Bruce Wall

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 .....

First the sad news: I've heard via a source close to Alexandrova that it was in fact a ruptured achilles tendon that she suffered in the accident on Friday night. This makes entire sense with reference to the aforementioned 'click'. Also I understand Ms. Alexandrova is now safely (one trusts) ensconced back in 'the homeland', e.g., Moscow, Russia. I'm certain we ALL send this fine artist our best wishes for a speedy and complete recovery. She will be much missed during the Bolshoi's 2013 London season. (I very much hope that the Bolshoi have the kind consideration to update their replacement casting on their website - as they have done thus far. As we know the ROH/Hochhausers do not extend the same courtesy. Now of course they have even less incentive being aware as they must be that ALL the seats to the entire Bolshoi London 2013 season are sold out. It is for this reason I'm sure that the pregnant/absent Kaptsova is STILL showing on the ROH site as dancing Aurora on Monday evening.) Now for much happier news. I agree that that Obraztsova was generally fine this afternoon as Nikiya and that Volchkov was much improved in relation to his rather sorry state during the Bolshoi's opening in Swan Lake this past Monday. I also thought Anastasia Stashkevich particularly charming in the Manu variation. Indeed she was - as appropriate - most endearing. HOWEVER ... and it comes with a fairly major BUT ... THIS EVENING WIPED THE ALL SAD MEMORIES OF THE EVENING BEFORE OR EVEN THE SHAKY OPENING ON MONDAY FROM ONE'S MIND. 'How so?' you quite rightly enquire. Well, the entirety of this performance was of another dimension altogether. Basically it can be summed up in two words: OLGA SMIRNOVA. Smirnova is possessed both of an BY a supreme epaulement as well as almond eyes a la Rita Hayworth. Need I say more? ... I will. Her perfume is as exotic as it rare and I pray you have the opportunity to sample it. PLEASE: Beg, borrow or STEAL a ticket if you have to ... erm ... can. I promise you you will feel it both worthy and worthwhile. One thing I DO know: If Balanchine were now alive this young 22 year old would be in New York: NO QUESTION: NONE. Smirnova was BUILT for the fourth movement of BRAHMS SCHOENBERG or LA SOURCE. She is ENTIRELY bewitching and her finely etched Nikiya was this evening magically (for the large part) transported/partnered by the equally sensitive, strong and enchanted Semyon Chudin as Solar. There is no question but he is the best male principal dancer seen with the Bolshoi this time round ... at least in my estimation. So, let's be generous and make the summation a full four word folly. There is I now find hope for our DIAMONDS after all, mjosh. Praise be to God and his Smirnova/Chudin combo. The audience understandably erupted in a fashion they have not heretofore done at the five Bolshoi performances I have been privileged to attend so far on this 2013 visit. . A final word for Igor Tsvirko once again. While his golden idol would not I fear entirely wipe away the memory of Vasiliev's (whose could I wonder?) it came enriched by a much longer lyrical line given the fine frame of this sensitive dancer. He too enraptured all and I was especially moved to note that after he had taken his own much deserved curtain call at the end of Act II, he very briefly paused on his way back to his established rank to compliment the two British girls who had danced aside Anna Rebetskaya's magical Manu that evening. I doubt few in the audience noticed this but the breadth of those young ladies' smiles in response to his momentary comment obviously ensured that this was a new highlight in their Bolshoi experience. Bless you, Igor. While your idol may have been - and was - golden it was your humanity that made your person especially telling for me. It's a very special trait. Still, let it be called from the rafters: OLGA IS PROUDLY - NEIGH RIPELY - BOLSHOI ... Let the Balletcoforum family big up Smirnova!!! Certainly I will happily join in, as I did tonight, with those cries of 'BRAVA' .... BRAVISSIMA!! What a change a day can make.

If you want to see where the accident took place with Alexandrova, please pull through to 2.23 on the following filmed clip of the cinema release performance with the same principal Bolshoi cast: http://www.youtube.c...h?v=nkNcLy-Pzbk She feel from her full jete prep to the floor of the stage landing on her foot. Lantratov may well have accidentally been out of placement on the cross. Certainly she indicated by her immediate glare that she had been hit and understandably looked to be in shock. You can imagine what was seen by the ROH audience by removing the principal couple thereafter in your imagination and entirely cutting (again understandably) Gamzatti's variation.

