Bruce Wall

The Guardian's four star review of Jewels has now been published. http://www.theguardian.com/stage/2013/aug/13/bolshoi-ballet-jewels-review As MAB has so generously stated it is refreshing to note that we live in a world where we can ALL see things very differently. How wonderful is that. Often the trouble for me with DIAMONDS is that I first saw it - and saw it a number of times - with its original cast. As much as I have admired other performances by many other companies/performers,- (it being as I have previously said my desert island ballet) - the memory of THAT experience (while then still overseen by Balanchine himself) has never in terms of its overall and thrilling mystery been (FOR ME) bettered. http://www.youtube.com/watch?v=5WOwWjwm-QY (The scenery in this clip was for television only. I love the simplicity of the NYCB's original design letting the ballet speak for itself.) Will it retard me from keeping on looking at other companies/performers undertaking it? ... No way Jose ... It is just to fine a piece of art. Next up more of the Royal Ballet in December/January and La Scala in March. All best wishes to ALL.

I thought Chudin both in his DIAMONDS solo variations ... and (somewhat surprisingly) in his partnering .... (that partnering is deceptively difficult and he made a fine hand of it) .... was the real standout. Oh, THAT and Obraztsova who was exquisite in EMERALDS for which she is I think best suited. It will be a privilege for us all to see Smirnova grow as an artist over the next few years. -- I have this distinct feeling that the Bolshoi will be back in in London 2015 given the current commercial success of this season. That the potential is rich for this 22 year old must be unquestioned. (It also doesn't hurt that she is radiantly beautiful - glowing a la Audrey Hepburn - on stage.) Talking of people looking like others, I found myself laughing. Chudin very much holds his mouth on stage like a certain Nilas Martins. Indeed if his hair was more blonde ... he would even look like Nilas at a similar age ... Not that either of them could ever possibly wipe out the memory of a certain god-like patriarch in that role, its originator). Lovely to see Filin come out onto the Covent Garden lip during the curtain calls ... and to witness the affection his dancers so obviously hold him in. That single happening turned the evening from a performance into an event ... and you could hear the audience very much respond in kind at that awareness. That, in and of itself, made for much happy wonderment!

LinMM, the person selling the ticket in question is quite clear that it is for the 7.30 pm performance not the matinee. The casting you list is correct for the evening performance. The ROH website has been updated as has the Bolshoi's own site. Vasiliev will NOT be dancing at the matinee, now doing the two evenings. Lantratov (who will be doing the matinee) was the dancer who opened the production in Paris with Alexandrova after it was originally mounted by Ratmansky for Osipova/Vasiliev in Moscow. I'm sure your friend will be happy. You will be seeing Denis Savin as Jerome who originated that role in this production. London saw Krysanova and Lantratov dance the central FLAMES pas a couple of years ago at the Coliseum in a Russian gala and the audience was delighted as far as I can recall. Should your friend wish to see Vasiliev she will have the opportunity to do so in the Kings of Dance programme in March at the Coliseum. He will be dancing Le Jeunne Homme et la mort ... much as he did in a magnificent performance when he guested with ENB for no fee as a mark of respect to Petit on the occasion of his then recent death. Please reference the Bolshoi casting below: The Flames of Paris 16 August , 19.30 17 August , 14.00 and 19.30 Jeanne — Natalia Osipova (16 August) , Ekaterina Shipulina (17 August /14.00), Ekaterina Krysanova (17 August /19.30) Philippe — Ivan Vasiliev (16 August , 17 August /19.30), Vladislav Lantratov (17 August /14.00) Adeline — Anastasia Stashkevich (16 August), Anna Rebetskaya (17 August /14.00 and 19.30) Jerome — Andrei Merkuriev (16 August), Denis Savin (17 August /14.00 and 19.30) Mireille de Poitiers — Kristina Kretova (16 August , 17 August /19.30), Anna Tikhomirova (17 August /14.00) Antoine Mistral — Artem Ovcharenko (16 August), Denis Rodkin (17 August /14.00), Ruslan Skvortsov (17 August / 19.30)

Those of us who were fortunate enough to see the last Russian Gala at the Coliseum saw Obraztsova dance the central Diamonds pas de deux with Ovcharenko. The ROH website has now been updated to reflect the changes noted.

