Bruce Wall

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.

Do you know what else they are dancing in NYC, Katherine? I see they are at the Kennedy Centre in the Spring with GISELLE alone. Grateful for your kind advice when you get the chance.

Sorry. It was in boxes when I pasted it but they did not come out for some reason. I fear it's beyond my technical capacity and time limit allowed. I will try again using the paste from Word facility and see if this helps. . I tried and it came up fine in the initial window but when that closed and it came up in this system it did not work. I fear that this is all the time I can spend on this item just now. Again sorry.

Principal casting for Medora and Conrad Milton Keynes Thursday Mat 17.10.13 Takahashi, Acosta Thursday Eve 17.10.13 Cojocaru, Muntagirov Friday Eve 18.10.13 Rojo,Bufala Saturday Mat 19.10.13 Takahashi, Acosta Saturday Eve 19.10.13 Klimentova, Muntagirov Southampton Tues E 22.10.13 Cojocaru, Muntagirov Wed E 23.10.13 Rojo, Golding Thur M 24.10.13 Oliveira, Konvalina Thur E 24.10.13 Takahashi, Acosta Friday E 25.10.13 Klimentova, Muntagirov Sat M 26.10.13 Rojo, Golding Sat E 26.10.13 Oliveira, Konvalina Oxford Wed E 30.10.13 Rojo, Golding Thur M 31.10.13 TBC, TBC Thur E 31.10.13 Klimentova, Muntagirov Fri E 1.11.13 Oliveira, Konvalina Sat M 2.11.13 TBC, TBC Sat E 2.11.13 Klimentova, Muntagirov Bristol Tues E 26.11.13 Cojocaru, Muntagirov Wed E 27.11.13 Oliveria, Konvalina Thur M 28.11.13 TBC, TBC Thur E 28.11.13 Cojocaru, Muntagirov Friday E 29.11.13 Rojo, Golding Sat M 30.11.13 TBC, TBC Sat E 30.11.13 Takahashi, Acosta London Coliseum Thursday Eve 9.1.14 Cojocaru, Muntagirov Fri Eve 10.1.14 Takahashi, Acosta Sat M 11.1.14 Oliveira, Konvalina Saturday Eve 11.1.14 Rojo, Golding Sunday Mat 12.1.14 Cojocaru, Muntagirov Tues E 14.1.14 Oliveira, Konvalina Wed E 15.1.14 Cojocaru, Muntagirov Thur M 16.1.14 TBC, TBC Thur E 16.1.14 Rojo, Golding Fri E 17.1.14 Cojocaru, Muntagirov Sat M 18.1.14 Takahashi, Acosta Sat E 18.1.14 Rojo, Golding Sun M 19.1.14 Klimentova, Muntagirov

No one - at least in my memory - took it slower than Makarova.

Does anyone know are they selling standing room??????

I'm so pleased you said that Ian. I began to wonder if she may have intended this are our (e.g., the male sex's) comeuppance given the recent twitter storm. One wouldn't have minded it - indeed found it amusing - once or twice but she did, I fear, go on.

Saw the performance tonight and Alexandrova was a definite improvement over the extended extremes of Zakarhova the evening before. (I pray those are toned down for Diamonds or it will look right out of sorts I fear.) Can see why they wanted Alexandrova to film this production of Swan Lake for the cinema release. Technically overall she is far more secure to my eyes. Admittedly she was better partnered on this occasion than Ms. Z so that may make for an unfair advantage certainly. Lantratov, however, needn't worry. As the 'evil genius' he is in a realm of his own on this voyage. Standouts this evening were (for me) Anna Tikhomirova performing the Spanish Bride as she did in Monday's performance and the truly exquisite Anastasia Stashkevich (she of the glorious feet as vivacious as the blonde glean of her smile) as the Neapolitan Bride. (I wonder about some of those photo references. She is definitely blonde. That certainly was no wig she was wearing ... or every woman should have at least a few in their wardrobe!! She radiated joy in her dance enveloping all within her considerable reach.) She was much missed as the prince's prime friend in the first act tonight. I so look forward to her principal casting in Flames. The ROH was packed to its considerable rafters and it seemed everyone was present. I was standing on the left side of the amphi tonight and where there should have been only two people standing in my section (W62 and 63) there were four ... with all other attendant spots (W64-66) being well and truly spoken for. Skvortsov made more of his mystery at the end ... so I don't think the audience felt quite so ENTIRELY puzzled as they seemed to be last evening with Volchkov. There is no question,but that this production is rife with uncertainties ... although it can at least be seen (e.g., the lighting) which can't be said for all aspects of certain 'other' Swan Lakes I'm aware of that grace that same stage. Oh, and no cups were spilt (at least that I could see/hear) or cassocks rudely upturned ... to a brief sigh of much appreciated relief. Well, at least from me. Still, there was that damned jester ... and this one's ability was more raw whist his tumbled antics as chaotically disturbing as ever. Enough already.

