CeliB

Many thanks for the advice- I've decided to go ahead and subscribe - he and his GF (both dancers) do like analysing performances (and may be particularly interested in some of the older archive footage) so I think it will be good- anyway I will try and remember to report back!

Medici.tv have a half price subscription offer and I was wondering about it as a suitable Christmas present. Does anyone have experience of having a subscription and if so would you recommend it as a good source for ballet on TV? Do they add lots of new stuff over time? Do they have a wide variety? I'm not really enough of a 'watcher' to judge their content and it would be a preset for my DS who is a professional dancer.

 

Many thanks for any views...

 

22 hours ago, LinMM said:

What terrific news who knows some of those messages I’ve sent about how lovely it would be to see the Company in London may have got through!! I wish they were bringing Bayadere though!! That production looked fab!! 
Still I will definitely be going along to see them and hope Oscar Frame will be dancing Siegfried…I know he has performed it but not sure who will dance it in London. 
I wish the big Folk Company would come along as well as its years since I’ve seen them last ….at the Festival Hall I seem to remember. 

No Oscar I'm afraid LinMM - he joined Bejart Ballet in Lausanne in August.... Which is rather sad as it would have been our first chance to see him dance on home turf since Modanse (I can tell you Tbilisi is a bit of an epic trip).

 

Still, Bejart do perform a bit closer to home and I will see him on stage at the Paris Opera in Jan so it's not all bad ...

It was filmed (we spoke briefly to the cameraman at the after party) but I'm not sure what the plan is for that film. They took a few minutes of each performance (not the whole thing) and lots of photos but I've only seen a few pics/bits of film that people in the audience have put on instagram, nothing official

So apologies for delay- it's been a busy week at work..

 

Final gala line up

part 1

Pas de deux Nutcracker choreo. Petipa Laura Fernandez-Gromova and Boris Zhurliov

Flashback choreo. Jivoy Yekaterina Chebykina and Oskar (sic) Frame

Pas de Deux Flames of Paris choreo. Evelina Godunova and Dmitry Zagrebin

Adagio White Swan choreo. Maria Beck and Xander Parish

Les Bourgeois choreo. Dino Tamazlacaru

Pas de Deux Flames of Paris choreo.Petipa Tatiana Melnik and Vladyslav Melnyk

Narcissus (was not on the printed prog so dont have notes I am sure you all know the chroeographer) Yago Gonzaga

 

Part 3

Closure choreo. Nunes Laura Fernandez-Gromova and Xander Parish

Pas de Deux Talisman choreo. Petipa Maria Beck and Boris Zhurilov

Pas de Deux Balcony Romeo and Juliet choreo. Yekaterina Chebykina and Oskar Frame

Adagio Cave Le Corsaire choreo. Holmes/Solymosi Tatiana Melnik and Vladyslav Melnyk

Pas de Deux Don Quixote choreo. Petipa Evelina Godunova and Dino Tamazlacaru

Ukranian Gopak Taras Bulba choreo. Dmitry Zagrebin

Variation Dying Swan choreo. Fokine Laura Fernandez-Gromova

 

So I don't really feel like I can be all that critical of dancers as I have so little experience, so I am only going to say who moved or delighted me (or DH) as what I know about technique would fit on the back of a postage stamp.. The only exception is 'Closure' (which I guess some of you may have seen at the Prix De Lausanne gala so be able to comment on) which for me was the dance equivalent of someone scraping their nails down a chalkboard. The juxtaposition of the choreography which felt sharp and staccato with the music which was rippling ands gentle just didn't work for me. Was it the piece or the dancers? I don't think I am qualified to tell, but it set my teeth on edge... 

 

What I really noticed I guess is how difficult it is to get any great joy as an audience member from a PDD when it is taken in isolation without the usual scaffolding of story, sets and dramatic arc unless the couple are able to project a strong emotional connection. Is it down to the ability of the individual dancer or of the combined partnership (or perhaps both- greater than the sum of their parts as they say) and does it require them to have danced together in the past? I don't know enough or have enough experience to know for sure. But to be honest only a few of the couples above really sparkled for me in that sense. Of course they all have the chops to do the moves, but without the emotion it's like watching paint dry (ok well maybe not quite that bad, but you get the idea).

