NINA ANANIASHVILI's STATE BALLET OF GEORGIA BRINGS SWAN LAKE TO THE LONDON COLISEUM IN SUMMER 24

[Emeralds]

9 hours ago, Dawnstar said:

 

Given ENO's seasons are getting ever shorter, and musicians' contracts ditto, the orchestra are probably happy to have a couple of weeks of extra work this summer.

I was really pleased that ENOO got this gig! They deserve the pay (hope they negotiated a favourable rate!) and SBG will have stunning playing from this incredible ensemble of musicians. 

[San Perregrino]

2 hours ago, Emeralds said:

It was originally scheduled to end with the Sunday 1 September matinee but has now been extended by a week. 

I suspect this extension was already lined up at the original planning stage and is more of a marketing tool.  it can't be claimed as 'due to demand' as there are plenty of seats left for the original dates.

[Emeralds]

Possibly, @San Perregrino. Or maybe they only ever intended to do 5 days but were persuaded to stay longer since many people are away on holiday during that bank holiday week. 

 

The "due to demand" is their phrase and not mine.  🙂  I simply looked up the details and gave @alison the information she was missing, that's all. 

 

More crucially, I think they will have line up some big name guest stars who don't usually perform here to justify those high prices. I could tell in December that tickets in Stalls, Dress Circle and Upper Circle would struggle to sell unless they had the equivalent of Nunez, Muntagirov and Osipova in the leads. Not sure who advised them- hope they weren't using ENB's Royal Albert Hall Swan Lake as a benchmark, because the Albert Hall has a different system and their own following, which Coliseum doesn't for dance. It is still early days and they haven't finalised casting but they would need to confirm guest artists soon, or risk performing to a two-thirds empty auditorium as people book trips away.

Edited April 9 by Emeralds

[San Perregrino]

8 minutes ago, Emeralds said:

The "due to demand" is their phrase and not mine

in this context it was my phrase, I didn't pick it up from any earlier postings.

 

9 minutes ago, Emeralds said:

but were persuaded to stay longer since many people are away on holiday during that bank holiday week.

possible, but I find it unlikely given the logistics of organising something like this can be years in advance.

the " hey, (our ticket sales are very low so) let's stay an extra week as some people who might buy a ticket are on holiday" premise seems farfetched to me at least.

[Emeralds]

2 hours ago, San Perregrino said:

in this context it was my phrase, I didn't pick it up from any earlier postings.

 

possible, but I find it unlikely given the logistics of organising something like this can be years in advance.

the " hey, (our ticket sales are very low so) let's stay an extra week as some people who might buy a ticket are on holiday" premise seems farfetched to me at least.

Well, whatever the motivation I think they'll need to take some action. What I would have done was offer multibuy discounts and concessions- eg 25% off if booking two or more performances, discounts for children, students and over 60s. Only 1 discount per ticket. That way you encourage patrons to buy more tickets (eg if children come they need  accompanying adults so that's more tickets sold) or buy more performances.

 

Since they haven't, they'll have to offer something that makes it  worth the higher cost - an extra special treat. I have to admit I haven't bought any tickets yet because I'm not spending high prices and train, parking fares on an unknown entity. ENB prices at RAH might be higher in some areas but at least I know what I'm getting (even with cast changes I'll be happy with what is offered).

 

It's also a tad worrying that so much of their publicity focuses on Ananiashvili- she was an incredible artist and dancer, but she's not dancing any more nor appearing in the production so perhaps there should be more focus on their current cohort of dancers and telling us about their strengths and talents.

Edited April 9 by Emeralds

[alison]

But why would you offer multibuy discounts if you're only bringing one production?  Most of their target audience won't be interested in going to see it more than once, I should think.

[JNC]

For a “longer” run it maybe would have made sense to bring two productions? I echo the comments about why not Bayadere, particularly with RB and ENB recently I know it’s a big ballet name recognition but it may not be the safe bet they think it is for sales, Bayadere or something different may have caught interest more. 
 

