Bruce Wall

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.

Thank you, Bluebird. I usually buy the restricted view seats in row B of the Coliseum Balcony. I am old and on a fixed income that seems ever diminishing aside the disappearing savings rates which now dive alongside this government's determination to destroy the long established operation practices/traditions of UK retail banks. Those seats are usually (always?) at a lesser price for those willing to put up with the inconvenience of the interrupting bar much as I stand in the Amphi at the ROH. I fear for the lack of another level of availability ... but then I remember my long ago youth and standing places at 40 pence. I would have missed so many of those magnificent performances by Olivier and others at the Old Vic - or certainly seen them far fewer times than I did - had it not been for that. Still, I lived in an age where my mother forbade television. 'Mind rot' she said. Of course she was born at a time when there was only radio. With all of the affordable and multi-option media these days for young people times are very different indeed. That's probably a good thing (he says writing on the internet) .

I think the above is actually a rather poor trend. The ENO and BRB are both SUBSTANTIALLY subsidized companies and, as such, have as their current core agreement a demand that they off 'as wide an access as possible. The removal of the balcony signals a break in both Companies dedication to this remit to my mind. I think it is crucial the balcony be kept open at ALL COSTS - allowing people to have another layer of available prices - one available to ALL (which surely is ultimately what access is about - if I read the ACE drift correctly). If the ENO deems it is most prudent to close the balcony to thereby save their own house staff costs then so be it. That should, however, be a last minute option, not a planned distraction. I am most pleased that the ENB are not following in these footsteps. Perhaps BRB are feeling that Pagodas will have only limited appeal as it is. This is not, IMHO, the healthiest way to go. I feel certainly that the optimum access should be ensured. Do they close the balcony from the get go in Birmingham? Where did the passion of building audiences go. If you have empty seats as the last moment, give them away say I so at least you are building for your future ... and getting the word out. A dark balcony is but a silent loss. As to the number of guest companies coming into London this summer, I think the great influx (a wonderful thing as far as I'm concerned) was in part due to last year's Olympics when a forecast of doom was read out for that time period in advance and many venues had active use restrictions due to this specific observation. I think it may well have been prudent. The wonderful Boston Ballet season struggled with the two final matinees I think in part because of the Wimbledon finals (first women, then men).

This afternoon we were in the stalls, Row F, centre aisle seats on the left hand side (F28 and 29 if memory serves). I'm not surprised that the sound varied throughout. The company had an orchestra the last time they were here in 2011 during which they also presented Shehezarde. (I checked in the reviews.) I'm so pleased that I saw the programme this afternoon as Parish and Makhalina seemed wholly refreshed. Certainly I can understand why Parish would be a mite tired tonight. That was only to be expected.

