Bruce Wall

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?

I think very often it can be the music that leads people to initially enter the ballet's doors. I remember years ago when Prince did a programme with the Joffrey Ballet that it brought them in buzzing and McGregor, of course, did that programme with Boy George et al which was extremely popular for a triple bill. I also remember ABT with the Sinatra Suite by Tharp ... but then that had Baryshnikov dancing which I'm sure did not hurt. I'm sure part of the the reason NYCB brought West Side Story Suite by Robbins into their fold was because it attracts (well, hopefully) a non-traditional ballet audience base.

Here is the schedule for the remainder of the run of Russian Seasons, such as it exists. I was at last night's performance. There was an unfortunate EXTRA 20 minute interval due to a mishap with the lighting. In all it looked sadly under-rehearsed to me and somewhat slap dash. I overheard someone in the lobby say that it was the kind of presentation that they might have expected to see as cruise ship entertainment. While I doubt that would be the case, I did understand where those patrons were coming from. I thought the principals in The Firebird fared better on the whole than those in the other ballets. The recorded music was played at an alarming volume (I assume so the artists on the stage could hear it) and (at least to me) sounded like it was under water. Most unfortunate. Andris Liepa was, as ever, charming in his sincerity and understatement. Be advised: This programme ended one hour later than the time the house staff had originally been advised. I assume that will not be the case in other performances or their not overly abundant sales will rapidly diminish. 17 July 2013 (daytime) Chopiniana One-act ballet Music by Frédéric Chopin Choreography by Michel Fokine Original sets and costumes by Alexandre Benois Directed and produced by Andris Liepa, People's Artist of Russia Costumes and sets recreated by Anna Nezhnaya Coaches: Zhanna Bogoroditskaya, Honoured Artist of the Russian Federation Lyudmila Charskaya Cast: Young Man – Xander Parish Seventh Waltz – Natalya Balakhnicheva, People's Artist of the Russian Federation and laureate of the City of Moscow Prize Prelude – Natalya Balakhnicheva, People's Artist of the Russian Federation and laureate of the City of Moscow Prize Mazurka – Irina Ablitsova Eleventh Waltz - Alia Khasenova, international competition winner Two Sylphides – Yuliya Voronina, winner of international competitions Christina Burtseva Kremlin Ballet artists The Firebird One-act ballet Music by Igor Stravinsky Libretto and choreography by Michel Fokine Staged and directed by Andris Liepa, People's Artist of the Russian Federation Assistant choreographer: Igor Pivorovich, Honoured Artist of the Russian Federation Original sets and costumes by Alexander Golovin and Leon Bakst Costumes and sets recreated by Anna Nezhnaya and Anatoly Nezhny Cast: Firebird – Alexandra Timofeyeva, Honoured Artist of the Russian Federation Prince Ivan – Mikhail Lobukhin Princess of Unreal Beauty – Natalya Balakhnicheva, People's Artist of the Russian Federation and laureate of the City of Moscow Prize Koschei the Deathless – Igor Pivorovich, Honoured Artist of the Russian Federation Kremlin Ballet artists 17 July 2013 (evening) Le Spectre de la Rose Yulia Makhalina and Xander Parish The Firebird One-act ballet Music by Igor Stravinsky Libretto and choreography by Michel Fokine Staged and directed by Andris Liepa, People's Artist of the Russian Federation Assistant choreographer: Igor Pivorovich, Honoured Artist of the Russian Federation Original sets and costumes by Alexander Golovin and Leon Bakst Costumes and sets recreated by Anna Nezhnaya and Anatoly Nezhny Cast: Firebird – Alexandra Timofeyeva, Honoured Artist of the Russian Federation Prince Ivan – Mikhail Lobukhin Princess of Unreal Beauty – Natalya Balakhnicheva, People's Artist of the Russian Federation and laureate of the City of Moscow Prize Koschei the Deathless – Igor Pivorovich, Honoured Artist of the Russian Federation Kremlin Ballet soloists and artists Scheherazade One-act ballet Music by Nikolay Rimsky-Korsakov Choreography by Michel Fokine Staged and directed by Andris Liepa, People's Artist of the Russian Federation