Looking at their website they also seem to have a fair bit of Balanchine in the rep, as well as ballets we don’t see often in London like works by Jiri Kylian and Folkine. I feel it would have been so interesting to see those and I would be booking if it wasn’t swan lake! 
 

I probably won’t be attending myself but interested to read reviews of those that do go. 
 

I did also clock the 2h15 time and so they must be making a lot of cuts? Even without a second interval that’s anything between 15-30 minutes of music/dance? To be honest I sometimes find Act 1 drags a bit so I wouldn’t be devastated to see that trimmed! 

[Geoff]

Currently the company is not selling tickets in the Balcony (the highest/cheapest tier) for every performance, so cheaper seats are only available on some dates.
 

That said this policy may not be driven by casting but other considerations. I agree with those who say it would be good to know more. 

[Emeralds]

2 hours ago, alison said:

But why would you offer multibuy discounts if you're only bringing one production?  Most of their target audience won't be interested in going to see it more than once, I should think.

Because fans who see more than one performance of the same show do exist (like you, me and most of us reading this page 😀 ) ....and it's very unlikely that the shows will be more than half full otherwise.....if even that. They can offer discounts to whatever category they like. Symphony orchestras do allow you use multibuy on a repeat performance of the same programme, and ENB's Nutcracker multibuys do allow you to use the discount on the same show, eg one Nutcracker and two Giselles, as long as you buy them at the same booking. 

 

The Coliseum doesn't generally do ballet this late in summer.  Previous visits by Mariinsky/Kirov Ballet, Bolshoi Ballet and other companies like Australian Ballet,  Dutch National Ballet, American Ballet Theatre etc were in July, capitalising on the tourists coming to London in the height of summer and many local residents not yet taking holidays. By late August, many tourists are back home (US and many other nations' school terms have begun), and many British audiences take holidays in that August Bank Holiday week because you only require 4 days" annual leave instead of 5 for a 9-day holiday. 

 

Even United Ukrainian Ballet, who charged lower prices for Giselle, and started a little later in mid September, found that it was difficult to sell out the auditorium every night for one week despite the star power of Alina Cojocaru (her dates had good sales) and guests from ABT & Hamburg, goodwill from many dance fans, and Ratmansky's interviews publicising it. The house was well attended on the nights I went but not conpletely full. The only ahow in an opera house that sells out in late August and early September is.....Wagner's Ring cycle. (And I'm not actually a Wagner or Ring fan.) 

[Scheherezade]

I have checked out the position on the Coliseum website. This shows that the balcony is available for booking on opening night Wed 28 August along with both the matinee and evening performances on Thurs 29 August but not, it would appear, for any of the other dates.

 

The balcony prices on 28 Aug and the 29 Aug matinee range from £29 - £49 with very few seats left on the 28th and not all that many, particularly among the cheapest £29 seats, available for the 29th matinee. By way of contrast, balcony seats for the evening performance on the 29th are priced from £19 - £39 (£10 cheaper across the board) and there are lots still available at all prices.

 

Prices on the 28th and the 29th matinee for the upper circle, dress circle and stalls come in at £59 - £79; £79 - £129; £89 - £129 with reduced prices for children in line with all the following dates but on the evening of the 29th the prices for all these levels follow the same pattern of £10 cheaper across the board and there are no child reductions.

 

This all seems very strange. Does anyone know why?

 

Edited April 9 by Scheherezade

[San Perregrino]

I dont know the answer to your question as such.

Here’s a few musings:

Perhaps the balcony being closed off on opening night would give a negative impression and the producers have decided that there are enough less affluent ballet fans to buy up the tickets so I’ve put the balcony on sale.
Perhaps those lucky to have balcony seats are a ‘reserve pool’ on hand to be ‘upgraded’ on the night to fill any empty seats lower down to give the ‘full house on opening night feeling’. 
Making cheap seats available at the start of the run can help with promoting the show to the widest audience through social media and word of mouth. And/or whetting the appetite to encourage people to come again and buy a more expensive seat.