Just wanted to say that a friend of mine had an extra ticket for this afternoon's RUSSIAN SEASONS performance - PROGRAMME 3 - and it was BY FAR the BEST of the lot as far as I was concerned. The reason for this - with a deafening Andy Murray effect rattling in my ear e'en now- could be spelled in but two words blessedly easy for the British Ear: XANDER PARISH. Let's hear it for the home team I say. Perish he CERTAINLY didn't. What a difference a few performances makes. The focus of his long, lyrical placement was sharpened to a point where you could see it glisten in CHOPINIANA. Here our gentle Poet, one richly fragrant in his own Novello charm, ruled with a partering rod of crystaline finesse and blossoming confidence. Bravo Xander, say I. Keep up the excellent work. However - after a colourful diversion provided by the entertaining POLOTVIAN DANCES from Borodin's opera Prince Igor - it was the SCHEHERAZADE that Parish TRULY TRANSFORMED. It was unrecognizable (at least for me) from the two previous performances I witnessed of this piece on this particular junket by the Kremlin Ballet. I have always found myself tangling with 'the turnip' I fear ... only this time the turnip tasted far sweeter. Bless the enhanced sound levels/quality - that had sounded oh, so, SO muddy at the opening on Tuesday. Here they were as clear as the story telling was gripping. (And I NEVER imagined I would say that about SCHEHERAZADE). The colourful mannerisms that had attractively distanced Yulia Makhalina's other performances where here gracefully embedded into a dedicated portrait that welcomed all, including the audience, within it's rich mix. Those bejeweled stares and smiles were now clearly centred, not fixed. 'Why?' you might quite rightly ask? The key was most definitely PARISH. His WAS a GOLDEN slave personified. He didn't require ANY additional outward bling. This was a slave consumed within his mistress' eyebrow; a muscle-rippling Valentino-like or Raymond Navarro entity that any self-respecting mistress would long to harbour. He was totally subservient to sensual delights of her - and to HER ALONE. No other body - be it audience or ego - came between Parish's graceful passion and his mistress. This was a slave who did not know how to manhandle. This was a slave whose sensual caresses were refined with a generosity of loving pride and embodied within the enormous luxury of his dance. All was delivered through the apex of his all all-consuming passion. For him there WAS no one else on stage but Zobeide. When this slave's death came it was - at least for him - almost accidental. He merely dropped once sluiced by Shahriar. No grimace; no hurling. It was immediate. One instinctively felt he was still in his own reverie somewhere. Certainly he was in ours. You could completely understand why Zobeide had snatched those keys from Shahriar (a fine performance by Igor Pivorovich now permitted the full dramatic fix it rightfully deserved within the triumvirate) to unlock a door that unleashed both her and consequently our own understandable zeal. The friend I was with - who I had seen the same piece with on Thursday evening - turned to me and said: 'Now that was totally riveting'. It WAS. Suddenly the curtain calls told a tale different from the one Bruce kindly quoted me writing about above. These were so much more relaxed. Nothing was forced - be it smiles or bows. When Parish understandably presented Makhalina he proudly stepped back and applauded her. Rightly so. As he did so several lads in the corps - including the Russian I spoke of in that previous paragraph I authored - turned towards Parish and applauded HIM in respect. Catching it out of the corner of his eye, Parish bashfully smiled and looked down. The respect here both heard and seen was for him as for all palpable. Nothing more needed to be demanded; nothing more shown. We knew from his smile that he had heard our 'thank you' and that his job had been well done. I have no idea if Parish had a 'big crowd' awaiting him at the stage door awaiting autographs and/or pictures. I'm fairly sure there would not have been a Sue Barker standing there with a microphone in front of a capacity throng. To my mind it doesn't matter. I pray, however, that Parish left that door with a 'big smile' in his heart. He richly deserves it and surely THAT'S the lasting memory we ALL can share WITH him. . Bless you, Xander. I am SO pleased I had this opportunity to watch you grow in a very short space of time ... and, indeed, an opportunity to share these few words with all my friends at Balletcoforum. Thank you ALL for your patience; thank you for your kind and respectful understanding. I continue to learn much from your kind largess. I am enriched. Bless you.

Thank you, Amelia, for the diligence of your most kind reply. It is keenly appreciated. I did, as it happened, know it was not NT dancing on the 16th (the performance being reviewed) as I was there myself ... as well as on the 18th. I was in this instance just wondering if the quote had been about the same 'production'. You have made that answer clear in the geographical context of your response. Again, thanks.

Thanks so Amelia for your insightful note and the link. I wonder what particular production of Scheherazade Clement Crisp was reviewing in that lovely quote you noted. There was no question that Mr. Tsiskaridze offered much entertainment value last night. No doubt at all. Nothing to be ashamed of there. However, just to put it into a certain context, Mr. Crisp in Wednesday's Financial Times wrote of the current offering as seen at its opening: : 'My long experience of this repertory in honourable stagings made me feel pretty cross, not least with the interpolation of a later and fatuous duet in Scheherazade.' Grateful for your kind advice when you are best able.

Dear MAB, I am sorry if you took my words in a fashion other than they were meant. I certainly wasn't attempting to be rude and CERTAINLY don't 'detest' Tsiskaridze. His performance - as I thought I made clear - was hugely appropriate to the surroundings. It did, as I think I suggested, provide joy.. In fact I am rather taken back at your response. I thought I had made myself clear. I did, in fact, enjoy this piece more than any other I'd seen in the so called 'Russian Seasons' this time round. Please know that I send you naught but good wishes when you attend the performance for a second time tonight. I can, SINCERELY, see the attraction. I, myself, will have to content myself I fear with Renee Flemming in Capriccio. Fingers crossed it will be as fulfilling in its OWN way. I send naught but all good wishes to you, MAB.