Vis a vis the somewhat crippled performance of Volchov: From my standing perch in the amphi, I began to wonder if the Hochhauser's might have requested a leading couple made up of dancers who had danced/starred in previous London/Bolshoi outings. Zakharova, of course, missed the 2010 round as she was pregnant and is clearly an international star but Volchkov had too, of course, danced Crassus in that mind-blowing Spartacus where the young Ivan Vasiliev blew everyone and everything (including yet another sullen surround) out of the water. VASILIEV blazed through its dark. That's what it obviously takes and the lack here was clearly felt. I am sorry too that they are bringing this particular production of Swan Lake to London in place of some other part of their rep that would have been more fresh for London eyes. I well remember seeing Andris Liepa (ah, yes, him of those Coliseum speeches but two weeks ago) and that oh, so tastefully resplendent Georgian dancer Nina Ananiashvili in it low those many years ago. I understand the inclusion of The Sleeping Beauty because it is, of course, a new production and was the one which opened the refreshed Bolshoi Theatre. The Company are dancing in NYC next year immediately following the ABT season. It will be interesting to see if they take a less conservative selection of choreography there. Mrs. Hochhauser made a comment in a recent interview that they couldn't afford to be 'like Boston Ballet' in London. To my mind more is the shame. Indeed - again to my mind - such attitudes do a dis-service for all concerned. (Of course, it is not my money that is at risk here and, hey, words are cheap.) Still, - in the longer run - it will be - as it has always been - the art form in this country that will ultimately pay the price from such restrictions. Bless people like Kevin O'Hare and Tamara Rojo for their avid and active determination to fight against this; their STATED willingness to not just flail but fail. Hopefully they will produce/inspire a generation of producers (or at least one if not a few) who will be keen and capable to lead AND feed in terms of the sharing of an international feed through which to colour a world picture through the balletic arts. How one now cherishes the key value of people like Lincoln Kirstein and Diaghilev. They built our world's balletic history. They would have been rare at ANY time. I myself pray we may see their like again ... even if I understand it may not be in my lifetime. While in part disappointed I stood there last night not only appreciative Grigorovich's production was relatively short (I had after all just finished the RAH Wagner slog) but in hope. As the song has it: 'We WILL overcome.' In THAT sense this particular slice of the past fed. (That said, one is deeply and sincerely appreciative to the Hochausers for their work in the support of these tours AT ALL. Bravi!)

For me, Lantratov clearly stole the show as the 'evil genius'. His assurance buoyed the audience's rather (otherwise) unsteady journey. Look forward to seeing him in Jewels, Bayadere and Flames. Agree re national dances. For me Yulia Grebenshchikova and Maria Vinogradova stood out. Look forward to seeing more of them as well. Saw the Soares' in the Royal Box.

Now knowing the joiners (which is grand), I wondered if there was any indication as to who might be leaving (given the law of natural flow). Of course we know Esteban.

I'm so pleased he may return to dance Spartacus and Ivan in both his and their native home, the Bolshoi. He is still so young specifically with this rep in mind and his Spartacus as seen here in 2010 was simply mind-blowing (and I say that not otherwise liking the ballet - just not my cup of tea - but then NOT too having drunk coffee nor tea for at least the last 30 years.)

Nureyev danced the role that Vadim danced. You can see his strengths laced through it by Bejart. I agree that Esteban was potent in the opposing role this evening, much as he was as the catalyst in Petit's L'Ariesienne for ENB. I'm sure we all wish him well with his future career based in his native Spain. That said I thought Reimair was absolutely fantastic in that same role in SONG OF THE WAYFARER and the combination of both him and Vadim would I think be a sure bet for the ENB future. This deserves to be a staple for the company. London has for far too long lacked the privilege of much of Bejart's best works ... as indeed it has much of Robbins' canon which Nureyev admired enormously.

Thanks for reviews. I was at both the matinee and the evening performances. I thought ENB's Nureyev tribute programme was beautifully produced starting with an excellent and amply brief documentary film which was as filling as it was skillfully constructed as an effective introduction. It was so touching this evening to see the crowd once again applaud Nureyev's image when it first appeared. Shiver inducing. So wonderful too to see Lynn Seymour, Michael Coleman et al in such continued fine fettle. I agree with much of what has been said - although I thought the Petrushka had a much better showing in terms of its detail in the evening performance than it did in the afternoon. Otherwise I thought that Reimair (SONG) and Glurdjidze (RAYMONDA) were the stars of the matinee by a long shot: such detailed focus mixed with such riveting personalities in both instances. Their eyes pierced as they shone through the aura of their placement - as did the glorious balletic amplitude of the sumptuous Ms. Costa (RAYMONDA) and Lester (SINGER - SONG) and the VERY FINE ENB ORCHESTRA under GAVIN SUTHERLAND at BOTH performances. The evening saw a particularly fine Shevelle Dynott and adorable Nancy Osbaldeston in PETRUSHKA but WHOLLY agree that MUNTAGIROV was by far more than a length the standout in terms of overall quality. He dominated. What a joy it is to be able to watch this young man develop. Clearly his and our own future under Ms. Rojo's skillful leadership is going to be a rich one. This ENB programme bodes extremely well for the future. Brava! ... nay, Bravi! Keep up the very fine work.

Well, it seems the Russian Seasons / LIepa troupe have already put their dibs in. Only time will tell.

Another change to SLEEPING BEAUTY Aurora mix ... Krysanova dancing Princess Aurora on August 5. Obraztsova August 7, and as before, Alexandrova on August 8. Reference: http://www.bolshoi.r...cles/2013/2633/ Sorry to those who scrambled to alter their tickets.