Original sets and costumes by Leon Bakst Costumes and sets recreated by Anna Nezhnaya and Anatoly Nezhny Cast: Zobeide – Yuliya Makhalina, People's Artist of the Russian Federation Golden Slave – Xander Parish Shahriar – Igor Pivorovich, Honoured Artist of Russia Shah Zeman – Mikhail Yevgenov Chief Eunuch – Roman Volodchenkov Three Odalisques – Yuliya Voronina, winner of international competitions Valeriya Pobedinskaya, all-Russian competition winner Alia Khasenova, international competition winner Kremlin Ballet soloists and artists 18 July 2013 (evening) The Firebird One-act ballet Music by Igor Stravinsky Libretto and choreography by Michel Fokine Staged and directed by Andris Liepa, People's Artist of the Russian Federation Assistant choreographer: Igor Pivorovich, Honoured Artist of the Russian Federation Original sets and costumes by Alexander Golovin and Leon Bakst Costumes and sets recreated by Anna Nezhnaya and Anatoly Nezhny Cast: Firebird – Alexandra Timofeyeva, Honoured Artist of the Russian Federation Prince Ivan – Ilia Kuznetsov, Honoured Artist of the Russian Federation Princess of Unreal Beauty – Natalya Balakhnicheva, People's Artist of the Russian Federation and laureate of the City of Moscow Prize Koschei the Deathless – Igor Pivorovich, Honoured Artist of the Russian Federation Kremlin Ballet soloists and artists Scheherazade One-act ballet Music by Nikolay Rimsky-Korsakov Choreography by Michel Fokine Staged and directed by Andris Liepa, People's Artist of the Russian Federation Original sets and costumes by Leon Bakst Costumes and sets recreated by Anna Nezhnaya and Anatoly Nezhny Cast: Zobeide – Yuliya Makhalina, People's Artist of the Russian Federation Golden Slave – Nikolay Tsiskaridze, People's Artist of the Russian Federation and laureate of state prizes Shahriar – Igor Pivorovich, Honoured Artist of Russia Shah Zeman – Mikhail Yevgenov Chief Eunuch – Roman Volodchenkov Three Odalisques – Yuliya Voronina, winner of international competitions Valeriya Pobedinskaya, all-Russian competition winner Alia Khasenova, international competition winner Kremlin Ballet soloists and artists 19 July 2013 (evening) The Firebird One-act ballet Music by Igor Stravinsky Libretto and choreography by Michel Fokine Staged and directed by Andris Liepa, People's Artist of the Russian Federation Assistant choreographer: Igor Pivorovich, Honoured Artist of the Russian Federation Original sets and costumes by Alexander Golovin and Leon Bakst Costumes and sets recreated by Anna Nezhnaya and Anatoly Nezhny Cast: Firebird – Alexandra Timofeyeva, Honoured Artist of the Russian Federation Prince Ivan – Ilia Kuznetsov, Honoured Artist of the Russian Federation Princess of Unreal Beauty – Natalya Balakhnicheva, People's Artist of the Russian Federation and laureate of the City of Moscow Prize Koschei the Deathless – Igor Pivorovich, Honoured Artist of the Russian Federation Kremlin Ballet soloists and artists Scheherazade One-act ballet Music by Nikolay Rimsky-Korsakov Choreography by Michel Fokine Staged and directed by Andris Liepa, People's Artist of the Russian Federation Original sets and costumes by Leon Bakst Costumes and sets recreated by Anna Nezhnaya and Anatoly Nezhny Cast: Zobeide – Yuliya Makhalina, People's Artist of the Russian Federation Golden Slave – Nikolay Tsiskaridze, People's Artist of the Russian Federation and laureate of state prizes Shahriar – Igor Pivorovich, Honoured Artist of Russia Shah Zeman – Mikhail Yevgenov Chief Eunuch – Roman Volodchenkov Three Odalisques – Yuliya Voronina, winner of international competitions Valeriya Pobedinskaya, all-Russian competition winner Alia Khasenova, international competition winner Kremlin Ballet soloists and artists 20 July 2013 (daytime) Chopiniana One-act ballet Music by Frédéric Chopin Choreography by Michel Fokine Original sets and costumes by Alexandre Benois Directed and produced by Andris Liepa, People's Artist of Russia Costumes and sets recreated by Anna Nezhnaya Coaches: Zhanna Bogoroditskaya, Honoured Artist of the Russian Federation Lyudmila Charskaya Cast: Young Man – Xander Parish Seventh Waltz – Natalya Balakhnicheva, People's Artist of the Russian Federation and laureate of the City of Moscow Prize Prelude – Natalya Balakhnicheva, People's Artist of the Russian Federation and laureate