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  • jmb

  1. His fans probably already know this but Vadim Muntagirov will appear in the full length Raymonda as Jean de Brienne in Paris at the Opera Bastille. The dates are 22, 25 and 27 December. I hope his performances will enable him to escape the guillotine. 😎
  2. It might be helpful to remember that not everything in a ballet is danced. There are scenes of mime for example accompanied by music but without dancing. And not all dances are given specific names either. The pas de trois for example has six sections, to show off the dancers individually and in different combinations in fast and slow sections but they are not named waltz, polka or whatever. Same with the pas de deux for two merrymakers. Again sujet is a rank of dancer as you state but is used only in France. Sujet in the orchestral score does not refer to a dance but a theme in the music. This is probably not of much help but that list looks like it came from an orchestral score for the back of a CD cover and the markings are for the benefit of the conductor only. I should also add that various productions may omit various numbers from that list above or even put them in a different order. Good luck in your quest.
  3. on line for 24 hours after the broadcast. I think it's the same with the repeats
  4. Very disappointing to hear this although not entirely surprising given the many different and competing political and artistic pressures brought to bear on the company.
  5. That 'clap' is silent in all Russian productions. (Not sure if it has anything to do with vulgarity.) Nureyev always insisted that the clap should be heard in his productions.
  6. The white lady was dispensed with, never to return, in the last revision by Grigorovitch.
  7. Bruce, there was a dancer in Allash's class who looked a little like Krysanova but I don't think it was her. The Bolshoi will now have three productions of Giselle and Vaziev seems to think that the new one will be very interesting. Assoluta, I hope you will report.
  8. I thought I saw newly minted principal Artemy Belyakov in the Akimov class.
  9. Thanks Sim. There is already a thread for this subject. maybe it's more appropriate there rather than starting a new one??
  10. Two snakes for the price of one Having seen two performances of La Bayadere in Berlin in September, although enjoying them, I was left wondering whether this Ratmansky reconstruction was as revelatory as his versions of Sleeping Beauty and Swan Lake which I have also seen. The extensive mime passages particularly in the first scene, while interesting, added very little more to the narrative that we already know. As in the previous reconstructions there is more demi pointe work for the female corps de ballet. And the Final scene of the destruction of the Temple was little different from the Markarova version for the RB, albeit better staged and with high tech projections. Also interpolated in this scene was music from Don Quixote which was used for the variations of Gamzatti. The only reinstated scene I found in any way revealing was at the beginning of act 2 after the death of Nikya and before the shades scene. Solor returns home deeply distressed and his servant sensing this, makes 2 attempts to distract him. Firstly he summons 2 women to dance for Solor. This is interrupted by a vision of Nikya seen only by Solor who attempts to reunite with her as she quickly disappears. He then angrily dismisses the dancers. The servant then brings in a snake charmer (yes, really) who proceeds to play his pipe and charm the snake out of the basket in an endearing piece of old fashioned stagecraft. Nikya appears again and Solor rushes towards her as she disappears again. In anger he dismisses the snake charmer. How could his poor servant know? Dancing women and a snake were probably the last things Solor needed to see at that point. But the thing about that scene is that it sets up Solor's increasing distress before he goes for the opium which induces the dream/shades scene instead of rushing to the pipe as soon as he arrives. This also improves the pacing of the narrative at that point. The sets and costumes by Jerome Kaplan were adequate and offered nothing new but there were some unfortunate colour combinations of bilious green and faded orange in some women's costumes. I assume that the framing of the set with borders was to create the effect of looking at an Indian miniature. I had hoped to see 2 different casts but it was the same for both perfs. Salenko who was extremely good and invested in the drama, and Daniil Simkin also very good but weaker on the acting side of things. There was quite a bit of wobbling in the shades scene on the Friday night but the company generally performed very well and with great commitment. The story was clearly communicated throughout. So I am left with the feeling that over the years and various different productions, La Bayadere has not suffered too badly from the various revisions and changes and that while interesting to see the reconstruction for me it has a certain antique charm but is not the revelation I had hoped for.
  11. I loved just a hint of The Trocks too from Tsiskaridze in a snippet of Nikya's variation from act l of La Bayadere. Very funny.
  12. Yes of course you're right. I had forgotten.
  13. He is now director of the ballet company of the Ural opera in Ekaterinburg. Interestingly he has choreographed his own version of La Fille mal gardee for the company, and for the Bolshoi he made a new Ondine to the same music as used by Ashton.
  14. There are a couple of versions on line. This is the Kremlin ballet version.
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