Thanks for posting this Chinafish ... I began to think it was just me. I simply couldn't believe it!! I began to wonder why Sky Arts were broadcasting this AT ALL with the sync in such a sorry state. The charity I run leads (amongst its many strands) a digital video shooting/editing training programme for prisoners. Frankly I would not allow a segment that was so mis-aligned to be shown AT ALL and insist that the editors go back and correct it. It is simply not good enough. Quite frankly, while not honouring the Bolshoi's fine traditions ... it makes I fear a laughing stock out of Sky Arts. Perhaps they can address THIS in the documentary they are making with Deborah Bull about their discoveries. I sincerely wonder how SHE feels about the state of the film as broadcast. For one It left me feeling quite angered ... and certainly made me question my subscription to Sky. I wonder do the commerical sponsors not see this before airing? Surely they must. In the US it would be against the law for a commercial broadcaster NOT to do so. Did they not realise the glaring faults that are herein evident? If so do they (Lexis et al) care? It would appear from the fact that this programme was broadcast in the state that it is in that they do not. SHAME! Surely that speaks for itself and I pray that was NOT their intent. As to the presenting organisation itself ... Well ...

We knew from the opening night that Volchkov was nursing an injury. He has been replaced by Lantratov in FLAMES as well so this is, perhaps, not entirely to be unexpected.

One guess as to the casting for the cinema relay in January 2014 ....

This is sad news indeed. Beyond his start with the RB and later NBoC David Howard was an important and vital influence to so many key dancers drawn from throughout the dance world both during the dance boom and beyond. We ALL I think owe Mr. Howard much and his weighty legacy will outlast us all. It already does.

This has already been listed under news. Perhaps one of the moderators could merge the further comments. With thanks.

While in total admiration of Mr. Sugrue's fine work, this is one area where the UK is currently rich with similar talents. I would love to see one of our extremely talented filmmakers now young in their careers be given a similar opportunity (where deserved) to highlight say one or two of our current ballet leading artists (who are, after all, themselves largely drawn from an international pool) and who find themselves resident for the moment in the UK. Trouble is that films like the fine one made by Mr. Sugrue tend to be labours of love. They are certainly not what is frequently deemed 'commercial'. What was most appealing, I think, was the concentrated focus on (i) the relationship of Ms. Smirnova with her dedicated coach - such as goes for all major dancers at the Bolshoi - (and, in fact, the same woman who was latterly coach to Ms. Osipova, soon to join the Royal Ballet) and (ii) the specific focus on her specific preparation of one role. This film didn't try to bite off more than it or the viewer could chew. It didn't attempt to be all things to all people. For me that's what made it potent. Mr. Sugrue's commercial background in this regard paid considerable dividends methinks.

Thanks so, Katherine. Michael Sugrue's film is enchanting, so beautifully edited and shot.

Thank you, Bruce, for this truly EXTRAORDINARY work. I hope it is referenced for ALL in the mentioned one day conference. It is especially refreshing as it is available to ALL at no cost. In the truest sense it is a public service.

Casting for FLAMES now confirmed on the Bolshoi (Russian) site. OSIPOVA will only dance the Friday night performance as originally scheduled. JEANNE, Natalia Osipova (16 August), Catherine Shipulina (August 17 ​​/ morning), Catherine Krysanova (August 17 ​​/ evening) ,PHILIP - Ivan Vasiliev (August 16, August 17 ​​/ evening), Vladislav Lantratov (August 17 ​​/ morning) ADELINA - Anastasia Stashkevich (August 16 ), Anna Rebetskaya (August 17 ​​/ morning and evening Jerome - Andrew Merkuriev (August 16), Denis Savin (August 17 ​​/ morning and evening) Mireille de Poitiers - Christina Kretova (August 16, August 17 ​​/ evening), Anna Tikhomirov (17 August / morning) Antoine Mistral - Artem Ovcharenko (August 16), Dennis Rodkin (August 17 ​​/ morning), Ruslan Skvortsov (August 17 ​​/ pm)

Just wanted to correct this .... The Caraboose of the preformance reviewed by MRR was danced by Alexei Loparevich. Vitaly Biktimirov did happily appear but as I noted in my posting previous portrayed Catalabutte. Just for the record.

