annamicro

Is Hallberg back on stage?

Gramilano reply to "Natasha" is quite funny: "being that it is a contained role maybe it seemed like a good opportunity to try out the foot before tackling a piece with many jumps". Alina Cojocaru, Sarah Lamb and Tamara Rojo (just to name three) broke their foot dancing Manon... Of course the hope is really back; good luck to Natalja Osipova

if Bristol Hippodrome is uncomfortabe for you I highly recommend you to avoid La Scala. I cannot really think of anybody of "equal ability" of Cojocaru, especially in the UK. The only one in the world comparable to her both on dancing and acting (or "living") qualities is for me Alexandre Riabko. When I think of musicality, the first image that springs to my mind is a moment on violin music in the Ballet Imperial she danced with Massimo Murru in La Scala: the two were absolutely sublime together. As Capybara wrote, Hernandez was excellent: he has an outstanding technique (absolutely necessary in Nureyev R&J) and good acting skills (both on the pure acting and on the "movement intention" sides), plus a remarkable partnering ability. You have probably forgot that at the Royal Ballet Cojocaru was often put on stage with McRae: a collaboration that started ages ago very promisingly and ended up to a disaster IMO, when it became evident that they are approaching the stage in opposite directions, technically and artistically. I've seen her on stage with more than 35 partners and in more than 200 shows: comparing them I cannot think of a worse perspective than to be back to that for Cojocaru. Reading your other comments I'd be surprised you would be happy about that: I think at least on one thing we have to agree.

or maybe she is just too busy with other companies and projects...

Or sometimes we see OBJECTIVELY different things :-) Die Kameliendame is one of my favorite ballet, but having seen the opening night at ABT as first, I'd have never be back to watch it: everything was absolutely awful, even if following shows were better. The same for "Zakharova version" at the Bolshoi (incredible she won a Benois for it!!! aor may it just says a lot about the prize...). On the other side Cojocaru and Bonelli are the only two who saved the Moricone version for me, but, again, it was danced by a different company than "yours".

Which theatre is uncomfortable? My seat in Bristol was just perfect. Which is the inferior version of Romeo and Juliet? Cojocaru is absolutely outstanding in Neumeier version (a wonderful work): "Julia" is probably one of her finest roles. I don't like that much Nureyev version, but in some moments it's my favorite and for sure it's grander than any other and Alina was marvelous dancing it. In Bristol she danced her 6th version of Romeo and Juliet (all based on Prokofiev music, it would be interesting to see her also in Berlioz based works) and having seen her in all of them I can say that the six are true masterpieces when put in the hands of a real artist as Alina is. Regarding the partnerships, nobody can take the place of Johan Kobborg, not just for the chemistry he has with Cojocaru, but also for his personal acting and partnering skills, but Cojocaru had a fantastic result with Friedemann Vogel in the Deane version and, according to reports, in the MacMillan with La Scala in Japan (she danced 5 times MacMillan Juliet also in Milan, unfortunately with irrelevant Romeos); Revazov, Trusch and Hernandez proved themselves to be great Romeos and IMO superior to anybody the Royal Ballet can offer (or has offered in her last seasons) her (excluding Muntagirov). I can agree that Cojocaru should be at the ROH because it's a magnificent venue, but that's not enough: personally I prefer to see her with ENB, Hamburg Ballet and Romanian National Ballet, her current companies. The world is much bigger than Bow Street and very interesting. :-)

"Even if the fish dives from the 1920's London revival are included" I saw just the dress rehearsal (danced by Manni and Andrijashenko) and fish dives were not included, as they are not in Vikharev reconstruction. Unless that sort of inclined supported pirouette in the pdd is a "pre historic" fish :-)

You were not mistaken, but the schedule was wrong. Cojocaru is now dancing on the 26th in Manchester. I'm sorry (and surprised) Rojo is not dancing her third version of Romeo and Juliet but I'm happy Cojocaru is dancing her (at least) fifth version

But when it comes to ENB and Romeo and Juliet, there are at least two first casts... :-)

But "Duse" is the name of the ballet, the referral to Eleonora Duse (please read the final "e", it's Italian, not French :-) ) is in your link.Two new works but a quite repetitive season :-( Nutcracker might not be common in Germany companies, but I think this is the third season in a row in Hamburg.