(i) I think Gamzatti actually gets much MORE diverse dancing in the Russian productions than in the version Makarova has done for so many companies in the West and such as was originally mounted for ABT where the opening cast was herself as Nikiya, Dowell as Solar and Cynthia Harvey as Gamzatti. In the Russian productions you get Gamzatti's solo variation in the first act which I thought Alexandrova realised with stunning lyricism and strength as well as interspersed additional segments in both the first and second acts with the prime plumb of course being the central pas de deux - the crux of her role - which was sadly absent last night due to Ms. Alexandrova's unfortunate injury but is common to both versions. As it is Gamzatti does not have any substantive choreography in Makarova's third act. I remember with delight a free interview session at the NY Public Library with Ms. Makarova (indeed all such programmes were - and as far as I know remain - free) at the time of the opening of her production wherein she related that the reason why there were no parrots in her production was that her very first assignment with the Kirov (as then was) was in that parrot variation and she could never keep the parrot on her wrist. Much laughter was incurred by her demonstration in fabulously broken English. The Bolshoi ladies last night happily had their parrots on a stick. At the Mariinsky they still come wrapped. (ii) I don't know how many of Balanchine's 420 ballets you have seen, Aileen, but he frequently has young dancers on pointe and often dancing the same choreography as the adults. Certainly I don't think anyone could ever accuse him of being patronising to either his dancers or the audience. For the reason you suggest HARLEQUINADE (2 act narrative ballet) can be an absolute delight. Sadly, if you have not visited New York you probably won't have had a chance to see this.

Thank you, Bruce. It was really the lack of any announcement/acknowledgement at all in face of the paying audience that surprised me. But, perhaps, that is just me and not the Bolshoi. Point taken with thanks.

Thank you for your kind clarifications, Amelia. I mistook the dancer Ms. Bochkova from sight. My mistake. Mea culpa. Thank you for the clarifications vis a vis the situation with the Bolshoi ONEIGN. I did know this and that was in fact what I wanted to say ... it was only my clumsy phrasing that is at fault here. Again thanks for your kind advice for the better clairification of all. We pray for Ms. Alexandrova's speedy recovery in Russia. She will be very sadly missed here. The accident was certainly a very painful one to watch. I wonder who will dance her remaining two Swan Lakes, her Sleeping Beauty and her final night Flames of Paris. I wonder now if they will fly out Ms. Kaptsova who was originally scheduled to dance here as a principal - or they could in a pinch bring in a certain Ms. Nunez as a guest if she were available under the unfortunate circumstances - or perhaps former Company member Natalia Osipova, who Urin is quoted as saying he wishes to extend renewed relations with might help out if possible. This weekend she is dancing Carmen with the Mariinsky and Mr. Vasiliev Prodigal Son and Le Jeunne Homme at the same address. They both (O/V) gave their last official performances 'as principals with the Mikhailovsky' on 30th July in Duato's Sleeping Beauty. In any way Mr. Urin can rest assured that it will have no effect on the ROH box-office take as ALL tickets to each and every performance have been sold out under the certain provisio that 'casting is subject to change'. That is, of course, less important than Ms. Alexandrova's good health. That above all is paramount. She is a very talented artist and at 34 has much balletic artistry to share with her appreciative audiences throughout the world. Here is a link to the article from which a paragraph was quoted by Dancefan: http://pda.itar-tass.com/en/c32/828730.html

Dave, great pics AS EVER ... a true delight. Smirova looks an absolute delight. It will be our first view of her. Can't wait. Just wanted to say that a forum jacket has already been established for BAYADERE 2013 (with past and current entries already embedded therein). Perhaps the pictures could be copied over just so there isn't any undue confusion.