of the City of Moscow Prize Mazurka – Irina Ablitsova Eleventh Waltz - Alia Khasenova, international competition winner Two Sylphides – Yuliya Voronina, winner of international competitions Christina Burtseva Kremlin Ballet artists Polovtsian Dances Ballet excerpt from Act II of Alexander Borodin's opera Prince Igor Choreography by Michel Fokine Original sets and costumes by Nicholas Roerich Directed and produced by Andris Liepa, People's Artist of the Russian Federation Costume designer: Anna Nezhnaya Choreography coach: Mikhail Lobukhin, international competition winner Coach: Vadim Kremensky, Honoured Artist of the Russian Federation Cast: Polovtsian Warrior – Mikhail Martynyuk, Honoured Artist of the Russian Federation Polovtsian Maiden – Yuliya Voronina, winner of international competitions Kremlin Ballet soloists and artists Scheherazade One-act ballet Music by Nikolay Rimsky-Korsakov Choreography by Michel Fokine Staged and directed by Andris Liepa, People's Artist of the Russian Federation Original sets and costumes by Leon Bakst Costumes and sets recreated by Anna Nezhnaya and Anatoly Nezhny Cast: Zobeide – Yuliya Makhalina, People's Artist of the Russian Federation Golden Slave – Xander Parish Shahriar – Igor Pivorovich, Honoured Artist of Russia Shah Zeman – Mikhail Yevgenov Chief Eunuch – Roman Volodchenkov Three Odalisques – Yuliya Voronina, winner of international competitions Valeriya Pobedinskaya, all-Russian competition winner Alia Khasenova, international competition winner Kremlin Ballet soloists and artists 20 July 2013 (evening) Chopiniana One-act ballet Music by Frédéric Chopin Choreography by Michel Fokine Original sets and costumes by Alexandre Benois Directed and produced by Andris Liepa, People's Artist of Russia Costumes and sets recreated by Anna Nezhnaya Coaches: Zhanna Bogoroditskaya, Honoured Artist of the Russian Federation Lyudmila Charskaya Cast: Young Man – Alexander Parish Seventh Waltz – Natalya Balakhnicheva, People's Artist of the Russian Federation and laureate of the City of Moscow Prize Prelude – Natalya Balakhnicheva, People's Artist of the Russian Federation and laureate of the City of Moscow Prize Mazurka – Irina Ablitsova Eleventh Waltz - Alia Khasenova, international competition winner Two Sylphides – Yuliya Voronina, winner of international competitions Christina Burtseva Kremlin Ballet artists Polovtsian Dances Ballet excerpt from Act II of Alexander Borodin's opera Prince Igor Choreography by Michel Fokine Original sets and costumes by Nicholas Roerich Directed and produced by Andris Liepa, People's Artist of the Russian Federation Costume designer: Anna Nezhnaya Choreography coach: Mikhail Lobukhin, international competition winner Coach – Vadim Kremensky, Honoured Artist of the Russian Federation Cast: Polovtsian Warrior – Mikhail Martynyuk, Honoured Artist of the Russian Federation Polovtsian Maiden – Yuliya Voronina, winner of international competitions Kremlin Ballet soloists and artists Scheherazade One-act ballet Music by Nikolay Rimsky-Korsakov Choreography by Michel Fokine Staged and directed by Andris Liepa, People's Artist of the Russian Federation Original sets and costumes by Leon Bakst Costumes and sets recreated by Anna Nezhnaya and Anatoly Nezhny Cast: Zobeide – Yuliya Makhalina, People's Artist of the Russian Federation Golden Slave – ?????? Shahriar – Igor Pivorovich, Honoured Artist of Russia Shah Zeman – Mikhail Yevgenov Chief Eunuch – Roman Volodchenkov Three Odalisques – Yuliya Voronina, winner of international competitions Valeriya Pobedinskaya, all-Russian competition winner Alia Khasenova, international competition winner Kremlin Ballet soloists and artists Project coaches: Svetlana Romanova, Honoured Artist of the Russian Federation Vadim Kremensky, Honoured Artist of the Russian Federation Head of the Ballet Troupe: Vadim Kremensky, Honoured Artist of the Russian Federation Stage Director: Tatyana Rozanova Casting Director: Olga Golova Costume Designer: Lyudmila Chelysheva Props Master: Yelena Astakhova Theatre Director: Nikolay Troitsky Artistic Director of the Kremlin Ballet: Professor Andrey Petrov, People's Artist of the Russian Federation General Manager: Professor Pyotr Shaboltay, People's Artist of the Russian Federation and Artistic Director of the State Kremlin Palace

