jmhopton

Thanks for info about the Odeon showing of Spartacus, Patsomerset. I used to have Odeon Cultureplus saved as a favourite but with changes to the site I find it almost impossible to access as my computer isn't up to date enough. I had to go to the cinema to book for Don Q and while there I complained to the manager. She said I was the first to complain in person but in the Odeon office they have had to have their computers updated to cope with the new system! She said she would pass my complaint on. I find it very annoying when some computer whiz kid comes along and upgrades a website without considering all the thousands of users who don't have the latest technology. Even my computer at work can't access it without a lot of trouble. It took about 20 minutes just to see what seats were available and then it wouldn't let me book. I don't even particularly like the new layout. Previously it used to say at the top of the site how many films were there so you could tell almost at a glance whether any had been added or subtracted but not any more. The thing that really annoys me is it is possibly the least mobile members of the population who have the oldest equipment and are less able to get to a cinema to book. Joan

Like Don Q fan I too think Andre should have been promoted. He is a fine dancer and a great talent whom we saw too rarely on this visit. Do you think it can have anything to do with him seemingly being perceived as as more 'character' dancer than a classical dancer noble? I'm only going off the roles he seems to be given to dance over here. Don Q, Flames and Rubies, not the more classical 19th century ballets. Joan

Thanks, Toursenlair for the timing. I checked the website myself and it looks as it 2 hrs 15 mins includes the interval so it's quite a short ballet. Joan

Does anyone know how long the Taming of the Shrew lasts? I'm already thinking of booking trains home after the Saturday matinee. Joan

Do we know when they plan to come? I tried the translation website but it only translates 100 characters and it was a bit confused. It did seem to say they were also obtaining Manon but I don't know if they're bringing that also. Joan

Odeon Culture Plus have announced their Royal Ballet/Opera screenings. Also Meteropolitan opera and some RSC and National Theatre. Still waiting for Bolshoi though previously they were announced later than Royal ballet and not so many screenings.

I know I've already had my wish (more Royal Ballet on tv) but another thing I think would be great is if the Royal followed the excellent examples of Northern Ballet and ENB and created short, narrative ballets aimed at very small children. They have the space in the Linbury and it would be excellent experience both for budding choreographers, and upper school and new corps dancers to gain valuable stage experience. it would also be a great way of introducing young children to ballet. So many young children seem to learn dance but I don't know how many actually experience the thrill of attending a live performance. I think Northern ballet have a policy of charging £5 for children and their Ugly Duckling was very well received by both children and adults. I Know the Royal has the schools matinees but I think more could be done to introduce very young children to ballet. They are, after all, the adult attenders of the future. Joan

In a question and answer session published a few months ago in the Radio Times Tony Hall did make a commitment to more ballet and opera on tv so we'll have to keep an eye on scheduling this autumn and see if he keeps his word. Joan

I thought the Royal Ballet had a policy, presumably in the 1960s, for charging extra for Fonteyn and Nureyev productions? I would pay extra to see Ivan if it was something I wanted to see him in. I don't think I'm going to pay anything to see him at the Coliseum next year in Kings of the Dance as the rep seems to me to be very disappointing. However, if it was a full length ballet; particularly one I've not seen him perform before, that might be different. Joan

I too would be keen on having either Lantratov or Ivan in the Royal Ballet. (Like a previous poster I suppose both is too much to hope for!) Lantratov's is obviously very versatile; easily able to tackle both the courtly roles and the more energetic character roles. I could see Ivan might be more problematic (much as I love his dancing) but I think he does need a permanent company in order to find and perfect his classical style. At the moment he just seems to be doing a lot of guesting and while that is fine while he is young I think if he does not become affiliated to one company (not necessarily the Royal) he will never successfully extend either his rep or his style. I think he is dancing Romeo at La Scala either later this year or next year but without being a company member how can he develop a classical style? it's not something you can learn in a few weeks rehearsal. Ratmansky once said he would like to see Ivan with the strictest classical teacher there is for 2 hours a day and that way he will become a good classical dancer and extend his career, both artistically and in length. At the moment if he carries on just guesting, companies are only going to want him to perform the virtuso roles he does so brilliantly because they know that's what the audience expect to see from him. But not even Nureyev managed a career based solely on virtuoso roles. He had to dance classical roles as well. Like previous posters I think there are valid comparisons between Ivan and Irek. Both virtuoso Bolshoi dancers who left because they were typecast in Russia; even their physical shapes are similar; neither seen as ideal for classical dancing. But surely the criteria for a classical dancer should be his dancing not his shape? I do think Irek fitted in very well into the Royal Company and rep and he was 30 when he came here. Ivan is only 24. Plenty of time for him to develop classically but he does need to be thinking about it. I love seeing Ivan dance. He is possibly the most marketable male dancer in the world today (certainly in England) with the possible exception of Carlos and this is because he gives his all on stage. The audience realise that and that is why they respond to him like they do. I think his dancing in Flames was entirely appropriate given the role. You only have to see the energy of Russian Folk Companies such as the Moiseyev (If that's spelt correctly) to realise the folk based dances he was doing do need to be performed with energy and enthusiasm. The fact he always seems to be having such fun on stage is infectious too. After all, Osipova is now a principal with both the Royal and ABT as well as being given freedom to guest with companies like La Scala so she doesn't seem to think belonging to a company is holding back her career.

