Sim

I too was in the balcony, and surprised to see some empty seats.  I think there was a techical problem with the moving tree (and the one at the back of the stage);  it isn't supposed to go up and down like a yo-yo, so hopefully that will be fixed for the next performance.

Yes, the reception at the end was amazing, and they kept coming through the curtains for more bows, even when the house lights were up. 

I agree with Jann Parry.  I first saw Osipova's Giselle when she danced it with the Bolshoi here in London two or three years ago.  Then, I cried from beginning to end.  Now, I just sat and marveled.  I don't have time to write in detail now as am sneaking this in at work, but both she and Vasiliev put on a searing performance, technically and dramatically.  Osipova's variation in Act 2, including backwards hops, was astounding and she was duly rewarded by huge applause from the audience.  My one reservation is her makeup in Act 2....she came onstage looking like she'd forgotten to take off her face pack.  As the act went on, it settled down a bit, but considering that the Wilis had all been in their graves for much longer, they looked like they'd just come out of a beauty salon, with red lipstick and blush.  In fact, Myrthe had so much makeup on that she looked like she should be in the Trocks.  However, this niggle aside, it was fascinating to see this production again, and with two such brilliant interpreters of the role. 

I think that many people are not going this year because of the ticket prices, in economic times that are not easy for most people.  The fact that it costs £18 just to stand, plus the prices above that, is, I know, putting people off. 

Last night I went to see Rocio Molina perform at Sadler’s Wells as part of their 10^th annual Flamenco Festival.  One of the great things about this festival is the clever way the organisers book such different proponents of this old and wonderful art form.  In the space of ten days audiences are treated to everything from traditional gypsy style ‘flamenco puro’ to very 21^st century ‘fusion flamenco’, and everything in between.

Somewhere in between is the marvellous Rocio Molina, and her very talented trio of singers and guitarists.  Her programme, Danzaora, ran for 90 minutes with no interval, and she was onstage almost the whole time, just stopping once for a short break whilst her guitarist played the most beautiful solo piece of flamenco guitar.  If a guitar can have ‘duende’, his did.  Unfortunately I did not buy a programme so don’t have the names of the three men;  my apologies.

And so to the dancing.  I adore the traditional, gypsy-style of flamenco, and in the past have not enjoyed women dancing it in trousers, or men turning this noble dance into an ego trip, so have largely avoided modern interpreters of this dance.  However, I heard great things about this young dancer last year, so when I got the opportunity to see her I jumped at it, and am very glad I did.  Molina brings an originality all her own to flamenco, whilst still respecting and dancing the traditional style.  She interprets the music with gusto, with sensitivity and with understand of the whole heritage of which she is a part.  Her arms, wrists and fingers are beautiful, gently conveying quiet emotion one minute, fiercely slicing through the air the next, her face reflecting the emotion her body is expressing.  She has the most pliant back, executing rapid corkscrew twists one after the other, holding a backbend for just long enough to make us gasp.  Her strong legs and feet are incredible;  she taps her feet with astonishing speed, abruptly changing rhythms and, by doing so, emotion.  One minute they are bashing out anger and frustration, the next, barely audible, something much more internal.  She did an amazing piece where she tapped around an empty wine glass, building up the speed and ferocity until I was sure she was going to step on it and break it….which she eventually did, but only because she wanted to!  In another section, she slowly comes downstage holding a small drum which was lit from the inside.  Her fingers tapping a rhythm, her feet began to follow, building up to an amazing climax.  Likewise, she and one of her trio stood opposite each other with a small high table in between them, and had a rhythm competition with their fingers and feet which was a joy to behold.  But this was not only about technical ability; Molina is an artist of much depth, and has worked very hard on putting together this piece which shows us the best of traditional and modern flamenco, and, perhaps, where its future lies.

I also opened both links, but as I don't speak Russian they weren't much good to me! 