Thanks for letting me know Naomi. I think the new policy is a shame. It can but belittle the many.

As to who will partner Alina in Corsaire in London - because my suggestion could only be in a guesting situation .... there is always the option of the lad with whom Alina was meant to dance in Swan Lake this past season at ABT before it so sadly had to be cancelled: Herman Cornejo .... A wonderful dancer these two had previously been paired in Giselle in New York to deafening acclaim.. .... Sadly he is not yet known to most of those audiences who strictly stick but to UK stages ...Certainly he (like Vasiliev) would have danced Anne-Marie Holmes' Corsaire. That would come - one might think - with a certain air of both authority and comfort for ENB's new leading ballerina. Here's an interview with him: http://blip.tv/dancechanneltv/interview-with-herman-cornejo-2523718 Here's a sample of his dancing as Mercutio in MacMillan's R&J which will, of course, be familiar to you: http://www.youtube.com/watch?v=rKtPujADBNI and in Makarova's Bayadere which the Royal also has and which opened originally at ABT when Makarova danced it with Dowell: :http://www.youtube.com/watch?v=13dFNOMv1Z8 As Puck he is the definite standout (at least for me) in ABT's DVD performance of the Ashton masterwork. http://www.youtube.com/watch?v=WTSzZkfpilA&list=PL6E4F541F4B8AA306 Here's the said pas de trois from Anne Marie's Corsaire with Cornejo (whose sister is now with Boston Ballet) in which he shares the stage with Vasiliev. It is a live camera shot from last July at ABT. His partnering skills as illustrated here are, for my taste at least, much beyond those illustrated by a certain Mr. Polunin last week. http://www.youtube.com/watch?v=1B4amLHdrTw Just a suggestion.

Here's a video of Esteban Hernandez doing the second variation from the Flames of Paris pas in Paris in 2009 https://www.youtube.com/watch?v=Kfj_mUBdKqY Here's a video of the two Hernandez brothers (Isaac and Esteban) doing an original piece to Sinatra's MY WAY of all things in Mexico City last year. What I found most touching was the footage in the preamble. The picture of the two brothers arm and arm in the opera house is most telling. https://www.youtube.com/watch?v=xjJXLgjVIwI Here is Esteban in the variation from Diana and Acteon https://www.youtube.com/watch?v=7A6KCYQ7vfk&NR=1&feature=endscreen San Francisco will have been twice blessed.

