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Sergei Polunin - news


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I have no desire to champion anyody here but am moved to observe that in comparison with The Royal Opera, the RB has allowed all manner of observations and, at best, half-truths to gain credence and multiply. Such insularity is damaging to the reputation of the RB and the career of Polunin.

 

In comparison, Kasper Holten, the new, Danish (that is somebody with a perspective outside the ROH) director of The Royal Opera has been across the blogosphere to correct the many (possibly) erroneous comments about the high-level defections afflicting the casting of productions at the RO currently.

 

Whether Holten's explanations are to be accepted at face value (many in the opera logosphere do not), he has been willing to champion publicly and virtually the RO's position.

 

That displays to me (professionally a lifelong PR) a degree of connection with reality and with ROH audiences that is saluatory.

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If it is true that Sergei has returned to Russia then I say good for him - he has been away from his family and homeland from a young age and I think he should spend time closer to family and home. There must have been some emotional effect on him being away from his family for so long and I for one hope he now settles for a time in Russia and can catch up on relationships with his family and friends in Russia.

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  • 4 weeks later...

I have no desire to champion anyody here but am moved to observe that in comparison with The Royal Opera, the RB has allowed all manner of observations and, at best, half-truths to gain credence and multiply. Such insularity is damaging to the reputation of the RB and the career of Polunin.

 

In comparison, Kasper Holten, the new, Danish (that is somebody with a perspective outside the ROH) director of The Royal Opera has been across the blogosphere to correct the many (possibly) erroneous comments about the high-level defections afflicting the casting of productions at the RO currently.

 

Whether Holten's explanations are to be accepted at face value (many in the opera logosphere do not), he has been willing to champion publicly and virtually the RO's position.

 

That displays to me (professionally a lifelong PR) a degree of connection with reality and with ROH audiences that is saluatory.

 

I think the distinction between the way the RB works (all dancers on permanent contracts) and the RO (principals, other than JPYAs, retained on a show-by-show basis) has something to do with this.

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Incidentally it seems to be Roland Petit's Coppélia. Does anyone know it?

 

It's very untraditional and a lot of fun - but Petit made a starring role for himself as Dr Coppelius and any Swanilda and Franz risk being overshadowed!

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And I see that Luigi Bonino is to dance Coppelius - which will give Polunin some competition, even if not quite the overpowering competition of Petit himself. I remember viviidly seeing Petit dance the role at the Coliseum the last time the Ballet de Marseille came quite a few years ago.

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Some further light on Sergei's departure from the RB appears in a Russian language review of Petit's "Coppelia". Please forgive the eccentricities of the Bing translation --- " Came to Moscow to heal the wounds of the heart in London broke up with the girl. And in search of freedom. And there [in London] must be the choreographer's repeat exactly. As delivered. Nowhere could not move. Because of this I was boring."

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Here's a video with an interview and a couple of short clips of him dancing in Coppelia:

 

http://www.youtube.com/watch?v=U2vFbNvNrYQ&feature=context-gfa

 

Sorry, I can't figure out how to make the video any smaller!

 

 

Thanks Laura - I remember this production from 1976, broadcast by the BBC with Petit's own company.

 

Then it was a real eye opener, fresh, full of vitality - a couterpoint to the ulra-traditional de Valois staging then in the rep of SWRB (the first ballet I saw in the theatre in this country).

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I saw somewhere on Twitter that Sergei Polunin is going to be dancing with Tamara Rojo in Marguerite and Armand. Perhaps someone in the know can confirm whether this information is accurate.

 

A photo of the casting page of About the House was posted on Twitter. I don't think the ROH would publish this casting if they didn't think it was accurate. Whether or not it will happen is another question!

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Surely it is Rojo who convinced him to dance with her...(after all, Polunin has stated in an interview that Rojo was the only RB ballerina he enjoyed dancing with - so he wouldn't say no to her I assume).

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Yes, I think that we should make allowances for him. I wonder how he's finding life at the Stanislavsky and in Russia. It still seems a strange move to me. I'd like to see him dance with Tamara at ENB (as a guest).

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In view of the fact that Polunin's new choice of employer and even something of his schedule have been confirmed, I decided that it was time to move some of the old postings to start a new thread in the hope that we can start looking forward rather than back. The old thread about his resignation from the Royal Ballet is here: http://www.balletcof...esigns-from-rb/, but please post new information about him in this thread.

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I wonder how he's finding life at the Stanislavsky and in Russia. It still seems a strange move to me.

 

Remembering what I do of the Stanislavsky from their Royal Festival Hall Christmas seasons some years ago, to me too, but perhaps things have changed a lot since then? After all, if the Mikhailovsky can change ...

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I imagine if they have Petit's works in the rep, they must have upped their game as Petit and his team wouldn't have allowed a sub standard co. to dance his works and I know that Neumeier and Frank Andersen have also worked with them. I'm told the company started to flourish under the directorship of Mikhail Lavrovsky, two directors back I think, but the momentum has been kept going.

 

Tatyana Chernobrovkina, their leading dancer, is superb and stands comparison with anyone at the Bolshoi or Kirov and I imagine she would make the perfect partner for Polunin. Svetlana Tsoi, another dream of a dancer, used to be with them as did Gennady Yanin before he transferred to the Bolshoi. I have fond memories of the theatre, not just their ballet performances but opera too; after all I bet few people have seen Rachmaninov's Aleko and Rimsky-Korsakov's Mozart & Salieri on a double bill, the conductor was of real international standard as well.

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