Again group bookings may have taken up the first two dates that you mention, either at a discounted rate or maybe they have been invited by the producers. Again the combined power of young fingers and social media can be a huge promotional asset if harnessed correctly.

In the case of BRB Sleeping Beauty at the Mayflower in Southampton earlier this year, once all seats in the stalls and dress circle had sold for a date, the gallery was then put on sale. This might happen with the balcony at the Coliseum. 

[Scheherezade]

Thanks for your thoughts San Pertegrino. That could explain why the balcony has been opened up for the first three performances and to some extent why opening night and the next day matinee have sold well but I find it odd that the same is not true for the the next day evening performance and even stranger that that selfsame evening performance is cheaper throughout the house than every other performance in the entire run. 

[Emeralds]

12 hours ago, Scheherezade said:

I have checked out the position on the Coliseum website. This shows that the balcony is available for booking on opening night Wed 28 August along with both the matinee and evening performances on Thurs 29 August but not, it would appear, for any of the other dates.

 

The balcony prices on 28 Aug and the 29 Aug matinee range from £29 - £49 with very few seats left on the 28th and not all that many, particularly among the cheapest £29 seats, available for the 29th matinee. By way of contrast, balcony seats for the evening performance on the 29th are priced from £19 - £39 (£10 cheaper across the board) and there are lots still available at all prices.

 

Prices on the 28th and the 29th matinee for the upper circle, dress circle and stalls come in at £59 - £79; £79 - £129; £89 - £129 with reduced prices for children in line with all the following dates but on the evening of the 29th the prices for all these levels follow the same pattern of £10 cheaper across the board and there are no child reductions.

 

This all seems very strange. Does anyone know why?

 

Thank you @Scheherezade- the child discounts look new- they weren't there some time ago when I looked.

 

The ticket situation is looking rather complicated and I sense some dynamic pricing is going on! 

 

I think I'm still going to wait for casting 😀....If they are reading our forum (and why not?  😉) I'd say a multibuy discount wouldn't be a bad idea and will shift volume: it's easier to persuade one person to buy three tickets than to persuade 3 different people to buy just one ticket each. 

[JNC]

5 hours ago, Scheherezade said:

even stranger that that selfsame evening performance is cheaper throughout the house than every other performance in the entire run. 

Could this be dynamic pricing in action? If for some reason the algorithm spots seats have sold less well on a particular date it’s decided to reduce prices? I see @Emeralds has already suggested this!

 

Personally I’m not in favour of dynamic pricing. It disadvantages people not living in London by raising the price of weekend performances if I had to guess. It could also disadvantage those who have to book in advance or are committed fans who book earlier only to find last minute discounts - this then has a knock on effect by potentially causing people to “wait and see” and not book sooner next time…? On the flip side some people can’t commit to dates months in advance so then having to pay over the odds at a later date also feels unfair. Set prices make sense and are fair for all - I accept that very last minute sales are fine as some money recouped is better than none and I don’t begrudge that too (also indicates pricing was too high to begin with so unrealistically optimistic that future pricing is mindful of this). 
 

In any case I feel dynamic pricing is a bit of a lose-lose situation and could further discourage audience members from attending!

Edited April 10 by JNC

[Scheherezade]

Dynamic pricing does sound likely but if the balcony has only recently been opened up (and I’ll admit that I don’t know if that’s the case), wouldn’t it make more sense to see whether tickets there would sell at a similar price to balcony tickets on all the other dates. As they are cheaper than any other levels, logic suggests that they would be more likely to be snapped up by people who want to see the company (or the ballet) but don’t have such deep pockets. 