First a point of correction: Baryshnikov only ever guested with the RB. There is NO question however that he was a great dancer. I lived in NYC during the end of the so-called dance boom. I'm so glad that I did as EVERYTHING of international note eventually showed up there at some point. Baryshnikov was a principal with ABT at that time and danced usually either with Gelsey Kirkland, Makarova (whose then most frequent partner was a fellow ABT principal at the time, Britain's Anthony Dowell) or Marianna Tcherkassy (although she frequently was partnered by another ABT principal, the glorious Fernando Bujones, another BRILLIANT dancer who died far too young at 50). Of course Baryshnikov had briefly been a principal with NYCB and still guested there on occasion. It should be noted that the ticket prices for ALL the performances (short of the very occasional charitable gala) remained the same no matter who was dancing on the Met stage. There was no 'star sur-charge' for either ballet or opera and that remains the same practice today. The same cannot always be said for the ROH sadly. I find the fact that there is a sur-charge for the 'opening' of Don Quixote' most unfortunate. Why then was there not a sur-charge for the opening of the Olympic triple collaboration bill. Surely that was 'more unique'. Perhaps it is just what the 'Royal's they' feel the traffic will bear regardless of their subsidy far in advance of anything the Americans ever dreamed of. Surely that speaks for itself.

Certainly the last time we saw Corsaire with the Bolshoi (2010) it was a pdt ... and given that Anne-Marie Holmes' productions both for Boston Ballet and ABT have it as a pdt I think it will be safe to assume that it will be a pdt. This is one so-called 'classical' production that is male principal heavy.

I had a thoroughly brilliant time yesterday afternoon at the RBS graduation showing. The first act was DEFINITELY the highlight of the programme ... NO QUESTION - and I agree that CANON IN D MAJOR and SEVEN GREEK DANCES stood out therein. (LinMM, part of the reason why I believe Bejart is not seen more often here is due to a string of unfortunate reviews on his works' initial outings in this country. This goes too for, say, Kylian and John Neumeier and certainly the latter works of the most noted ENGLISH-BORN choreographer of the last century, Tudor - although that was for distinctly political reasons. From many of the comments on this forum as much as from certain current critics such as Clement Crisp I now find myself fearing the future fate in these isles (whist they ALL remain 'British' of course) of Ratmansky. Of course none of these considerable talents need have feared. They ALL have shown that they can do very well thank you very much without 'little Britain' if needs absolutely must - and in some instances they did. It's only that producers, be they state or commercial ones, usually play safe here and this, I fear, has sometimes played havoc in developing the devoted British ballet audience's courage in diversity. Thus It was ESPECIALLY wonderful to see a focus on such in this RBS programme - much as it was in the new regime for the ENBS. Bravi Ms. Stock and Ms. Rojo. What stood out for me here was the strength of young men in general. This certainly hasn't always been the case in the past and needs to be applauded. I was especially thrilled by Esteban Hernandez in all three pieces in which he was featured. (He did appear in the second act's LA DESTINEE in a minor role as well - which was created for ALL in the Upper School. That I fear I found rather twee overall, certainly in terms of the rather tired overstatement of the choreography and masking costumes. There was a tad too much 'general' filler in the steps for my taste, especially after the drama had been highlighted in a dumbshow. This was made all the more sad when you consider the very fine dramatic original score by Michael England. (How grand it was for once that the composer actually forewent the large part of his own [deserved] bow and applauded the orchestra. Taste personified.) My heart leaped too when I saw that Mr. Hernandez (Mexican Born) will follow his brother (now a prinicipal with HET Ballet) into SFB. This is EXACTLY the right place I think. Already in his choice he has shown a sign of distinct maturity. Here is a place where he will be able to grow in a company of individuals so clearly rooted as a whole much as we saw again for ourselves this season and much as he would also have found if he had chosen to go to, say, Boston Ballet, NYCB or Paris. Immediately after the RBS showing I myself dashed across to the Coli and caught the second act of the Stravinsky's Copellia, again with Polunin. (I laughed on the way of that heated dash remembering that Hernandez had exactly the same featured spot in the Grand Defile that Polunin had shone in during his own graduation not all that long ago.) How I bet Polunin now wishes he had done things for himself in a different career choice order; taken more concerted charge of his own destiny instead of waiting til he found he could wait NO LONGER. It would have paid off handsomely for all I think. Herrnandez will have an excellent opportunity to grow in ALL aspects within the climb he has (wisely in my book) chosen. I do SO hope that in years to come - when HE feels he's ready and not before - that he might consider guesting with the RB. Still, it will be on his OWN terms - none of this 'fearing the director' nonsense - and that, in and of itself, will make it special. Mr. Hernandez is, like the weather we are currently enjoying, a ray of sunshine.. The radiance of his chosen joy stands out by a mile.