Just got back home after seeing all 3 Flames performances with my husband. What a weekend!! Well worth the huge expense of transport, accommodation, dogs in kennels etc. The excitement that several people (including me) thought had been slightly lacking this season was certainly there for all these performances; especially the first!!!!!! I agree with many of the comments aready made by others. At the end of the first act we were both were rather underwelmed by the whole experience. I really enjoyed the revolutionary dances and seeing the wonderful Andre Merkuriev at last (seen all too briefly in this visit). I thought Anna Rebestskaya was really excellent as Adeline; best performance in the role for me. However, I thought the court scene was over long and (dare I say) rather boring. By ending the first act with it I thought it ended the act on a low note; whereas if it had had 10 minutes cut out and ended with the revolutionaries it could have ended on a high. However, that's just my opinion. I have to say the court scene does grow on you a bit the more you see it though I still think it's too long. However, the second act, well!!!!! it was just amazing. I didn't want it to end. Osipova and Vasiliev have done it again!! They gave the performance of a lifetime. I've been seeing the Russian Companies since 1990 and this is definately up there in my top 2 or 3 performances. it was just sensational!! They knew it and were shamelessly playing to the audience but their joy in life, in dance and in each other just shone through. You think she'd been dancing in cuban heels all her life; her attack, vivacity and sense of 'going for it' and disregarding any possible consequences makes her virtually unique in female dancers. She just seemed to be having a splendid time and that was communicated to all the audience. As for Vasiliev; well, words fail me!!! Was this what it must have been like watching a young Nureyev? I'm not old enough to remember. the sense of excitement when he did that very theatrical walk upstage to start his solo was palpable. You could have heard a pin drop. It was as if everyone was thinking 'this is what I've come to see; please don't disappoint' and of course he didn't. I thought the dvd and clips on YouTube were sensational but words aren't sufficient to describe the impact of seeing him live. there were audible gasps round the auditorium as he leapt into his gravity defying leaps and scattered applause kept breaking out throughout his variations as if the audience couldn't contain itself and wait for the end. The lady sitting next to me kept muttering 'no, no, he can't do that, he can't' but of course he could!! This is the 11th performance by him I've seen and it is arguably the most sensational ( his 1st Don Q; at the Coliseum -not ROH; and his 1st performance at the ROH in 2010; are the only performances I've seen that can compare). it's not just his amazing leaps and turns but his sheer physical presence and, like Osipova, his 'going for gold' regardless of consquences that make him unique among todays dancers. If there was an Olympic medal for ballet they would both win it for their unique style and vitality - and this is magnified when they both dance together. of course their style is not to everyone's taste. When my husband had been to see them in Laurentia earlier this year he was waiting at the bus stop with 2 men who were very dismissive about his performance. They said 'Of course it's not ballet what he's doing. He's just throwing himself about the stage. No artistic merit at all'!! We thought that was very funny and last friday after we'd recovered the power of speech we said 'yes but he's just throwing himself about the stage. No artistic merit at all!!! very tongue in cheek!!! At the end of the ballet the cheers nearly took the roof of and are possibly the loudest I've heard since that first performance together at the Coliseum. The curtain calls and foot stamping went on for ever and the curtain calls got ever more outrageous with the men vying with each other to see who could be last off!! A sensational end to an amazing evening. it is interesting that though they are what I think of as a dance lovers couple (ie not very widely known outside ballet going circles; no tv appearences or covers on Hello) England seems to have taken them to their heart and their performaces sell out faster than virtually any other dancers today. They too seem to have taken England to their hearts with their decision to live here and for Natalia to base herself at the Royal Ballet.( I hope it's not too long before we see Ivan perform with an English Company too; even if it's just as a guest; there are several to choose from.) I waited at the stage door afterwards and there was just as big a crush there as when they did Don Q in 2010. About 50 or 60 people waiting and not leaving even though there was a bit of a wait. When Ivan did come out there was such a surge forward I thought I was going to be crushed. Everyone applauded him and he took it all in his stride, signing and posing for photos with great patience and good humour as did Natalia when she appeared. After the excitement of Friday it was always going to be difficult to follow that but I thought the matinee cast did a very creditable attempt. Denis Savin was very good as Jerome but I did miss the easy charm of Andre Merkuriev who has been woefully under used this season; possibly because of the lack of 'character' ballets. I thought Shipulina was good but not as moving as either Osipova or Krysanova. Also why was she in knee length boots for her 'character' dances in the second act? Both Osipova and Kyrsanova wore the cuban heels Ratmansky specified in the rehearsal scenes on the dvd. For me the star of the afternoon was Lantratov. I enjoyed his Bayadere Solor at the cinema though I didn't see him perform it live as Terry went that night. However, I thoght he was brilliant as Philippe. Very different to Vasiliev. it was a much more polished, classical performance and didn't set your heart racing but it was beautifully performed and he was still very accomplished in all the 'tricks' the role requires even if the dangerous edge was lacking. It also helped he was drop-dead gorgeous to look at! He reminded me of an early Filin; same easy charm and bobbed hair style; just a bit taller. definately someone with great talent to look out for in the future. The evening performance was possibly my least favourite of the 3. Though still very good it didn't seem quite as good as the others; perhaps I was suffering from Flames overdose or perhaps the dancers were. it is a long season for them coming after a long 6 months with all the trouble they contained. I thought Krysanova very accomplished as Jeanne; the closest to Osipova in joi de vivre. However, I didn't think Ivan's partnering was as accomplished as it was with Natalia; not surprising really as he won't have had the experience. I don't know why they initally said Osipova was dancing again and then changed their minds. Was it her suggestion or the Bolshoi's? It would make more sense to me to go out with a bang with the 2 of them and also give Ivan the partner he's used to but without knowing the situation it is difficult to comment. Like one or two previous posters I thought Ivan was tired that night. he still gave the performance 100%; possibly even more so than previously as it all seemed more of an effort second time around. the audience were enthusiatic but not exctatic as they were the day before. The spark was missing; whether that was Osipova or he was just tired or a combination I don't know. I do worry a bit about his fitness. it he is not attached to a company where or how does he attend company class? Without class I suspect a performer's fitness can lapse. there is the old saying 'miss one class you notice it, miss 2 your teacher notices, miss 3 everyone notices'. Ivan said once he didn't go to the gym, he dances to keep fit but if he is not dancing how is he keeping fit. At the stage door he seemed quieter; a bit more subdued though still as friendly and charming as ever. Before finishing this rather lengthy posting I must mention the wonderful King Louis XVI of Denis Medvedov. he was brilliant; really funny, playing it dead straight; always the best way to get laughs. Was slightly disappointed Filin didn't appear again to see how we appreciate both him and his wonderful company. I just hope his eysight is sufficient for him to get back to work again in September like he hoped. We all wish him well. I just hope we don't have to wait another 3 years before they're back and with hopefully a more adventurous rep. Can I put an early plea in for Bright Stream and possibly either Pharoah's Daughter or Esmerelda I would also love to see them do Onegin and I have heard they are acquiring Marco Spada which I've never seen performed live. Plenty of choice there without having to resort to loads of Swan Lakes!! Joan

