stick to her own convictions but to swallow hard on everyone's behalf. We have, of course, seen her on a cornucopia of world stages spin oh, so many blissfully original effects before our privileged eyes. HERE she hooks our hearts in a vivid display of her Company's present and future potential. On this occasion Rojo wasn't even on stage - (Alina Cojocaru led forth with the benevolence of a refreshed gusto that enraptured all within her chivalrous reach) - and yet TAMARA WAS. She was present throughout. The vivid sweep of her tenacious solicitation housed within this first fully British production of Le Corsaire invited ALL simply because of the furtiveness of its humanity. The curtain rose and suddenly we were allowed to taste the plausible excitement for this company's future. That is what Rojo promised. THAT is what she delivered. Not all of it is, as yet, of course perfect. You wouldn't want it to be: Ever perhaps. Still as I looked about the fantastic mint surrounds during this Corsaire's maiden voyage in The Mayflower - so magnificently reflected in this production's 'Jardin' sequence - I was thrilled to watch an audience entirely entranced. They had come to be entertained. Here you felt them buoy. The sensation was palpable. They did so as Yonah Acosta found an enhanced detail within the glow of his enlarged theatrical size as Birbanto; they positively thrilled to Junor Souza's exciting variation (replete with the length of his legato line) as Ali in the pas d'action; they giggled at the delightful sense made of the nonsensical by the admirable Michael Coleman as the glittering Pasha and were entirely entranced by pristine raillery of Erina Takahashi's noble Gulnare and the filigreed precision of Shiori Kase, Ksenia Ovsyanick (wow), Laurretta Summerscales, Nancy Osbaldeston and the always fine Crystal Costa as either Odalisques or Roses. It was, in fact, the COMPANY that rose as the leading star. Vadim Muntagriov as Conrad was, of course, held aloft by his always dedicated elegance. What marked this performance for me was the progression this fine dancer has made in the development of his dramatic armory. More, I know, will come. The pas de deux in the second act with Cojocaru (here as enchanting as she was enchanted) was a masterclass in partnering. The audience literally gasped as he threw the object of his affections into their first significant fish dive of romantic passion. But then, as I said, we were already suspended in the glory of our disbelief. We were - and I would suggest are - part of it. That IS the magic. Thank you, Tamara, for this truly elevating gift. Bless you. Bless you for ALL.

Well, booking for the poor opened today .... sorry, 'general booking' .... and I was in and out well inside half an hour and bought 17 tickets to 17 different performances .... an opera/ballet mix.... Got everything I wanted except for a standing place for Hansel and one for Turandot. Have to say it was pretty smooth .... Got a scare when I first went on and dashed to the first Osipova Giselle ... ('Yes, yes, yes' ... I said to myself ... and to quote Bruce's brilliant review of Corsaire (for the wonderful Dancetabs) which I'm seeing tonight in Southampton) ... Selected a good 'T row standing ticket' in the amphi ... and got a box saying there was a 'submission error'. Did the same again with the same result. Did the same a third time and it said the ticket had already been purchased. Went to another T spot and still no luck. (Each time I did this these spots were still showing as available!!) Finally got a place at the back .... (plus T spots for the two other Osipova Giselles plus one for Morea's for even better measure. ... I'm a fan of her potential. That all said, I'm most grateful for all that I was lucky enough to receive.