But then again, who was her last partner at ABT in Bayadere as it happens? ... None other than Ivan Vasiliev .... who I understand will be based in London???. Might this be an Ali for Alina's rarefied air?. ... In that one at least there are three different principal male roles (and two female) ... and as for being the one in the middle (which Ali most definitely is) ... I have a feeling Ivan has found himself there before.

There was proof positive last week that this is in fact not a good test. Polunin was dancing in Coppelia (a family friendly ballet if there ever was one) and the Coliseum was more empty that I can ever remember seeing it before .... ditto for the Sunday matinee. Both performances had the balcony closed .... and had been (rare in my experience) actually promoted by the venue (e.g., I had received an email about it which I NEVER do for ENB) ... and STILL BOTH performances had globs of red seats sitting empty. According to today's Guardian, Polunin is one of today's superstars. What does that say of today I wonder!!! Obviously he does not have the Vasiliev clout ... on the Coliseum scale at very least.

The production is indeed 'cool' in the way that the French are cool, as opposed to cold. It is the coolness in Petit - that distance - that always feathers the wit. I well remember hearty laughter when I first saw it in New York with its original cast (e.g., made up of the stunning Karen Kain - an ahhhhh factor if one was EVER needed - that glorious partner, Gil - which sadly a certain Mr. Polunin is NOT - though a fine dancer in parts - and Petit himself). The REAL star for me in this production was - without question - Anton Domashev, much as Petit himself had been. His gloriously rooted detail as Coppelius was sublime. He has been with the Stanislavsky since 1988 and how I would love to see his Madge. He well deserved the final bow in front of curtain at the performance I attended and the concentrated shouts of 'Bravo' he received.

What wonderful news. I am so pleased that she too will remain attached to Hamburg and ABT as well. That can but help share Tamara's concerted efforts and vision to an international audience as it most surely deserves on ENB's behalf. (Strangely, no jaw dropping here .... Sadly at my age that is something I cannot afford to do ... the cost of repair work being what it is.) I so look forward to seeing the Alina/ENB implant!!

That ruling must have changed, Katherine ... as I well remember seeing the NBoC in Oneign at the Met in New York which I think - even now - is not YET part of Canada ... LOL

I found the Johan's words as quoted from the Facebook page most sad. I would have thought such a statement might best have been made with a little more time for relection. As it is, it remains now but a matter of record for posterity. Surely (well, I hope) when all is said and finally done it is the memory of their considerable artistry ON the stage that will endure.

Got everything I wanted .... and in and out quickly. This was good. (I am most grateful as I have to catch a train to France for work at mid-day ... If it had been like the last booking period I would have been well and truly up the spout. Thank you ROH.)