I remember Dance Bites coming to Blackpool and being rather underwelmed by the experience. I'm sure a lot of not very experienced ballet goers would think as they are seeing Royal Ballet it would be classical pieces and the experience could be more off-putting than positive. However, London City Ballet used to do really good mixed programmes of divertisments and short ballets and I'm sure this would be appreciated and popular and need not cost too much if it was performed by graduates or corps de ballet and would be useful experience for them; fulfilling a similar role to Sadlers Wells in the 50s and 60s. A more interesting selection of cinema ballets would be great but I realise they are limited as only a certain number of full-length ballets are performed each year. As it is it is very good news that the cinema ballets have been increased to 5. I can understand the frustration of the regular Nutcracker appearance but it is a very popular Christmas entertainment for those who can't get to London for a live performance and is a very good way of introducing children to ballet. Many will be more used to cinema rather than live theatre and it could be a good way of encouraging them (and their parents) to actually attend a live local theatrical or ballet performance. More to the point what is being done with all these live recordings? Not that many seem to be making their way to dvd and why can't they be shown on tv? I thought the BBC had an arrangement with the ROH that if they helped with the filming they would have the rights to show so many on tv, or is this out of date, now? A few years back SkyArts broadcast all the 3 ballets shown that year; Bayadere, Nutcracker and I think Swan Lake but nothing since. My main plea would be for more ballets to be shown on tv and what better than the ones already filmed for broadcast. Joan