[San Perregrino]

from the Links:

 

https://theatreweekly.com/casting-announced-for-the-state-ballet-of-georgia-production-of-swan-lake-at-london-coliseum/
 

 

Edited June 8 by San Perregrino

[Jan McNulty]

And the press release:

 

PRESS RELEASE 7 June 2024   WORLD RENOWNED STATE BALLET OF GEORGIA ANNOUNCES CASTING FOR SWAN LAKE AT THE LONDON COLISEUM IN SUMMER 2024   THE STATE BALLET OF GEORGIA’S SWAN LAKE ANNOUNCES CASTING FOR ITS RUN AT THE LONDON COLISEUM FROM 28 AUGUST-8 SEPTEMBER   ODETTE/ODILLE WILL BE DANCED BY: LEADING GEORGIAN SOLOIST NINO SAMADASHVILI, FORMER SOLOIST OF THE STANISLAVSKY THEATER LAURA FERNANDEZ, THE NEWEST STAR OF AMERICAN BALLET THEATER CHLOE MISSELDINE, AND RENOWNED UKRAINIAN SOLOIST ANASTASIA MATVIENKO   PRINCE SIEGFRIED WILL BE PERFORMED BY: LEADING GEORGIAN SOLOIST DALER ZAPAROV, FORMER CZECH NATIONAL BALLET SOLOIST OLEG LEGAI, AND INTERNATIONAL GUEST ARTIST MICHAL KRCMAR   TICKETS ON SALE NOW   SOCIAL MEDIA www.instagram.com/swanlake.ontour   The State Ballet of Georgia has announced casting for its first visit to London, including leading talent and rising stars from Georgia alongside international guest soloists.   Odette/Odille will be performed by Nino Samadashvili, a leading Georgian soloist and Principal Dancer at the State Ballet of Georgia; Laura Fernandez, who is half-Ukrainian and half-Spanish, and fled Moscow and her position as first soloist with the Stanislavsky Theatre in 2022 as Russia invaded Ukraine; Chloe Misseldine, who joins the State Ballet of Georgia as a Guest from American Ballet Theater; and Ukrainian soloist Anastasia Matvienko, who was previously star at the Mariinsky Theater in St. Petersburg and is now a principal at the Slovenian National Ballet.   Prince Siegfried will be performed by leading Georgian soloist Daler Zaparov, who has previously danced with Universal Ballet Company, Seoul and Astana Opera; Oleg Legai, a former soloist with the Czech National Ballet; and Michal Krcmar, former star dancer of Finnish National Ballet.   Laura Fernandez is a Leading Soloist with the State Ballet of Georgia, previously a First Soloist at the Stanislavski and Nemirovich-Danchenko Theatre and a company dancer with Mariinsky Theatre.   Michal Krcmar is a Lead Principal Dancer with the Finnish National Ballet, and is a frequent guest principal dancer in Estonian National Ballet and Czech National Ballet.   Oleg Legai is a corps de ballet member of the Czech National Ballet.   Anastasia Matvienko is a Ukrainian soloist, formerly Prima Ballerina of the Mikhailovksy Theatre and First Soloist of the Mariinsky Theatre. In 2022 she co-created Ballet Stage, a network of global industry contacts across theatres, schools, brands and artists to offer support to Ukrainian ballet artists and students affected by shocking events taking place in Ukraine.   Chloe Misseldine was named a finalist at the Prix de Lausanne in 2018, and joined American Ballet Theatre Studio Company. She joined the corps de ballet in 2021 and was promoted to Soloist in 2022. She joins the State Ballet of Georgia as a Guest for Swan Lake in London.   Nino Samadashvili joined the State Ballet of Georgia as a Ballet Artist in 2011. She was promoted to Soloist in 2014 and to Leading Soloist in 2016.   Daler Zaparov is a Leading Soloist with the State Ballet of Georgia, and has previously performed with the Astana Opera, Universal Ballet Company in Seoul, and the Leonid Jacobson Ballet Theatre in St Petersburg.   Based at the stunning Opera and Ballet State Theatre in the Georgian capital of Tbilisi, this company of “versatile and accomplished” dancers (The New York Times) has soared under the bold artistic direction of world-renowned, Georgian-born Nina Ananiashvili, former prima ballerina with Bolshoi Ballet and American Ballet Theatre. Ananiashvili, considered one of the all-time greats, returned home to her native country in 2004 to lead the company. The State Ballet of Georgia’s last visit to the UK was in 2008 when they performed at the Edinburgh International Festival. Having performed on the London Coliseum stage in 1999 (as Kitri in Don Quixote with the Bolshoi), Ananiashvili now brings her company to London for the first time.   