Aileen, unfortunately this sounds like an all-too-familiar story.  I've had similar sibling hassles following deaths in my family, and haven't spoken to one of my brothers for six years.  A lawyer said to me once to ensure everything was in order paperwise in case anything happens to me 'as it's always the relatives' who cause trouble.  I keep telling my daughter that although there are downsides to being an only child, there are also upsides!!  I hope the whole business doesn't cause you too much grief Aileen.

Fiz and Julie, I wish you strength and succour in all your challenges ahead.  I've been there and know what it's like. Just take one day at a time, and most importantly....take care of YOU too, otherwise you won't be good for anything or anyone.  I'm so glad that you can take some comfort from our forum folks....thank you all for continuing to keep this such a wonderful place in so many ways.

Katherine....I didn't even bother looking at anything other than the lower end of the scale....but my standing tickets, which cost either £6.00 or £10 when the RB is dancing, cost £18 for the Bolshoi.  I mean, I know it's incredibly expensive bringing such a large company over here, but these prices will be offputting to many.  As it is I only bought for myself this time, but would have loved to have taken my daughter too.  Luckily, I don't think she's too bothered!!

In this morning's Today's Links there is an article by Ismene Brown in Arts Desk regarding this thread and peoples' views of whether or not to see the Bolshoi in London this summer.

I've only just found this thread.....I'm so sorry your daughter was so unwell, Charlie, but the fact that you are at the ballet tonight shows that she is on the mend.  For inspiration, you could tell her the story of Royal Ballet principal Lauren Cuthbertson, who was so ill three years ago that she couldn't get out of bed, and had to start walking again for two or three minutes at a time.  From that state, she never gave up, returned to full health through good care and incredibly hard work, and returned to the stage much the better dancer than she had been before, both technically and, more especially, dramatically/emotionally. She had been out for a year.  Unfortunately, she has been plagued by injuries since then, but is still fighting to come back strong again.  Tell your dd that your mind can often beat your body if they work together.

Do let us know how your evening went!   By the way, I'm very impressed with your dd's drawing on the profile pic....for a 10 or 11 year-old, it's excellent!

Welcome Nottsballetlover, and thanks for posting...looking forward to hearing more from you!

Like you I had to think long and hard before buying  Bolshoi tickets, but finally decided on Flames of Paris and a  couple of others.

Congratulations to all who made it through to the Upper School, but I feel incredibly sorry for those who started in Year 7, worked so hard all the way through and have not been assessed out, to be told they can't go through to the US.  A real shame.

Gosh....this looks like a very interesting and varied season, especially at the Linbury. So pleased to be seeing Serenade again...that and Symphony in C are my favourite Balanchine pieces. I look forward to seeing the castings for all the productions!  Many thanks for posting this up, eliamato.

Many thanks, as always, for this update, Angela.  It looks like there are many interesting things coming up in your part of the world!

The dancers from Elmhurst performed a piece called 'Sailors'....and very good they were, too!  The boys looked great - lovely, high, precise jumps, and it's so nice to see them all take off together and land together!  The girls were also lovely, and the whole cast were very well rehearsed.  They danced with character and really looked as if they were enjoying it.  A real treat to see these students;  I've never seen Elmhurst dancers before and now I'd like to see more!

Ballet Central danced a very contemporary piece called Signature 31/30, and I very much enjoyed it.  Again, a very good standard of dancing from all six of the students.

Finally, English National Ballet School danced an ensemble piece called Une Lecture de Danse.  A good showcase for the dancers, who all danced really well.  This was more of a classical style.  Three different schools, three different styles of dancing on display, with lots of good, talented future professionals on stage.  What a treat it was to see them all.

A very enjoyable evening overall, and I must say I wouldn't have liked to have been a judge.  I think they made the right choices;  I was very impressed with the three winners, but also with a few of the others as well.  Isabelle Brouwers, who came second, really moved me with her interpretation of Nikiya's variation.  She's only 17, but really managed to convey the emotion and tragedy of Nikiya's situation.  That is very hard to do taken out of context of the whole ballet.  She was beaming from ear to ear when she won second prize and looked absolutely thrilled.  I look forward to seeing more of her in the future. 