Absolutely. That's probably because the judges are nominated before the nominees ;-)

http://benois.theatre.ru/english/massmedia/news/ here are also the judges. I'd be really surprised to not see some nominees become laureates Jury Benois de la Danse – 2015: Yuri Grigorovich – Chairman, Luigi Bonino – Dancer, maître de ballet, coach, Alehander Vetrov – Maitre de ballet of the Bolshoi Theatre of Russia, Ingrid Lorentzen – Artistic Director of the Norwegian National Ballet, Vladimir Malahov – International Ballet Star, Kevin O’Hare – Artistic Director of the Royal Ballet London, Desmond Richardson — Co-Founder and co-Artistic director of Complexions Contemporary Ballet.

http://www.teatroallascala.org/en/season/opera-ballet/2014-2015/giselle.html you have to eneter in each production and then click on the date

I saw the two la Scala shows and agree with most of Amelia comments. I didn't like at first Sergei haircut, but I had the Nijinsky vision too and I think it worked for the role. I'd like to see him less thin, though: having not seen him dancing that way, I’d' could even have thought he wasn't well. His second acts were superb, but I think he was little too restrained in the first, not on stage with all his usual charisma. Great performances anyway: I loved them and would love to see him again (in La Scala possibly) soon. Osipova was a firework and had some wonderful moments (I adored her mad scene...I'm not usually touched by it but I was this time: it was really intense and dramatic but not overplayed), her solo in the first act was a masterpiece (I’m not sure if Amelia is aware she was jumping on her seat at this point …well Osipova deserved that enthusiasm!!!), and the moment when she is “awakened” by Myrtha was a real explosion of energy, as she only can do. I’d have just preferred to see more softness in the pdd, especially in the adagio: her dancing was a little bit too “solid” especially in the port de bras (on Thursday night Maria Eichwald was wonderful on this side: truly evanescent port de bras!). The crowd at stage door was huge (Bolle size…) but I had the impression that many were there just out of curiosity and excited desire to see Polunin: they were more hysterical than warm, very keen on shooting dozens of photos and asking for selfies. Sergei was shyly gentle and courteous as always, not exactly the tattooed bad boy and crazy rebel some were eager to see I suppose. I know I’m putting my finger in the open wounds of some friends, but I have to say that Sergei tonight is dancing Albrecht opposite Zakharova in Teatro San Carlo, Naples, as a late substitute for Skvortsov. Hard to call this show unmissable, but Polunin and the wonderful Neapolitan theatre could have been worth a trip.

On April 25th opens ONB mixed bill including Classical Symphony (Yuri Possokhov) Petite Mort (Jiří Kylián) Marguerite and Armand (Sir Frederick Ashton) On the first night, the role of Marguerite will be danced by Alina Cojocaru, partnered by Robert Enache, on the second night the roles will be danced by Corina Dumitrescu and Dawid Trzensimiech. http://www.operanb.ro/spectacol/triptic-de-balet/2015-04-25 http://www.operanb.ro/spectacol/classical-symphony-petite-mort-marguerite-and-armand/2015-04-26

Kevin O'Hare took a break from promotion troubles: he was in La Scala tonight to watch Giselle with Osipova and ....Polunin.

The Royal Ballet School graduate Jacopo Bellussi (Italian), now dancing with Hamburg Ballett, is making his debut as Romeo in John Neumeier Romeo and Juliet on the 26th of April, as in previous run he will be also Alina Cojocaru's Paris in other shows. He has a second performance as Romeo on the 3rd of Mai.

It's available for pre-order (both as bulyray and DVD) also on Amazon.co.uk at a considerably lower price :-) http://www.amazon.co.uk/Adam-Corsaire-Dancers-Orchestra-National/dp/B00U2MTLNI/ref=sr_1_1?ie=UTF8&qid=1426865944&sr=8-1&keywords=corsaire+ballet

There were 6 prizes to win, so the first six dancers were all winners. But Polunin won the "Prix". So not conflicting info, just inaccuracies.

I've just watched the video of 2006 Prix de Lausanne: Chengwu Guo won the second prize and the contemporary one. Polunin won the first prize and the edition of the prix, plus the audience prize. Muntagirov was in 4th position. Trzensimiech was among the finalists.

[quote name="Sim" post="116564" timestamp="1422719678" Big kudos too to the thoughtful, sensitive portrayal of Gremin by Bennet Gartside. The audience needs to understand why Tatiana does not succumb to Onegin, and in order for that to happen we have to know that she is married to an all-around nice guy, who is loving and secure if not the most exciting of men. Gartside conveys this very convincingly, especially in their Act 3 pdd. I don't think that's the reason for Tatiana behaviour, but I really think Gremin should be renamed "Gartside". Or at least Prince G., to keep the illusion alive.

I don't know about la Sylphide, but as reported on Cojocaru's web site, she is dancing excerpt from Mayerling on January 28th in a gala. A rare opportunity to see her dancing again with Johan Kobborg . The past year I saw La Sylphide danced by Sena Hidaka (a Japanese dancer graduated at the Vaganova) and she was absolutely wonderful (her partner was Robert Enache).