Considered among the world’s 10 best classical companies, with a tradition of 175 years, experience the sleek grace and physicality of classical ballet at its best with The State Ballet of Georgia. Swan Lake’s enthralling story, timeless score, and unforgettable choreography have made it the most in-demand ballet in the world. This breathtakingly beautiful production with gorgeous white tutus and sumptuous lakeside and ballroom settings will undoubtedly draw audiences into the fantasy of the world’s most loved ballet.   Director of The State Ballet of Georgia, Nina Ananiashvili said of the production: ‘Swan Lake is one of our best repertoires. It combines elaborate costumes, stunning choreography, exquisite ornaments and the young generation of dancers with Georgian characteristics. Swan Lake has always had an important place in my career. It was the first ballet that I performed in the Bolshoi Theatre and was my first and final significant performance at American Ballet Theater. I can’t wait to share it with audiences in London for the first time.’   With a company of 65, and accompanied by the award-winning English National Opera Orchestra, this lavish production opens on 28 August and runs until 8 September.   The State Ballet of Georgia later travels to Dublin’s Bord Gáis Energy Theatre to perform Swan Lake from 20-24 November with the RTÉ Concert Orchestra. Casting for the Dublin season will be announced at a later date. Listings Information The State Ballet of Georgia Swan Lake London Coliseum, St Martin’s Lane, London WC2N 4ES Performances from 28 August 2024 Evening Performances Wednesday - Saturday 7.30pm Matinees Thursday Saturday and Sunday 2.30pm Tickets https://londoncoliseum.org/ The State Ballet of Georgia Swan Lake Bord Gáis Energy Theatre, Grand Canal Square, Docklands, Dublin, Ireland Performances from 20 November 2024 Evening Performances Wednesday - Saturday 7:30pm Matinees Saturday 2:30pm and Sunday 1pm Tickets https://www.bordgaisenergytheatre.ie/show/swan-lake-state-ballet-of-georgia/ Choreography: Marius Petipa & Lev Ivanov, staged by Alexei Fadeyechev & Nina Ananiashvili. Music: Pyotr Ilych Tchaikovsky ENO Orchestra Detailed casting to be announced. Running time: 2 hours 15 minutes incl interval Producers: Simon Bryce and Andrew Guild Marketing: Guy Chapman, Make a Noise Ltd Notes to Editors About Nina Ananiashvili, Director of State Ballet of Georgia Nina Ananiashvili took first steps towards the art of ballet at the age of 10. She studied at the Tbilisi Choreographic School, in Tamara Vikhodtseva’s class. In 1977, she pursued her education at the Moscow Choreographic School (often referred to as the Bolshoi Ballet School) under the tutorship of the prominent pedagogue Natalia Zolotova.   In 1981-2004, she was prima ballerina at Moscow’s Bolshoi Theatre and, under the guidance of the outstanding ballerina Raisa Struchkova, Her first season with the Bolshoi Theatre was triumphant. She performed Odette-Odile (Swan Lake) in Hamburg, Germany, during the Bolshoi Theatre’s tour and received a 30-minute non-stop ovation from the audience after the performance.   Nina Ananiashvili is the only ballerina honoured with the four most prestigious international ballet awards: Varna (Bulgaria) X International Competition Gold Medal (1980), Moscow IV International Competition Grand Prix (1981), Moscow V International Competition Gold Medal (1985) and Jackson (US) III International Competition Grand Prix (1986).   Ananiashvili’s performances with Andris Liepa with Balanchine’s New York City Ballet in 1988 are  regarded as a milestone in her career. She was the first dancer from the former Soviet Union to be invited to the theatre and was given leading parts in Balanchine’s ballets Symphony in C, Raymonda Variations and Apollo. She also performed with the Royal Ballet in England (Covent Garden), the Royal Danish Theatre, St. Petersburg's Mariinsky Theatre. In 1993-2009, Nina Ananiashvili was guest Principal Dancer at the American Ballet Theatre (ABT). In addition, she danced in Sweden, Norway, Portugal, Finland, Germany, Monte Carlo, Birmingham, Boston, Tokyo and other ballet theatres. She appeared as guest étoile with Rome Opera Ballet, La Scala Ballet and in Genoa’s Teatro Carlo Felice.   