I slipped in to see the beginning of the second programme on the Wednesday matinee. Xander Parish (after having seen in him in his two roles on the opening night) suddenly found his stride and was here best suited to the Chopiniana (or Les Sylphides). He has, of course, his glorious Ivor Novello profile and long, lyrical line which is lovely. That his placement is, as Ashton used to put it, 'buttery' is a shame. I had thought him much more focused and precise in Gautier's 'Ballet 101' in Alina's gala but I may well have been mistaken. You can always see the potential in him certainly but I keep wanting to bring it into focus. I keep thinking of Baryishnikov in the role of the poet and how he made through the dance the narrative instantly come alive. Here, that particular tension was missing. It was as if it was being taught in a classroom exhibition; somewhat caught in its own aspect. I had been a little late (rather on purpose I fear) and had missed Liepa's stichk - having heard more than enough the night before. I timed it perfectly in fact. I entered the dress circle just as the recorded music sounded. I said I would stand at the back and the kind usher said: 'Don't worry. There are lots of seats'. I sat down ... and was only TRULY amazed when the lights came up to reveal a total of FIVE PEOPLE (including myself) sitting in the whole of the Dress Circle. That surprised me more than anything else I must confess. Last night I dropped in to see the Music Hall routine that was the Makhalina / Tsiskaridze vulgarity in Scheherazade. This performance deserved to be on a variety bill such as the Coliseum used to offer. That there was no apology here was in fact its charm. Suddenly the muddied recorded music - for ONCE - was made to seem appropriate. The Tsiskaridze clack was out in its now sadly limited force - and yet even then it didn't prevent waves of red being in evidence throughout the building. These two now suit each other gloriously. Both now are on par in terms of their dancing skills in this piece. They both are past masters at the nashing of teeth and exotic eye upping. Part of the delight for me at least (as opposed to the first performance of this piece's outing I saw with Parish who was far more subdued) was the response of some of the corps to the flagrantly bejeweled goings on. Indeed there was one harem lad who just couldn't help himself. At several key moments he just stared on in abject amusement. It was obvious he'd never quite seen anything like this. Dear boy. His smile - as it happens - was even broader than Tsiskaridze's - and God knows that takes SOME doing. Mind you, the lad wasn't acting; he was merely laughing in response. His had a sincerity that was otherwise missing in the performance. I found it very touching during the curtain call(s) to witness him attempt to restrain himself once 'the great one' had dashed on. He managed to do this by biting his lip. Even then it curled unsteadily. Then, all of a sudden the company was called forward yet again by their 'guest master' and this lad made the mistake of turning and looking at the lady to his right. They both cracked up - indeed exploded in grins - and from that point forward he was simply lost to ANY restraint. When Tsiskaridze turned around YET again, he simply averted his head in total embarrassment. I knew how he felt. Unwittingly perhaps, they proved the highlight for me. We had laughed together. Bless them. Mark Thompson may deservedly have given the opening programme including Scheherazade one star, but this curtain call upped the appreciation factor for me at that particular juncture. The producer could, I think, count himself lucky on THAT score. Very lucky indeed.

ChrisChris, as head of a nationally registered arts charity myself of sixteen years good standing, I can tell you that it is much harder to get 'core' funding (where costs like specialised healthcare would be focused) than it is for the support of one-off or dedicated project funds. In part this boils down to recognition through branding. 'Toilet rolls or guest artists?' one might hear funders mumble in question .... Certainly most know where they wish to take their pick ... Well, for the most part. Those progressively ever fewer who can see beyond their own listing or a vested interest no matter how broad it may be are, of natural course, ever more keenly cherished. They are today like gossamer ... They always were, of course, but now there is an ever burgeoning number chasing their flames .... and so many portfolios have diminished since 2008 through a wastage that used to (but no longer) be termed 'natural'. Certainly it seems to be more knocking on the doors than there used to be. Think of it as a kind of cultural food bank. That's it. You have to find ever more creative sources and restrict your remits. Certainly there are a greater number today who are ever more desperate .... and I for one think you might very well be shocked at some of the names now inscribed upon that list. That number I assure you will only grow. We are only 15% of the way through the cuts now listed through the end of the 2018. Today's report on the estimate for beyond suggested a further £19 billion more across the board. We may well look back on today as being a situation of relative plenty ... much as we do when we look back at 2005 or 2006 now.

My word, what a lot of leavers at the end of one season from one relatively small company. Janet, is this an unusual occurrence for NB?