Bucharest is probably a more rural town than London, since its audience seems to find normal to see dancing chickens: La Fille mal gardée opened in a total, maybe surprised, maybe respectful, silence. What a difference with Royal Opera House audience, able to laugh at the same point at every show, even at the 50th view. But it lasted just few moments: at Alain entrance, the lady sitting at my side started laughing and went on until the end; the usual background rumors, laughing, suspires, surprise, popped out and lead to a deserved triumph (double triumph , because the enthusiasm at first act end was already erupting). Alina Cojocaru Lise was her usual wonderful self: funny and sweet, with quick footwork and supple and eloquent upper body. Her jumps were smoothly high and with a great ballon: nobody would have guessed she was recovering from a calf injury that made her worry to not be able to perform. Johan Kobborg thinks he has to define better some details in his widow Simone, and if the artist says this maybe he is right, but I really need to see the improved version, because the first one was a already great performance and I loved it: the character was fully there, very funny, with a perfect acting timing. The clog dance showed the highest and lighter jumps ever, you see the great dancer behind bonnet and ringlets and this adds a touch of grace to the funny old lady, as an ephemeral spark of the young girl “she” has been. I was really scared when Simone head bursts out of the window at the very beginning. You are never ready enough when it’s done so properly. A very satisfying debut, promising for even more as he guarantees. After having seen him as a brilliant James the past year, I could have expected also a good Colas from Robert Enache, but he really surpassed my generous expectations: dancing at the side of artists of the level of Cojocaru and Kobborg, already experienced of the style and the ballet, he looked at his very own place. His acting was credible and able to create the character, the dancing was superb, able to fulfill the required quick steps and also powerful in the pdd solo. Cristian Preda was a sweet Alain: with excellent “dancing” and an acting able to generate the laugh and also the sympathy; he demonstrated to be another important asset for the company. The minuscule pony Amore (credited on the cast list) was a little nervous at the beginning and even more when he had to walk in front of the curtain, closer to the orchestra and the audience (and also for a little incident with the curtain, touched by the cart). It was Alina, standing up on the cart and pretending to act something, to “save” the poor boy: she furtively handed a treat to Thomas, Alain father, to be given to the pony. The chomping little thing walked out happy with the cart and its passenger and looked more relaxed after that. A scary debut was almost over: the ice was broken… and the good boy didn’t poop on stage, as some illustrious colleagues often do. The corps was excellent: great dancing and a sense of excitement and enthusiastic commitment that was palpable also into the audience. I’ve seen La Fille mal gardée danced by other company than the Royal ballet but I’ve always felt that something was missing or not working properly: not in this case. A small group of English ballet goers attending the show agrees with this impression. When the audience started laughing and feeling to be part of the show, one could have really thought to be at the Royal Opera House: a great result and a tremendously good job by everyone. The coaching to the soloists was provided by Corina Dumitrescu, a quite famous Romanian ballerina, and by the Guest Artist in Residence, Alina Cojocaru. A career as coach is something I was not really expecting for Alina’s future, but she has already coached the Lesson earlier in this season and is loving it: it’s great to think that her artistic ideas will be shared with other dancers and that this activity has already started now that she is in her prime. It must be thrilling for dancers of the company to be coached by such an artist! At the end of the show the audience was invited by the management to join the dancers in the foyer for an autograph session: a corner is always ready with an Opera Bucharest back screen and chairs and small tables. Cojocaru, Enache, Kobborg and Preda were surprised to find there dozens of cards with their portraits, ready to be signed for the audience: a gentle and generous present by Bucharest Opera and the sign that they all know that they all are living a special moment and that the project to build a relevant company is going on quickly and successfully. Here is the link to Cojocaru’s interview to Romanian television, with moments of the show. I understand very few words: she is lovely proud when she speaks of “our company”…should English audience be worried? I don’t think so: she is always happy and ready to confirm how much she loves to dance with ENB and how much she appreciate and trust colleagues and staff. Anyway to see Alina dancing in her hometown is a unique experience, and for sure also the company and its soloist are worth to be seen. Connections from London to Bucharest are excellent, so why don’t plan a visit?

We don't really know which the situation is, if the authority decided to put down a dog, they must have known something with don't know. And for sure we know very very little. That said, I'm totally against the kill of the animal. Having had dogs bitten by no reasons by aggressive dogs and knowing dogs that have even been killed, I found you comment extremely inadequate and offensive to my sensitivity. I don't think you are silly but that your comment was and the second even more, but I will keep this for myself.

Sorry, but this is really silly comment, Fonty. For sure an aggressive dog (and unfortunately there are many, mostly for owners fault) is enough to have a dog fight and many innocuous dogs have been killed in those fights. I ask myself if the husky has been neutralized, being so aggressive, before causing irreparable damages. Probably he needs to be reeducated before being adopted by another family. I’m sympathetic with the dog, much less with who lost the control of him.