From September 2004, Nina Ananiashvili has been Ballet Artistic Director of the Zakaria Paliashvili Tbilisi Opera and Ballet Theatre, as well as Artistic Director of the Vakhtang Chabukiani State Choreographic School. Under her direction, more than sixty new performances and ballet miniatures have been staged at the Tbilisi Opera and Ballet Theatre. The theatre’s repertoire includes new choreographic editions of classical ballets, as well as productions by George Balanchine, August Bournonville, Mikhail Fokin, Sir Frederick Ashton, and Jiří Kylián. Choreographers Alexei Ratmansky, Alexei Fadeyechev, Yuri Possokhov, Trey McIntyre, Stanton Welch, Jorma Elo, Medhi Walerski, Pär Isberg, Teet Kask and others collaborate with the ballet company. The touring performances of the State Ballet of Georgia have gained great success in the United States, Japan, Israel, Egypt, Italy , Spain, Estonia, Taiwan, Ecuador, Azerbaijan, Armenia, Ukraine, Finland, Lebanon, Ecuador, Portugal, Russia, Israel, China, Dubai, Oman and Belarus. In 2008, the Tbilisi Opera and Ballet Theatre’s ballet company was awarded with the prestigious Herald Angels award at the Edinburgh International Festival. In 2022 under the directorship of Nina Ananiashvili, a scenic cantata and one-act ballet Carmina Burana by Carl Orff (Ilya Jivoy choreography) was staged. In the performance participated Tbilisi Opera and Ballet Theatre opera soloists, choir, orchestra and the State Ballet of Georgia ballet company. The project was then presented at the Teatro Regio Torino (Turin, Italy).The Orchestra and Choir of Teatro Regio Torino, soloists of the Odessa National Academic Opera and Ballet Theatre and the State Ballet of Georgia participated in this international co-production.   Nina Ananiashvili is honoured with the title of People's Artist of Georgia (1989), laureate of Rustaveli State Prize (1993), Zurab Anjaparidze (2002) and Veriko Anjaparidze Award (2018) and The Presidential Order of Excellence (2010). The American Biographical Institute granted her the title of Woman of the Year (1997). She was awarded with the International Prize Golden Goddess (1999) established by a successor of the royal family of France, Princess Marie de Bourbon. In 2000, she was granted the Laurence Olivier Award for Outstanding Achievement in Dance for her performance in Don Quixote during the Bolshoi Ballet's tour at the London Coliseum. She was named as Dance Magazine Award winner in 2002. Nina was elected as United Nations Goodwill Ambassador in Georgia (2007) for achieving the Millennium Development Goals. The President of Italy awarded her with the Italian Solidarity Medal of Honour (2011). In 2017, Nina Ananiashvili received the prestigious award Order of the Rising Sun, Gold Rays with Neck Ribbon, established in 1875 by Emperor Meiji of Japan. On 19 April 2019, Nina Ananiashvili was named as the Honorary President of Europa Nostra Georgia, a Pan-European network for protecting cultural and national heritage.   About The State Ballet of Georgia In September 2004, at the personal invitation of Mikheil Saakashvili the then President of Georgia, Nina Ananiashvili was appointed  Artistic Director of The State Ballet of Georgia Theatre. Under Ananiashvili’s leadership, more than 60 ballets and miniatures have been staged at the Georgian Opera and Ballet Theatre in Tbilisi. The theatre’s repertory includes both new choreographic versions of classical ballets, as well as works by George Balanchine, Sir Frederick Ashton, August Bournonville, and Jiří Kylián. Alexei Ratmansky, Alexey Fadeechev, Yuri Possokhov, Trey McIntyre, Stanton Welch, Jorma Elo, and other choreographers collaborate with the theatre. Under Ananiashvili’s leadership, the company has toured substantially internationally including to the United States Japan, Israel, Egypt, Italy, Spain, Estonia, Taiwan, Ecuador, Scotland, Azerbaijan, Armenia, Ukraine, Spain and Italy. In 2008, the ballet company of the Georgian Opera and Ballet Theatre was awarded the prestigious Herald Angels award at the Edinburgh International Festival. In 2012, Ananiashvili’s 30-year career was celebrated at an event that included international ballet celebrities.   Under the direction of Nina Ananiashvili, State Ballet of Georgia has been in demand for international touring and has performed in Japan, China, Taiwan, Israel, Egypt, Estonia, Ukraine, Azerbaijan, Armenia, Ecuador, Oman, Dubai, Portugal, Scotland, among others.    