Not much use to me as we're in London at Flames and the recorder is set for football!!! Must give in to my husband occasionally as he's paid for the Flames tickets for both of us and transport and accommodation! I'm sure it will be repeated again and I'll just watch out for it and record it at a later date. I don't suppose your friend knows anything about casting for other ballets, chinafish? I'm hoping for the wonderful, charismatic Gediminas Taranda but the recordings may be too early. Joan

I've recorded it but not watched it yet. Now I'm not really in a hurry to do so!! I wasn't really too bothered about Swan lake anyway as it's not a favourite ballet but that's not the point. What is the point of going to all the expense of re-mastering it if you can't sort out problems like this. I hope they've read these reviews and are checking on the other ballets. Joan

Yes, you're right Pam. I thought he was taking on a lot this October! I'm getting mixed up with him peforming with Tamara in Romeo next summer. I thought it was rather unusual as the Corsaire was always matinees and I didn't think Carlos did matinees! Joan

I saw this post in the Reviews section and thought it perhaps deserved a more prominent placing as it is so interesting. Recordings of 6 Bolshoi ballets have been found in the Russian state archive and have been remastered by Sky. Apparently this is the first time they have been broadcast outside Russia. the first ballet is Swan lake starring Maya Plisetskaya and is being shown tomorrow, Sunday 11th August at 8pm and followed by their recently shown doc, Madam and the dying Swan, about Ninette de Valois. I think it is repeated on Tuesday and the other ballets are Giselle, Romeo and Juliet, Don Q, the Nutcracker and Adam and Eve (which I don't know). They all date from the 1970s and 80s. A doc about the finding of them has also been commissioned by SkyArts and is is to be presented by Deborah Bull. The original post from The Stage newspaper is in Thursday 8th August Reviews posting. Joan

Carlos Acosta is appearing at at least 2 literature Festivals this October to promote his new novel, Pig's Foot, about a boy growing up in Cuba. Apparently is is nominated by Waterstones as one of the literary debuts of the year. Carlos is appearing at the Cheltenham Literature Festival on Sunday October 13th at 2pm. Tickets £8. I think public booking is not open until September but check. The online catalogue is huge and I couldn't find the booking details when I revisited the site. He is also appearing at the Manchester Literature festival on Saturday 19th October at the Lowry. Tickets £9. £7 concession. Buy tickets online or book 08432086010. With his debut in ENB's Corsaire and the debut of his ROH Don Q Carlos is having a busy October!!

Thanks very much for casting. I'm glad Andre is getting one performance of Flames at least, though 2 would have been better. Disappointed that Osipova may not be dancing on Saturday night as have managed to get a ticket on the front row of the amphi in the hope that she and Vasiliev may dance that night. However, enjoyed Krysanova in Bayadere so I'm sure it will still be a great performance. Joan

If not before we should hopefully see a great partnership on the evenings of the 16th and 17th August even if the 2 are no longer official Bolshoi dancers. Joan

Has anyone heard anything about the casting of the 'second couple' for Flames of Paris. surely Andre Merkuriev should be dancing something???!!! Joan