Enjoyed Krysanova again, especially her entrance in Act I; pure sunshine in her (to quote Crisp being Crisp) 'fiorituri of steps'. Agree re Chudin. As I said after his debut here in Bayadere he appears to me to be the finest native principal resident with the Bolshoi at the moment - at least from the crowd now on London show; although understandably minus that breadth of expansive style which is embodied inherently within David Hallberg. Hallberg stands out as he has somehow bravely and clearly kept his own style whilst joining it with the Bolshoi characterful glean where - and only where - it is most appropriate. It is, I think, a happy union.) I again thought Chinara Alizade stood out in her charming focus as 'Sapphires' in the Jewels diversion (there's more we'll see from this fine young artist I'm sure), but why I wanted to post at this particular moment is to hail one particular dancer who might I think be all too easily overlooked and who provided me great joy: Vitaly Biktimirov. From his unforgettable appearances during the last visit with the Bolshoi, (in that explosive Don Q as Espada opposite V/O or Le Corsaire), to this time where I have been privileged to see his considerable and ever more variable frame and even more potent eyes as a fantastically driven partner in the drum dance in last Saturday night's Bayadere to the opening's and again last night's Catalabutte in Sleeping Beauty. I have NEVER seen that role - Catalabutte - where the detail was so completely and delightfully etched; where it has been given such a full character arc. Here Biktimirov reminded me in his joyous detail of a certain Peter Sellers, rife with a humane soul and always - ALWAYS - totally in frame and response to his surround. His anxious movements at having collected the forbidden spindles, his thrill at being able to dance - or is that prance - in a rather mis-matched fashion through the garland celebrants or his Maggie Smith surprise when almost colliding with a stage right supernumerary guard where all pure heaven - and they could have oh, so easily been completely over the top in lesser hands (as they so frequently are when people pull focus) and oh, so easily under-appreciated. I was as intrigued as I was enchanted. Indeed I still am. It's that detail that REALLY makes the difference for me. 'Bravo' Vitaly I say, 'Bravo'.

I agree with you, Dancefan. It's just that this was the third time I'd seen this production and those elements you mention had been CONSISTENTLY present throughout each of the performances. Agree about squeaking on the floor. I think I have a squeak in my ear now - having stood through three nights of it ... with a fourth , the last, to come tonight. It's only a shame we won't get see Alexandrova in it. She is, at least from my observation and taste, the most assured technical female principal the Bolshoi has at the moment - well, from the crowd that has been brought on this particular junket. Fate, she can be a cruel mistress, ballet and otherwise.