About Tbilisi Z. Paliashvili Opera and Ballet State Theatre Ballet Company The theatre opened on Apr 12, 1851, and for the second season in 1852 the St. Petersburg Ballet Company (featuring F. Manokhin, E. Panov) arrived in Tbilisi. They presented the second act of F. Taglioni’s ballet La Sylphide and Polka-Vengerka. This was the first ballet performance in Tbilisi. One year later Manokhin staged the second act of Giselle, and the first full ballet performance took place in 1854 when Manokhin again mounted Taglioni’s three-act ballet Gitana the Spanish Gypsy. Unfortunately, due to lack of finances, he returned to the Bolshoi Theatre in the Summer of 1854. In the 80s and 90s of the XIX century, Tbilisi saw performances by St. Petersburg Emperor Ballet Theatre.   The stage of Tbilisi Opera Theatre was the venue for the foreign debut of Maria Perini, pupil of Italian dancer Enrico Cecchetti. She was the dancer who demonstrated the 32 fouette to the Georgian audience for the first time. During 1897-1907 she performed at the Tbilisi Opera Theatre. The creation of the Georgian ballet school is associated with her name; she founded the first choreographic studio for classical dances. Perini lived in Georgia for 48 years. Before returning to Italy in 1936, she attended the first Georgian ballet, staged by her pupil Vakhtang Chabukiani and it became clear to her that her work had not gone in vain.   Mzechabuki (Heart of the Mountains in the following stagings) by Andria Balanchivadze is the first Georgian ballet and was staged by Vakhtang Chabukiani at the Tbilisi Opera and Ballet Theatre. From 1929-1941, he worked at the Kirov Opera And Ballet (Mariinsky) Theatre, performing all leading roles from the classical repertoire. Chabukiani returned to Tbilisi in 1941 and managed the Opera and Ballet State Theatre Ballet Company until 1973. His partners at various times were Galina Ulanova, Maia Plisetskaya, Raisa Struchkova, Marina Semyonova, Alla Shelest, and Natalia Dudinskaya. On the Tbilisi stage he was continuously partnered by the legendary Vera Tsignadze.   In the beginning of the 1970s, the ballet company had a new artistic director–George Aleksidze, Fyodor Lopukhov’s pupil. Aleksidze brought new aesthetics to the theatre, as neoclassical ballets became the part of repertory alongside classical works. The company’s next artistic director through 1982-1985 was Mikhail Lavrovsky, the internationally known Bolshoi Theatre dancer and choreographer. Under his short directorship several interesting ballets were staged – his own version of Prokofiev’s Romeo and Juliet and Gershwin’s Porgy and Bess.    About the ENO Orchestra  The award-winning ENO Orchestra is renowned for the versatility of its repertoire spanning four centuries, providing the musical landscape and emotion for all ENO productions.    As equally at home in the fun and sparkle of Gilbert and Sullivan as it is in Wagner’s epic scores, it also brings to life the complexities and colours of contemporary operas including those by Birtwistle, John Adams, Tansy Davies, as well as musical theatre productions like Sweeney Todd, Sunset Boulevard and My Fair Lady.   With an established reputation for its Handel work, from pioneering performances with Charles Mackerras in the 1980s to new work with specialists like Laurence Cummings for the BBC Two broadcast of Messiah (Easter 2021), in recent years the Orchestra has also received praise for the stamina and commitment it brings to the operas of Philip Glass, including the award-winning productions of Satyagraha and Akhnaten.    Benefiting from the experience and passion of its players, the ENO Orchestra attracts some of the country’s brightest talent. It actively seeks to train the next generation of players through the ENO Evolve scheme with the Royal College of Music; Orchestral Fellowships for ethnically diverse string players to increase representation to better reflect our society; and to support a new generation of conductors through the ENO Mackerras Fellowship.   It also seeks to inspire young people in its work with the ENO Engage department, welcoming schools to its dress rehearsals, playing and recording for educational projects and participating in workshops.   About the London Coliseum  The London Coliseum is the largest theatre in London with 2,359 seats. Built in 1904 by legendary theatre architect Frank Matcham, the glorious Edwardian architecture and interiors were magnificently restored in 2004. The theatre has been home to the English National Opera since 1968, and hosts some of the best entertainment the capital has to offer. Twitter: @LondonColiseum        Facebook: @londoncoliseum