Saw the production of BRB Sleeping Beauty in this run last night. What joy - one that hasn't diminished since I was first enchanted by this production in 1984 when I first saw it at the Brooklyn Academy of Music. Is there a MORE beautiful production of this work still extant in this country? I think not. This production must be protected at all costs. Would that this was being taken to Moscow next year AS DANCED BY THIS COMPANY in place of the RB's Manon (which the Bolshoi itself has done blessedly without the now watered down orchestration by one Mr. Yates) and, of course, the heady delights of Raven Girl. I can but think that Peter Wright is the most distinct classical interpreter in this country still breathing who is capable of bringing both taste and a distinctly British tinge to his additions which actually live in meaningful purpose and detail. The design too is delightful without being overwhelming. I so love the awakening pas. It finishes the extended vision sequence (the boat here having been replaced by - heaven forefend - choreographic imagination) with both eloquence and a variety distinct from the other acts. Stunning. The performances last night were - for the large part - of a qualitative one. Nao Sakuma was delightful as Aurora but the real standout for me was Chi Cao's Florimumd. There is not his equivalent at this very moment in the senior male ranks at the Royal methinks. He animated the prince brilliantly and his placement and partnering skills were supreme. Bravo. I wanted to pay special tribute to Samara Downs as Carabose - so wonderful to have a beautiful young woman in this role - she made total sense of the insult; of Yijing Zhang as a Fairy of (true) Joy; of Oliver Till for having developed into a dancer of such clear distinction and Feargus Campbell for ALL that he does .... with conviction, courage and focused zeal; His is a gift which keeps giving. Would that this country had more like him. We must, of course, be proud and appreciative of the gifts that are present.

From a Ballet Alert posting re: the British Born American resident choreographer who is an RB associate, one of the RB's dancers and a star principal from NYCB: It looks like the American In Paris revival is taking shape, with Wheeldon at the helm as choreographer and director. The show will premiere in Paris, with hopes of a Broadway transfer in 2015. Robbie Fairchild is in the workshop in the lead male role. Leanne Cope of Royal Ballet will workshop the Caron role. I'm not familiar with Cope, but Robbie Fairchild seems like the PERFECT choice for this project as far as the dancing goes. My only other candidate for the role would be Woetzel, but I suspect that he is now too old for this role. Robbie can certainly dance the role, but I have no idea whether he can act. It seems like for a big budget musical on Broadway, they would need someone who is a "triple threat". http://artsbeat.blog...adway/?ref=arts Now have a feeling that more than a few Balletcoforum members may be doing a spot of shopping next Xmas in Paris .... for, one suspects, (well, fingers crossed if project plans and castings remain steady) good reason. (Just by the bye, I have been told that Mr. Fairchild is well known amongst the NYCB dancers for 'singing all over the place' .... and from his stunning performances in FANCY FREE there is, I think little question that he can, in fact, fit this particular GI's bill, stepping up for Wheeldon much as another NYCB Robbie - (La Fosse that is) did for Robbins on Broadway!) Cope - certainly from a dancing perspective - seems inspired casting for the Caron role. (Who knows, perhaps she'll take the 'Cooper route' in her future career!)

Thanks, Bruce, for your - as always - insightful input. I should I guess have been more clear. It was the item reporting the occurrence of an emotive response on the street from Alina in which was leveled an accusation against another forum member which (at least for me) was left unclear which certainly raised questions in my mind as to its inclusion. That was the specific piece that had been removed ... and I simply wondered - given the question - why it had returned. That's all, pure and simple. I certainly wouldn't want 'happy clappy' either. Never have. If that were the case I doubt I would waste my time with attendance. Certainly the public record of Alina's and Guillem's remarks as published is fair play ... and those mentioned in them DO have right to recourse I should imagine if they so desired ... and certainly if they wished to push for it. I have a feeling that they may choose not to ... and let that speak for itself.

I know how you feel concerning this, Aileen - especially when matters become so personal (as some have seemed here at least to me of late) and when the commentary moves far away (even in reviews) from the heart of dance and its related production which is, I believe, the heart of this admirable undertaking. Can I be the only person on this forum board who has felt exactly the same as you have so clearly expressed Aileen - let us say distinctly uneasy - about at least one of the items on this particular board [i was shocked to see it return after having been removed for review .... and would love to know the reasoning behind that judgement (e.g., for its reappearance) by the appropriate balletcoforum arbitrators] and certainly several other notations on the board specifically concerning Matthew Golding? There is part of me that very much hopes not .... otherwise I am I fear REALLY out on a limb.

Like use of 'stygian', Alison.

Me too!!