Evgenia Obraztsova is that 'rare exception'. She did her RA en couronne; twice times the triple round - and delightfully so. Moreover, she succeeded in forcing the conductor to SLOW DOWN. (Of course we had previously seen her in her glory with the Royal Ballet in this role - and also at the ROH with La Scala where she danced with that most radiant of princes, Leonid Sarafanov!) For a very brief moment during her vision sequence - and only a moment - she reminded me of Judith Fugate. I am not entirely certain why. It may have been her eye make-up mixed with the corner of her enchanting smile. She tried in her first act solo variation tonight to also slow things (read 'music') down as well but that only only resulted at one point in a distinct disjoint against the orchestra's grain which was not I think her intent. Still she bravely stuck to her guns. (Who was conductor here after all? Tonight that was sometimes a rhetorical question.) Obraztsova was right to be stubborn and it paid off for the benefit of ALL involved. The visual sensation of pride by the 'Foreign Princes seeking Aurora's hand in marriage' during the curtain call for the RA was palpable. Last night dear Karim Abdullin - a fine partner - had looked totally flummoxed in fear at having to handle the ballerina Aurora he had been assigned. I agree the same light did, (as capybara mentions), also cast its long shadow (beneath and around her extensions) unto the understandably concerned demeanor of the very noble David Hallberg's prince. None of that to contend with this evening however. Most refreshing. The warm relationship between her and the conductor was evidenced at the curtain call ... as well as the LARGEST collection of roses in a basket I've ever seen presented on the ROH stage. It was a veritable bucket ... so much so that (i) it took two ROH substantive FOH staff members (male) to carry it on - struggling as they did so - and (ii) Dimitri Gudanov, her fine prince, had to lean down and pull but three roses out for her to carry .... He also lead her down in front of the curtain as it fell .... a wonderful entry to their first front of curtain bow. In ALL a delight. This was the finest SB of the three so far by a considerable length. Prime support this evening came from Ekaterina Shipulina as the Lilac Fairy. She was truly magnificent in her graceful exactness, totally obliterating painful memories of several unfortunate occurrences the evening previous. I'm so glad that she will be dancing the FLAMES female lead at the Saturday matinee with Lantratov. They will, I think, make a fine combination. . Further special mentions from my memory tonight: Yulia Lunkina and ESPECIALLY Denis Medvedev as the White Cat and Puss in Boots. Radiant - especially the extraordinary character work of Medvedev. Also he wins the prize for best make-up job of the year. He was, in fact, even better than he was at the first performance ... or is it I was just able to enjoy the detail of this more knowing what joy was in store. Anastasia Stashkevich once again did yeoman duty as Diamonds in the Jewels section only the orchestra was SO fast as to all but obliterate her achievements in the primary variation. Anna Tikhomirova delighted with zest as Cinderella and the aforementioned Karim Abdullin was her enchanted and enchanting prince. This small outing is pure Grigorovich in its choreographic realisation. I would love to see Tikhomirov as Phrygia opposite Ivan Vasiliev. You could see how brilliant she would be from this section. It would be a real treat. Chinara Alizade shone tonight as the Carelessness fairy as she has all week be it as a very fine third shade in Bayadere or, as capybara pointed out, a sparkling 'shapphires'. Kristina Kretova and Denis Rodkin were again the bluebird couple. She particularly shone. All in all it was a vast improvement. Although I, too, had doubted the wisdom of having another ticket for entry .... coming out I was most pleased I'd made the effort. There had been a goodly number of diverting rewards.

We saw Smirnova at a Coliseum Gala. Does anyone remember if she was having difficulties then? I was there but quite frankly I don't remember.

Saw it for a second time tonight. Highlights lodged within a gleaming but nonetheless sorry (or is that dull) lot: (1) David Hallberg deserves a medal for (i) live-saving partnering given a partner (no names mentioned) whose legs seem to live on a planet of their own imaging and (ii) for etching a character (one might almost say forcing one) out of exactly nothing (which last night's occupant did not even attempt I now realise); Smirnova danced the Lilac Fairy and after Saturday night's Bayadere I was mightily disappointed. True she has a ravishing instrument and was also gifted by Hallberg's esteemed presence ... but I lost count of the number of pirouettes she fell out of during her initial variation. After that the smile of my heart in her regard became rather fixed I fear. Of course, Mr. Crisp, It will live in the hope that it might be warmed again. Fingers crossed. (2) the graceful Florine of the ever-dependable and charming Anastasia Stashkevich. She danced tonight with last night's Desire, Artem Ovcharenko. He looks good in blue, but Denis Rodkin was, I fear, better equipped and more responsive in his partnering. SO VITAL. (3) True highlight, however, was the ever wonderful Igor Tsvirko who appeared as Carabosse. If you MUST have a Carabosse en travesti .... (and I, myself, prefer when they are not ... Oh, for Merrill Ashley in the original NYCB production) ... then THIS is your (wo)man!! A class act Igor - No qualms there.