I saw both Saturday Bayaderes but before commenting on them specifically I would like to make a few observations on the season and the production. At the risk of repeating myself, for me this is the least attractive Bolshoi season since I first started seeing them in 1999 in terms of repertoire. I know many ballet enthusiasts like seeing different productions of the Tchaikovsky ballets but when I see the Russian companies I like seeing rep. I wouldn't normally see such as Raymonda, Spartacus, Don Q, Bright Stream or Pharoah's daugher. Previous Bolshoi seasons provided several of these wonderful ballets. Then there are ballets such as Esmerelda and Lost Illusions which we haven't seen at all here. I know the programme has to be balanced and provide a mix of well known and not so well known productions but I think this years season has an imbalance of too many Tchaikovsky performances (though as the season has sold out completely what do I know!!). I can understand them bringing Sleeping Beauty as it is a new production and seems very spectacular. But I do think there has been too many performances of Swan lake. it would have been great to have a couple less days of this and 2 days of any of the above. I am also surprised they started the season with Swan lake as their production was not popular with the critics last time it was shown and even though I think there have been revisions, reviews were still not very enthusiastic. I would have thought it better to start with Sleeping Beauty. I agree with the previous poster who says this years season has lacked some of the excitement of previous seasons and I think this is partly at least due to the unadventurous rep. but perhaps also due to the fact that a younger generation is coming through the ranks and it takes time to get to know them. I was in London all last week but only attended performances on Saturday. Living in Lancashire it was disappointing to be there and only attend a couple of performances. When Pharoah's Daughter and even more so, Bright Stream, were debuted here there was real excitement. I also well remember the excitement generated by Osipova's first performance in Don Q and, the following year, her debut in the ballet with Vasiliev. This was also the same year as Carlos' Spartacus and then there was Vasiliv's Spartacus; also exciting. Smirnova could be the dancer providing this year's excitement. I saw her Bayadere and thought she was terrific. it brought back memories of Altynai in the role. Rep. wise there is only Flames that has excited me as I have never seen it live; only the dvd. I'm pleased by the news that Osipova and Vasiliev are dancing both the Friday and Saturday evenings though I'm really sorry for the reason behind it and hope Alexandrova makes a full recovery. She will be sadly missed. Incidentally, what has happened to the wonderful Andre Merkuriv this season? I assume he has been pidgeon holed as a character dancer and as this year there are more classical ballets this is why he hasn't featured much yet. I hope he is in at least one of the Flames performances. I heard he may be in Rubies but I'm not attending Jewels. To get back to Bayadere. I thought there were pros and cons with this production. I did like the early solos for Gamzatti as I felt it established her character more firmly. However, I was slightly puzzled by the alteration in time for the slave pas de deux. In other productions it is after the rajah had announced the 'betrothal' of Solor and Gamzattii and it is a sort of celebration with Solor usually trying to hide behind a pillar and pretend he's not there! Having it before the introduction of Solor and Gamzatti seemed to remove it's point but perhaps there is a reason for this I'm not aware of. I am firmly with the previous posters who want the removal of blacked up children from the production. Keep the children if you must but remove the blacking though they are still an unnecessary distraction from the bronze idol dance. They danced beautifully and it must be a real thrill for them but I don't really think they are necessary. I was disappointed that the procession in the betrothal act was done in front of the backcloth when they had such a wonderful set to process through. it was also disappointing not to have an elephant for Solor! I was puzzled as to why the Fakir and not Gamzatti's maid, gave the basket of flowers to Nikia. I thought he was meant to be on Solor's side or did he not realise what was in it? I thought the Satuday matinee performance was ok but still not very exciting. For me it was the evening performance which was really inspiring.The dancing seemed to me to be of a very high standard, especially Smirnova. I enjoyed Chudin's performance but would like to see him again before committing myself to definately seeing his performances. I was thrilled we had 32 shades and nor 24; Markarova take note! if the Bolshoi can get 32 shades on the ROH stage why can't the Royal Ballet? I liked the 4 levels on the processing ramp though it looked difficult to negotiate. All principals were excellent and special mention to Denis Medvedov, one of my favourite dancers, who gave an inspired Indian dance, throwing and catching his drum as if he does nothing else. After a week the excitement has arrived!! Joan

Would love to see the Mikhailovsky version to compare it with the Ratmansky one, especially as by re-creating rather than re- choreagraphing presumably he'll keep as much of the Chabukhiani choreagraphy as is known. it's had good reviews. Perhaps they'll bring it if they come next year. Joan

I echo what Janet and Don Q fan just said. it was great meeting up beforehand and having a good ballet chat and the ballet itself was very enjoyable too. Did rather miss Ivan's spectacular leaps; Don Q doesn't seem the same without them now, and the way Natalia dominates the stage with her personality and bravura technique. But it was a very good effort by the company, especially the matador and his castanets! Joan

I too am looking forward to seeing it at the Lowry. With it being on Thurs - Sat does that mean something else is on at the beginning of the week? Joan

I echo everything Quintus says about cost of travel, accommodation etc being a factor in selecting what ballets/stars to see in London. When I booked my 4 performances for Onegin last spring the price of the theatre tickets paled into insignificance compared with the travel/accommodation costs. Don't believe anything you hear about cheap train travel being available 3 months in advance. it seldom seems to apply days I want to travel. it usually means the bus which is a 5 hour journey each way; that and anything from £50 (amazingly cheap) and £100 (more usual) for one night's accommodation usually prices me out of the market for anything but the most exceptional performances however much I may want to see a particular ballet or star. This is one reason I'm so grateful for Kevin O'Hare scheduling more matinees. If you don't have to stay overnight it makes ballet much more accessible.