Had my first peek at this, the Royal's third strike at DQ last night. Liked on the whole the costumes ... as ever with the RB team stunningly constructed - although why the happy couple had to return in the last act in costumes fit for a fairy kingdom I really did not understand. Still perhaps an overall Barbie doll/old school Disney pattern is what was aimed for here pushing it ever more away from the novel's very real detail. Of the scenery I felt MUCH more uncertain. Not sure I see the point of the moving houses ....(certainly it robs Gamache of the overall definition of his entrance - although Whitebread took a fragrant plunge to the role as a whole). Most certainly I felt the progressively encroaching windmills took a definite toll and not just on the Don. Although I can see the point ... such as must have been raised at an early design meeting the day after a night before say ... I felt in practice they simply did not work. Nor does the return of Dulcinea outside of the prologue. Almost certainly this must be to the total confusion of anyone who has not actually read the original book itself. Gone are the days of Ashton's clear and poetic story telling capacities it seems. But back to those windmills: In my reading they do naught but rob both the wit and pathos of the Don's decline, e.g., the over-riding conceit. Indeed I understand in the matinee yesterday the third windmill misbehaved to such an extent it actually forced the curtain to be brought down. Not worth it. Surely. Liked Solenka very much. She was a steady pool of mature response in the RB's now oft wavy... and alarmingly oft disturbingly muddy ... waters. All too often the house style here was softly undulating where a sharp attack was clearly mandated in this Russian interpretation in dance of a Spanish story. Would love to see Solenka in something else .... and adored the flaming camouflage in barnet of the central couple as provided (one assumes) by nature. Liked Avis as the Don as well plus the charm of O'Sullivan in a role much suited to the current RB jolly-hockey-sticks soubrette house style. Was put off by the shouting however .... (these not being actors with clear indigenous motivation, but rather dancing extras dutifully marking their cue) .... but refreshingly not so much by the clapping. What REALLY did the whole thing in for me, however, was Tait's orchestration. ('Wasn't he that man who thinned out the music to 'Manon'?', you rightfully whisper. YES!!) Here the whole was robbed of oh, so much of it's joy. Even the clear colours of the music inducted - to an uncertain end methought - from Bayadere were left more on the gypsy camp's background palette rather than in the pit. (Can this BE the same orchestra who have been playing SO vividly in Elekra of late? I understand it is.) Their DQ needs to lift not churn. To my ear they sounded as if waterlogged. So much was awash in an inappropriate romantic uncertainty. Certainly it was squeezed in its passion of any explosion. It remained weedy; certainly unwell. The slowing down of the first act divertisement (to allow Dulcinea to again waft through) was destructive in the extreme. I actually felt sorry for the hard working McRae in having to grind his gears so artificially in what surely must have been an exhausting attempt to turn - let alone gallop - once again. By this point in the proceedings (as we know from such fine Russian outings we have been privileged to see) things should virtually spin on their own. Even Vasiliev would have struggled here one felt. Here the music should have partnered McRae so he could fly ... not continually return to a run-way in preparation for his take off. Poor lad. I felt he didn't have the support he really needed nor ultimately deserved ... but then that was sadly true for the majority in the music's regard; the audience perhaps more than anyone else ... and they, after all, had PAID for the privilege!