 

So my personal favourites were Chebykina and Frame - both pieces were incredible. Of course I have a vested interest but I am also my kid's worst critic (only in my head though, I hasten to add) so I don't think my bias would forgive a dull performance. I was amazed at how their interpretation of Flashback differed so much from the original despite being the same choreography- Katya radiated such sorrow and despair Vs the original's edge-of-nervous-breakdown-any-minute-now-the-knives-are-coming-out-and-your-bunny-is-already-in-the-pot ....  It felt much more like a portrait of misery and regret than anger and conflict. The original male dancer felt dismissive and cold whereas from Oscar I felt only grief and sadness. The audience held their breath- and the applause was huge (considering it was only second piece and they weren't all that 'warmed up'). Stunning.

Their Romeo and Juliet was just a delight (rather ironic that the break up came before the get together in the running order) and Katya is such a graceful and elegant dancer- what beautiful vaganova arms and incredible extension (I am sure her legs and arms on stage are a good foot longer than in real life!)- the love radiated from the 2 of them...and such sweet small gestures- a loving glance following a hand movement, a small look between them- it was these little things more than the big moves that made this piece so special...

 

Equally good were Tatiana Melnik and Valdyslav and Melnyk- what a delight in both their pieces - fierce, energetic, connected like two halves of the same person. Immaculate partnering, timing, musicality- they just flew across the stage radiating happiness. Truly a joy to watch.

 

Godunova and Zagrebin were charming in Flames of Paris- lively and engaging.

 

Some of the others (Narcissus, Bourgeois, Taras Bulba) I very much enjoyed - perhaps this shown it's easier to convince in a solo piece as a one off, compared to a PDD when you haven't had much rehearsal time together?

 

DS really rated Maria Beck's White Swan- I was less convinced because I didn't really feel the partnering (just felt a little disconnected between the two of them) but agree she was flawless (well, insomuch as I can tell which is a pretty amateurish opinion)

 

Don Q I feel obliged to say was a big audience favourite- I wasn't quite so taken with it- for me Dinu didn't exude quite enough chutzpah although his athleticism and technique is not in doubt... 

 

All the rest were done technically brilliantly as far as I could tell but, whilst impressive, didn't really make me hold my breath.

 

Sorry I do have a little film of the end in which the dancers came on one at a time and did a little flourish but I'm not sure how to upload it as it's a huge file. If anyone can tell me how I will add later.

On 31/01/2023 at 22:25, Emeralds said:

If you’re going, would definitely like to read your review/thoughts after seeing it! Unfortunately, I wouldn’t (nor can many of us) be able to make it to Zürich, so any reports (and photographs of the bows/curtain calls if you have any) would be most welcome. I see a few familiar names in the lineup- Xander Parish, Vsevolod Maievskyi, Yekaterina Chebykina, Ksenia Ovsyannick, Oskar Frame, etc etc

oh sure, I guess I know there are many people on this forum who are international and may have been close enough...I'll do my best to report back but with the caveat that I am a total ignoramus as far as any form of dance goes - tbh hadn't planned to go until I found out Oscar and Katya are dancing Jivoy's 'A Flashback'- DH took one look at the choreography and booked tickets (and he doesn't even like dance all that much haha)...

 

 

In case anyone is in or near Zurich there are a few tickets left for this gala on Friday bringing together dancers displaced due to the invasion of Ukraine...

https://www.ballettohnegrenzen.ch/

I’m going but am not in any way qualified to post a review afterwards, am just cheering on the boy (and taking him cheese, because that what you do I guess)....

 

 

 

If you mean the United Ukraine Ballet (?) they toured Australia last October its pretty easy to find reviews online,

they seem pretty favourable. Katya (who danced odette/odile) had just been made first soloist at Mariinsky when Russia invaded if that gives you an idea of dancer quality. I dont know if she is planning on dancing for them if Feb but I can ask (if that makes a difference) 😊

 

https://www.theaureview.com/arts/dance-review-the-united-ukrainian-ballet-swan-lake/

https://bachtrack.com/review-swan-lake-chebykina-kniazkov-united-ukrainian-ballet-sydney-october-2022

 

Quite a few but not all- and in some ways it is 'easier' to leave when you are fairly well known and already being offered places elsewhere (of course perhaps that goes for the dancers you mentioned above as well so yes I agree it does make their decision to go back more difficult to justify). However, one could also point out the the Putin govt was pretty dreadful prior to the Ukraine invasion (Chechnya, anyone?) and no one suggested we shouldn't talk about Russian dancers as doing so would constitute support for the regime. Is it only a matter of degree of awfulness?

 

Also I do kind of disagree re Iraq- I'm not alone in thinking it constituted an unjustifiable invasion of a foreign country and didn't exactly do much for global international peace- I don't think you can write it off as completely different on the basis that Ukraine is a democracy and Iraq isn't- surely we can't justify occupying a foreign country because we disagree with their political system?