Tonight's Bayadere looked like it was combined with the Red Shoes. All that was missing was the empty follow-spot during the second act Gamzatti/Solar pas. Even in the film the manager made a front of curtain surprise announcement. (I remember being at the original opening of the Broadway revival of 42ND STREET in NYC when David Merrick announced that Gower Champion, the production's choreographer had died - knowing as Merrick did that the death had happened before the performance, in fact earlier in the afternoon. He held the announcement. That was done on purpose for the press value ... with the girl playing the lead, Champion's mistress as it happens, in floods of tears and the reviews turning from the arts page to front page NY Times news. This, however, most definitely would not have been THAT.) It did make one wonder if the management had not, in and of itself, been somewhat crippled. Certainly I must confess I have never seen ANYTHING quite like tonight at a ballet performance though. If I had paid literally hundreds of pounds to see this production I would have felt very aggrieved. (Do you think that wrong?) WHY DID THEY NOT BRING THE CURTAIN DOWN? Everyone would have understood. We were, after all, ALL witnesses to the event. Not sure what happened to Alexandrova. Did Lantratov hit her? Did she simply land awkwardly? If looks could kill Lantratov would have been well and truly dead before she hobbled off. From the way she did so it very much looked like it may have been her ankle that took the brunt turn of her foot's collapse in/on, of course, that high Russian box. I wondered if she had landed on a previous injury? She was of course sadly missed. There is no question but that she was the strongest dancer on the stage in the first act. No question at all. Her solo variation was enchanting. Again: Why I wonder was the curtain not brought down and a replacement found? Did the powers that be ... or the conductor ... think that we simply wouldn't notice. Yes, the show must go on ... but, as it happens, this wasn't THE SHOW. Ironically Anna Tikhomirova who is to do the role in the Saturday matinee was dancing the third shade tonight. It would only have been a matter of 10 minutes to allow her to change into the costume ... and she very much looks to be around the same height as Alexandrova (who I pray is or at least will eventually be ok). Yulia Grebenschikova bravely attempted the final female coda variation which (as it understandably happened) was rather messy but roundly applauded for being a good sport and all that. This was, I fear, a performance OVERALL of much compromise. Agree with comments about corps in third act. Highlights for me: (i) IGOR TSVIRKO as Magedaveya, the head Fakir .... consummate dancing and a very focused dramatic portrayal without at any time pulling focus. In this role that is very hard to do. Bravo, Igor. Well done. (ii) The dance with a drum ... All three soloists were stunning, but the headlights that are Alexei Matrakhov's eyes glowed in the dark from atop his lighthouse-on-the-hill-like body. (iii) ANASTASIA STASHKEVICH - as the first shade ... a class act in everything we've been privileged to see her do thus far; (iv) STUNNING harp playing in the first act; a glistening cloud of sound. I was taken by Lantratov. He had the difficult job of partnering Zakharova. Can't be easy ... and he had to recover himself for his solo in the 2nd act pas which was, perhaps, his most musical outing - being there left entirely to his own devices. Suddenly the corps watching on looked - if only for a second - relieved.. Some of the girls with the parrot sticks sat at the back patted the tears away from their eyes during his applause. Can I ask ... does anyone else feel like me ... that Zakharova's extreme extensions come at the cost of both the music and placement. It was for me at times like watching through a fun-fair mirror. Too many things were blurred. I now DEFINITELY fear for Diamonds ... which, as it happens, is my Desert Island ballet ... if, of course, I was only allowed one act ... or indeed one pas. I am, of course, ready to be surprised - BELIEVE ME I AM - but I must confess to being ever more fearful for the opening night ... but then Smirnova, her replacement when she walked out of ONEIGN, will delight us I'm sure on the second night of JEWELS.

Given that the Coliseum takes all bookings as straight rentals they sadly have no vested interest in any regard as evidenced by their appalling lack of marketing incentive for anyone short of the ENO. Bravo to Carlos and his team for their own incentive. They've fought and won and are no doubt profiting from it. Pity those with fine programmes who have lost.

Another conversation with myself: Apparently there is an exclusion rider for ALL dancers at ABT which stipulates that they can't dance with another company in NY either three months before or after the established dates of the ABT Met season. (I haven't included the Koch season as it seems Vasiliev, Osipova, Vishneva and other such like have not chosen to dance in those.) That means that Vasiliev will not be able to do the Bolshoi Spartacus at the Met this time round ... unless, of course, he were to choose to leave ABT to return to the Bolshoi. I have this distinct feeling that will not happen. (Of course this exclusion will also apply to Osipova and all other ABT lights. I wonder if Osipova has a similar agreement with the RB put in place for London? I wonder if there is a similar kind of deal for Hallberg in Moscow? Somehow I doubt it on both counts.) It looks fairly obvious that the Mikhailovsky dates in NYC have been set so that both O/V could - if desired - join their ranks as guests should they wish.

To answer my own question ... just found this on another site ... the Bolshoi will be dancing - Swan Lake, Don Quixote, Spartacus - in NYC. Bet you anything they bring in Vasiliev for Spartacus to ensure tickets sales ... or maybe not ... ???? Dates: 12-28th July - with a concert performance of The Tsar's Bride thrown in for good measure. Of course they are doing Lost Illusions (Ratmansky) in Paris: 4-10 January. (The Paris Opera Ballet is going to Moscow in September with Paquita. When was the last time POB came to London? It must be a LONG TIME AGO NOW ... and just think they don't have to pay visa cover charges to come here!!) The Royal Ballet are there 16-22 June with Manon, Raven Girl (bet that will go over big time) and Danse a Grande Vitesse (Wheeldon). The Bolshoi are doing an exhibition to honour Maximova between February and July.