Just wanted to say I SO loved the new Justin Peck piece, MURDER BALLADS, with its vivid original score that I went to see it TWICE. It is just SO refreshing to be be able to hear this Choreographer's original voice wash up at last on England's shores. You could certainly see the influence of Robbins. Here the conversation commenced in INTERPLAY was both honoured and extended in a unique and wonderfully structured way. This is our first time to taste this gloriously talented young man's joy. It was heartbreaking in the extreme to see the theatre SO empty on both occasions. (I hope the same fate is not greeting Liam Scarlett with the premiere of his new FRATAS pas for Yanowsky and Pennefether just now at NYC's City Centre in the mixed FALL FOR DANCE programme). Where were all these people on this board and elsewhere who say they are interested in exploring new work? (Perhaps they were still being all cozy-like at an extended tea with those much celebrated and oh, so, here dearly loved 'grannies'!) I've never seen SW SOOOOO empty. I'm sure Peck will be developing pieces for POB though. Quite right too. Millipied obvously values his gifts. I went over on Tuesday night and thanked him for including it. He just smiled knowingly, winked and said: 'Brilliant isn't it?' IT IS. (That noted, at the LBC interview with Kevin O'Hare this summer the RB Director said that he'd been very taken with Peck's work when he caught it at NYCB on the occasion of his going over to see Steven McRae guest in ABT's Corsaire. Maybe - just maybe - we will get to see something of Peck's created for the RB as well.) Also just wanted to say: what an incisive talent Charlie Hodges is: .... STUNNING .... His spirit as much as his technique are truly radiant. You can crucially see the soul behind the mind of this chap who is an Ivy League Phi Beta Kappa in both dance and architecture. BOFFO!!! His line is pristine rapture. Engagement plus. Small legs; HUGE dance. The LA Dance Project couldn't have a better Ballet Master!!

Another follow-up story on the above: http://nypost.com/2013/10/01/2-stabbed-others-injured-at-riverside-park/

James Fayette, who formerly danced with NYCB and is married to senior NYCB principal Jenifer Ringer, found himself being attacked by a homeless man with a pair of scissors in Riverside Park. He sought first to save his infant son. See: http://www.nydailynews.com/new-york/dad-talks-saving-young-son-scissors-wielding-maniac-article-1.1473763

Catch as catch can. She is a favourite .... and her Marschallin is to drool for .... Oh, and Arabella too .... and Rusalka (you can see her in the Met live cinema relay next year .... and .... and ....

Enjoy: http://www.youtube.com/watch?v=rPZc6RT2wlY&feature=player_embedded#t=0

One Wendy Whelan .... and just look what happened to her!!!! (Sorry for the exclamation marks .... but she simply warrants them!)

Thank you, John. That does sound a wonderful programme. So sorry I missed it.

I was on my way to Sadlers Wells for this when suddenly there was a person under a train so that I fear sadly put an end to that. We were stuck. (I had in fact just come from a reading of King Lear at the Old Vic which I must say was one of the most dispiriting outings I've EVER known so some balletic uplift would have been much welcomed.) Grateful if someone could let us know who danced what with whom in the gala. Thanks David for the wonderful pictures. It does sound a good evening.

I would have thought such cases against breach of contract were fairly standard across all paywall sectors.

I too have been rather taken back by some of comments on this board. I prefer to share the optimism expressed by SusanR and DonQfan, while respecting that we are all different. I only enter into this fray (which I was intending to leave aside) as I was interested in a comment made by (currently) the youngest Paris Opera Ballet male etoile, Mathias Heymann, regarding bringing different dancers into a resident company's fold. I thought it was interesting because we hear here from a specific dancer's perspective in a comment such as was brought up by him, himself, and not via a specific question assuming you take the transcription at its face value. (I don't think Heymann has danced in London yet so he may be unknown to those whose ballet watching is strictly limited to UK boundaries. He is I think - at least from what I have seen - a fine talent.) In the interview which was conducted with him on the occasion of the POB's opening at the Bolshoi in Paris he is most generous about the Royal Ballet and, especially about F. Bonnelli to whom he gives abundant credit for helping him during his recent shin injuries. He remarks - and I thought it was both interesting and relevant in light of certain commentaries on this board and in other forum items of a similar ilk elsewhere: "One thing I’m really in favour of is guest artists, like the Bolshoi’s Evgenia Obraztsova in La Sylphide last June. When there are 150 of us being together all the time, it’s easy to get comfortable, and guests do bring diversity. They’re an inspiration both for the audience and for us dancers." (Of course I quote this fully acknowledging the fact that POB has, of course, always been a larger and, indeed, much older company [and school] than the Royal Ballet. That said I would have felt that the sentiment might - at least in some small part - be shared with other dedicated members in larger resident ensembles.)