 

Look, I'm not being 100% one side or the other. I just think its a complex debate. For the record I agree Polunin's support of Putin is indefensible (but then he's always come across as being several short of the full toolbox hasn't he?- one of the reasons I find it hard to care about what he does). So yes, if dancers come out and say 'ra ra up the invasion' it is fair enough to think that makes them pretty dreadful and decide you don't want to engage with what they are doing.

 

Actually I think I've talked myself round in a circle and come round to agreeing with you @BeauxArtsvis a vis those dancers who could have stayed out of Russia but chose to go back - that seems like open support. For those working there who may have good reason to stay, I would say it may be more complicated...

 

 

If anyone finds themselves in Turin (Teatro Regio) in December the company are performing a new ballet by Ilya Jivoy (4th-11th) and then Nutcracker (16th - 23rd). 

The Carmina involves live orchestra and soloists from Tbilisi Opera and some incredible staging from what I hear.

 

https://www.instagram.com/p/CjzoqbSIeEv/

 

8 minutes ago, BeauxArts said:

Fiona: we are all fortunate to be able to post openly and courteously on this site and there will always be interesting news from the Russian ballet world to be shared. However, were you a balletomane in Russia you would not be able to post openly, expressing your views on the war, and would have to self-censor. The brute truth is that Cook and Ryzhkova - and Mai Nagahisa and Aaron Oh (Mariinsky) - have ALL returned to Russia in the full knowledge of what Russian forces have done to the people and infrastructure of Ukraine. If it is “food for thought” I regret to say it is indigestible for me. 

It's an interesting discussion. I would ask, for those condemning people for staying in Russia, how many of us here considered uprooting their entire lives and leaving the UK when Iraq was invaded by UK/USA forces? I have met in Tbilisi (and know via my son) a number of Russian young people who have left the country in protest and was struck by what an incredibly brave thing to do and it made me feel quite ashamed in many ways that the only thing I did back in the day was go on a march or 2 and sign some petitions. I know you can cite the fact that at least we could protest from within our own country and they cannot (although many brave souls still do), but I still thought those whom I met showed incredible strength of character for leaving. They cannot access their money, have lost their homes, are cut off from their families and often find it difficult to find work (and are met sometimes with hostility simply for being Russian). Some are then forced to return as they have elderly dependents who cannot survive without them and they cannot find work abroad. I also know of (non Russian) dancers from big name companies who have left Russia and now cannot find a contract anywhere. It's not always so black and white I think..

oh that's perfect- brilliant detective work- thanks so much- I was about to have to go to grishko international at a sum considerably higher than the elastic you found! DS will be delighted

no, this

lots of people sell it in pink but I cant find white anywhere...

 

hello ballet hive mind, I have been asked by DS to source white invisible elastic to take with me when I go to visit- cant find any obvious source online- any suggestions?

Any help much appreciated

Celib x

My understanding from DS is that students from Vaganova who are happy to work in Russia and are of high enough standard would see no need to bother with PdL so those who do go either want to look for work outside Russia or do not feel they are likely to get offered a place in Russia (sometimes this may not be to do with quality - one year I recall DS saying one of the boys who went to PdL was quite short, which is not generally liked in Russian companies). Tbh the 2 big companies in Russia have such a huge corps they do take a lot of students every year- in DSs cohort of 5, 2 went to Bolshoi and 3 to Mariinsky. And there are plenty of other highly respected smaller companies (Mikhailovsky and Stanislavsky for a start). And they already (a bit like RBS students) consider themselves to be in the best school in the world so where's the gain in going to a comp if you don't want the prize on offer?

I'd agree with Rowan that short term company slots for a 16 year old would be unusual. I would think a high level summer school such as Prague Masterclass (https://www.balletmasterclass.com/pages/) - or perhaps better would be a summer school associated with a company (obviously it would want to be a company you are interested in joining) such as the one Dutch National runs (https://www.atd.ahk.nl/en/dance-programmes/dutch-national-ballet-academy/summer-school/). These tend to be a bit more focused on performance plus they are linked often with the company so you get a bit of insight into the company's teaching/repertoire. 

 

I would suggest at 16 you should already be thinking a bit about the type of company you are interested in joining and the best route into those companies e.g. does your teacher have contacts, do the companies hold open auditions, do they take people directly from their associated school e.g. like New York City or Dutch National (or to a certain extent Royal ballet and English National Ballet) such that doing a final year at that school would give you the best chance or getting in etc. My impression is that getting a company place via open audition when you have no connection or school behind you is pretty tough (although not impossible).