[Missfrankiecat]

I was cheered to see the dates have been extended beyond my summer holiday and looked to book in September but the prices are, in my opinion, astronomical for ENO and, to me, mostly unknown dancers.  Even side views, high up £90+.  ROH beginning to look like a bargain.  Presumably they will have to reduce prices to sell - even Saturday looking very empty of sales - but it is usually too late for me to book last minute.

[bridiem]

6 hours ago, Missfrankiecat said:

I was cheered to see the dates have been extended beyond my summer holiday and looked to book in September but the prices are, in my opinion, astronomical for ENO and, to me, mostly unknown dancers.  Even side views, high up £90+.  ROH beginning to look like a bargain.  Presumably they will have to reduce prices to sell - even Saturday looking very empty of sales - but it is usually too late for me to book last minute.

 

My ticket in row D of the balcony was £29 - ?

[Missfrankiecat]

1 hour ago, bridiem said:

 

My ticket in row D of the balcony was £29 - ?

No balcony on sale for weekends when I looked.  Just not shown [rather than shown full].

[bridiem]

1 hour ago, Missfrankiecat said:

No balcony on sale for weekends when I looked.  Just not shown [rather than shown full].

 

That's odd!

[Emeralds]

I would certainly book this (despite the relatively high prices) to see Chloe Misseldine, who looks incredible in rehearsal videos posted on the  American Ballet Theatre and YAGP social media pages, and it's certainly cheaper than flying to New York!

 

I've previously enjoyed Anastasia Matvienko's performances in featured roles with the Mariinsky Ballet.  However, at the moment there is no indication of which date each of these  dancers is performing on.....! 

Edited Monday at 11:29 by Emeralds