Sorry if I didn't make myself clear, Bluebird. We are IN AGREEMENT. I meant mine as a MINUS ONE (-1)

Very briefly - out of a scale of 10: Stage floor -1 (most distracting as seen from above - read Amphi ... especially when any satin pointe shoe merges - read disappears - into the light reflecting gilt of it); Denis Savin as the Grey Wolf: 11 (so refreshing to have a total characterisation - even half covered in a mask - THROUGH dance, one followed through and delighted in by the audience ... but then he was brilliant too in the dance with the drum pairing on Saturday afternoon in Bayadere.) I'm sure others will have much more to say vis a vis last night ... but just now I must proverbially dash. Thanks for the photos, Dave. They are a truly luxuriant treat and wonderfully framed. That is Denis Rodkin partnering in the first photo in posting 3. He danced the Bluebird last night and did, I thought, a good job of it. (Believe it or not this lad is now one of the two dancers - the other being V. Lantratov who he replaced due to injury last night - doing the major roles in the Bolshoi's current productions of SPARTACUS and IVAN. So pleased I had the privilege of seeing the 'other Ivan' while he was still about in Moscow Perhaps while Vasiliev is still at ABT they should consider borrowing one or two of the two Russian productions for him. - (Methinks they are inter-changable only Ivan has the better score.)!! Love to see him opposite either, say, Gomes or Cornejo - or a guesting La Riche. BRILLIANT!!) Who knows that might even be able to fill the Coli if they were to bring it here and help to off-set the traditional lesser audiences for more recent works like Ratmansky's hailed Shostakovich Trilogy or upcoming Tempest). Rodkin's Florine, Kristina Kretova, also pleased and she has the most enchantingly natural smile.

At tonight's SLEEPING BEAUTY the pre-performance announcement said that RODKIN would dance in place of LANTRATOV as the Bluebird ... due to the latter's 'injury' ... and he did. I must confess - only because of the debacle in Paris when FLAMES opened there and Barton22's posting (#172) which I had read immediately prior to going to the opera house - I began to wonder if Lantratov's injury announced this evening MIGHT NOT have been at least in small part to his pride at the hands of a casting not entirely to his liking/expectations. (This is, after all, the kind of behaviour that Urin has said he is going to take steps to root out. Not, of course, forgetting the recent ONEIGN saga.) If one was to believe the articles in Le Monde at the time of the FLAMES opening at the Palais Garnier on 5th May 2011 - one might be forgiven for thinking that there could be a certain rough justice in all of this. Certainly at the time it resulted in the great anxiety caused to the AROP gala for the then President of France, an enormous premium having been paid by ALL attending audience members who - according at least to the original invitation - (and I know as I received one and had purchased a ticket based on its embossed expectation) promising - as it did in writing - the ORIGINAL leading performers including Osipova and Vasiliev. Still it was not to be even though they ('Osiliev' as you put it Barton22) were there in Paris, uninjured and did in fact dance performances later that week in the same roles - but not at the gala. (As it happens we in LONDON have seen Lantratov and Krysanova dance the major pas de deux from FLAMES at a 'Russian' gala at the Coliseum. .... much as we have more recently seen Obraztsova and Ovcharenko dance the central pas from DIAMONDS in another of the same.) But then I thought - standing in the amphi - NO, this is merely a metaphysical speculation and like most metaphysical speculations has very little bearing on the subject at hand. .... (Thank you, Oscar) ... Moreover, the performance of Sleeping Beauty had even then begun to literally blind me in the reflection of the abject gilt embedded within its Act I floor pattern which I can assure you dazzles (sometimes alone) in the heat of its theatrical sun. . I will be most curious to see if Mr. Lantratov shows up to dance his EVIL GENIUS on Saturday in SWAN LAKE.

One other change to highlight. LANTRATOV is now dancing the role of Philip for the FLAMES OF PARIS Matinee on 17th August in place of Volchkov. Agree with Capybara, bless the BOLSHOI for letting the London audiences know of their casting changes and updating their records in such a timely fashion. There are a few managements we all know who could well profit from their fine example of good practice.

Sorry removed this. My writing is too wordy and I don't have time to slim it down. As my mother would have said: 'If I had more time I would have written a shorter letter.' Letters?? Ah, yes, I am that old!!!

Pity the poor people in the Amphi standing .... no vents beneath our feet there. That said I did survive and left not I think unduly overheated ... well, at least as pertains to the immediate physical environment. (It was FAR worse prior to the millenium refit) Now as to people's (excessive) fanning .....