 

It also depends on if you are looking at purely classical, or other forms of dance as well, as this makes a big difference to your planning...

 

Are you particularly keen in coming back to the UK to dance? To be honest many UK trained dancers end up elsewhere in Europe due to lack of opportunity in the UK, so you need to be open to that possibility...

 

Good luck with your studies anyway...

22 hours ago, LinMM said:

 

Referring to Chris G post I personally am  not sure how anyone could use the word "loathe" about an Andrew Lloyd Webber musical....goodness they're not that bad and have produced some really wonderful songs over the years 😊 but horses for courses I suppose. 

 

 

 

errm me! I loathe all ALW musicals (or what ive been able to tolerate of them eg about 5 minutes) and tbh pretty every other musical I've ever been subjected to... I got dragged to see Wicked (my daughters friends birthday) and spent most of it flinching; watched Les Miserables (the film) and wanted to put my fingers in my ears through about 90% of it. Urgg.

 

The only musical of any kind I've ever liked was Galivant because it was hilariously funny (though I'm not sure it was ever on UK TV- only saw it as DH did the visual effects)

 

Youngest DD saw Cats last night- Id have expected her to be perfect audience aged 12 but she said it was ghastly...

On 15/12/2019 at 22:07, Julie 2 Milner said:

I found the use of the sheep ( not real) distracting. The lady next to me was in fits of laughter. 

 

when my DS was rehearsing this for the first time the sheep was unaccountably absent (on its holidays?) so his partner's mother rigged them up a large toy truck to act as a substitute. I found this an even funnier concept than the sheep itself (which, lets face it, looks totally ridiculous).

 

He says its one of the most pointlessly difficult PDDs hes ever had to learn - it's really hard to move the sheep around and not accidentally knock or pull it over ...!

Grishko do a wide fitting both my son and daughter favour grishko canvas split soles I think style 5. Just ballet sell them. Ds used to prefer black but since in russia its always white...

11 hours ago, LinMM said:

Well it’s definitely Oscar Frame! 
Ive got the cast list in front of me right now having just got back and can’t find anyone with the surname Lyndon 🤔 

Lyndon Alexander are Oscar's middle names! Someone clearly hit the carriage return at the wrong time hehe....

On 21/11/2019 at 14:59, LinMM said:

Have just been told that Oscar Frame will be dancing in this programme ..on all three nights as far as I know ....but have no idea in exactly which pieces as yet. 

in the Chanel, in ensemble pieces, but he's been incredibly fortunate to be asked to stand in for the principal men in rehearsal on numerous occasions so has had the amazing experience of partnering Miss Zakharova too-  he's loving the whole experience and really looking forward to performing on home turf  

On the other hand I do think it's a little easier when your DC is NOT fantastically academic - DS is severely dyscalculic and a bit dyslexic so wasn't giving up a glittering academic career so much as enthusiastically waving it goodbye with a huge sigh of relief - it must be much harder if you have both on offer and have to choose...

If you can find a travel company that doesn't end up prohibitively expensive then that's a great idea but I just want to say that it isn't all that bad going independently. You can get a letter of invite dowloaded in 5 min from the internet (it costs 9 pounds but means you can do it without having to decide on accomodation) and if you fill in the visa form correctly you are in and out of the Visa office in less than  30 minutes usually. We have stayed in Airbnb's in moscow every time (around 4 times a year for the last 2 years and also in St P for a few years with similar frequency) and have found them all lovely, reliable and economic and also means you dont have to eat out all 3 meals a day which can end up being a bit wearing. There are lots of local grocery shops so not hard to buy food. It's also really worth having an uber app on your phone as you can then travel by uber cab which is super cheap (if you think metro will be a bit daunting). Otherwise buy a metro card and top it up like oyster is less stressful than buying single trips. I am a really nervous traveller but last time I travelled to Moscow alone and found it fine. But appreciate all of the above requires some travel savvy and may be too stressful for an elderly relative. Please do pm me if you want DSs contact details when you go- I am sure he would be happy to be an emergency point of contact. .. any questions do ask ...

So has she decided Russian training in Russia is too daunting?

DS always regretted not going at 16 (he stayed on in USA at a Russian based school mainly to get his high school diploma but in retrospect that was a mistake - he'd have been better off at the Vaganova sooner....)

 

 

 

 

also just to note having very flexible feet does have its down side. my DS has unusually arched and flexible feet for a boy but they have been prone more to injury during his training years (especially as they are relatively small considering his height). he has  ligaments more than once..

 

so there is almost more need for strength where the foot is flexible than when it less so. like most things you need a balance between form and function!...