Many congratulations to all the dancers.

Yes....this was my only viewing of this triple, and I enjoyed it.  Apollo with Bonelli/Hamilton/Choe/Kobayashi was lovely....and there was no doubt about the moment Bonelli became a god!

I enjoyed 24 Preludes very much, and it is a pity I can't see it again this run as there is so much to see.  I was impressed by all the dancers, and must say that Melissa Hamilton and Fernando Montano kept up to the same standards as the six principals with whom they shared the stage.  It was a pity what was done to Chopin's music;  maybe if Ratmansky had kept to the piano version it would have invited even more comparisons with Dances At A Gathering!!  Other people have disliked the girls' costumes;  I quite liked them, but could do without the crinkling noise that the dresses make.  For me, Ed Watson was the stand-out dancer in this piece, dancing with feel and technical excellence....speedy and precise. 

As for Aeternum....I was a bit worried when quite a few of the 'regulars' told me they were going home in the interval as they'd all seen the piece before and once was enough.  Needless to say this worried me....and my worries were sort of borne out, but not as badly as I thought they would be.  This was the piece I liked least;  on first viewing I found it very rushed and too busy and over-crowded.  I enjoyed the last movement best, which was a lovely pas de deux danced by Marianela Nunez and Federico Bonelli.  I'd have been happy just to see that, although James Hay did a wonderful little solo which was also well worth watching the piece for.  Jean-Marc Puissant's set was fabulous, moving upwards and outwards almost imperceptibly....my eye kept straying further and further upwards just to keep an eye on it and marvel.  Maybe on a second viewing I will derive more from the piece....but I must say I don't feel like I'd run back to see it again. 

LInk to a story on Sky News this morning.....it gets worse and worse!!

http://news.sky.com/story/1061292/bolshoi-acid-attack-dancer-paid-perpetrator

Sim, I was responding to Marissa, not Farfallina.

I know, but I was pointing out that there was a link put up by Farfallina that mentions the girl....

MAB, there is a link above from Farfallina which apparently mentions the girl, but as it's behind a paywall I haven't been able to read it.  The Courtney Weaver article in the print copy of the FT today does not mention a girl.

Ian, the FT article is behind a paywall.  Is this a new thing?  I've never been blocked by the FT before!   In any case, unfortunately I can't access it.

Cherchez la femme !! Here comes the girl in..

At this point it can only be speculation what triggered the events, but the article on the Financial Times points out very well how the protagonists may be linked..

http://www.ft.com/cms/s/0/ec666434-857d-11e2-9ee3-00144feabdc0.html#axzz2MkD2LFCb

Unfortunately this article seems to be behind a paywall so I can't access it......

Gorgeous! He looks so happy and relaxed. Thanks  Amelia.

Thanks Bluebird I hadn't written their names down! Also worth mentioning that it was ENB principal Elena Gljurdidze who coached the class that began the programme.

A very enjoyable semi final,, which began with a long class at the beginning so we could have a good look at all the competitors prior to their solo.  There was some very good standard of dancing on display, and the fact that I guessed 14 of the 16 finalists tells me that the judges and I were on the same wavelength...which is often not the case

The judges were Marguerite Porter, Deirdre Eyden and Chairman Gary Avis.  The 16 finalists, in no particular order, are:

(all the male semi finalists were from the Royal Ballet School, so of course all the finalists are.  Females are also from the RBS unless otherwise indicated)

Isabel Lubach, Grace Blundell, Naomi Bottomer (English National Ballet School), Julia Roscoe, Estelle Bovay, Isabelle Brouwers (ENB School),Grace Horne, Chisato Katsura, Augustus Payne, Thomas Bradshaw, Henry Dowden, Scott McKenzie, Jerome Barnes, Barnaby Rook Bishop, William Beagley, Joseph Sissens.

Good luck to them all, and from what I've seen today, I look forward very much to the final next Saturday!

Lee don't take this so seriously....it's just a bit of lighthearted fun!!