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volcanohunter

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Everything posted by volcanohunter

  1. Few details so far, but the usual suspects--Australian Ballet, Bolshoi Ballet, Royal Ballet, National Ballet of Canada and San Francisco Ballet--will be streaming on Thursday, October 5, 2017. As a year ago, World Ballet Day will be streamed on Facebook. http://www.roh.org.uk/news/world-ballet-day-5-october-2017
  2. Dmitri Hvorostovsky has lost his battle with brain cancer. Requiescat in pace.
  3. The Bolshoi under Vaziev

    Kryuchkov's bio was translated into English prior to the Bolshoi's London visit in the summer of 2016, because he was dancing Rothbart during the tour.
  4. Ratmansky R&J Coming Up - Casting a Mystery !

    For those in Canada, or with a good VPN, Romeos and Juliets is readily accessible on the CBC Player. http://www.cbc.ca/player/play/2243139519 Also available is a good chunk of the ballroom scene and five renditions of the balcony scene (shot excruciatingly poorly). http://www.cbc.ca/player/play/2236272903 http://www.cbc.ca/player/play/2236248365 http://www.cbc.ca/player/play/2236253631 http://www.cbc.ca/player/play/2236256844 http://www.cbc.ca/player/play/2236264741 http://www.cbc.ca/player/play/2242597881
  5. Ratmansky R&J Coming Up - Casting a Mystery !

    Actually it's not so great a mystery, thanks to Aleksandar Antonijevic. He basically revealed the Juliet/Romeo pairings and casting order on Facebook: Krysanova/Lantratov; Stashkevich/Lopatin; Obraztsova/Chudin; Nikulina/Ovcharenko; Shipulina/Belyakov; Vinogradova/Tissi; Kretova/? However, Shipulina's Instagram indicates that she is presently in New York, so it's likely that some of the latter pairs will not dance the premiere run this month, but will dance the parts later on. Another of Antonijevic's posts lists other male dancers, the ones rehearsing Mercutio, Tybalt and Paris: Ruslan Skvortsov, Denis Savin, Igor Tsvirko, Ivan Alexeyev, Dmitry Dorokhov, Vladislav Kozlov, Artur Mkrtchyan. Notably absent: Smirnova, Stepanova, Zakharova, Lobukhin, Rodkin, Volchkov and also Alexandrova, Allash and Kaptsova.
  6. Copeland/Bolle Romeo & Juliet from La Scala

    I did write "nearly always" and not "always." For example, an Osipova-Sarafanov Don Quixote was also filmed and released on disc. However, since Bolle is now 42 years of age and inching ever closer to retirement, I would expect RAI to focus on filming him in whatever ballets he hasn't yet been filmed. Though I have to say that this Romeo and Juliet does not show him to the best advantage. In any case, the 2018 season does not inclde either Swan Lake or Sleeping Beauty, so there's no possibility of them being filmed in the immediate future. The DVD of Neumeier's Illusions like Swan Lake included running commentary by Neumeier, in both English and German, in addition to more standard interviews with him on how the ballet came to be.
  7. Filmed at La Scala, the MacMillan production of Romeo and Juliet, with Misty Copeland and Roberto Bolle, will be released on disc on November 17. https://www.cmajor-entertainment.com/movie/romeo-and-juliet-743604/
  8. Copeland/Bolle Romeo & Juliet from La Scala

    RAI films one ballet performance at La Scala each year, nearly always with Roberto Bolle participating. So unless he begins dancing them, we're not likely to see Ratmansky's Swan Lake or Sleeping Beauty anytime soon. Perhaps the folks at Swiss television could be persuaded instead. I like the Ferri/Eagling recording very much. I liked a lot of what Cuthbertson and Bonelli did as well, but the supporting characters were very pale imitations of past performers. I've seen the Copeland/Bolle performance, and I don't see myself rushing out to buy it. I don't think the geographical reach of MacMillan's Romeo and Juliet is nearly as great as Manon's. The Birmingham version isn't likely to be filmed as long as the Royal Ballet production is being filmed regularly. And ABT's version isn't likely to be filmed. That pretty much leaves La Scala, and there the ballet has been filmed twice. It's as you say, sandik, so many of the companies which perform Manon do other versions of Romeo and Juliet. I'm completely unfamiliar with which R&Js are performed in Asia, but sadly those telecasts don't reach us.
  9. Royal Ballet 2017-18 season

    The company has posted a substantial amount of rehearsal footage.
  10. 2016-17 season

    The National Ballet of Canada announced its 2016-17 season today. This is the main season at the Four Seasons Centre. November 12, 13, 16-20 Kudelka/Prokofiev: Cinderella November 15 12th Erik Bruhn Prize competition November 23-27 Cranko/Tchaikovsky: Onegin December 10, 11, 13-18, 20-24, 27-31 Kudleka/Tchaikovsky: The Nutcracker March 11, 12, 15-19, 23, 24 Tuckett/Englishby: Pinocchio (world premiere) March 29-April 2 McGregor/Talbot, Deru: Genus Robbins/Chopin: The Concert June 3, 4, 7-10 Neumeier/Prokofiev, Schnittke: A Streetcar Named Desire June 6 Mad Hot Ballet gala June 15-18, 21-15 Kudelka, after Petipa, Ivanov/Tchaikovsky: Swan Lake Robert Binet will present a work inspired by the paintings of Lawren Harris to music by Lubomyr Melnyk at the Art Gallery on Ontario on August 31-September 10. World Ballet Day will return on October 4 with the usual participants: Australian Ballet, Bolshoi Ballet, Royal Ballet, National Ballet of Canada, San Francisco Ballet. The annual visit to the National Arts Centre in Ottawa will take place on January 19-21 with Onegin. http://national.ballet.ca/Media-Room/News/The-National-Ballet-of-Canada-Celebrates-65th-Anni
  11. 2016-17 season

    It's the "music." Once I made peace with the fact that it wasn't going to get any better, I found the piece a lot easier to watch.
  12. 2016-17 season

    Yes, the rep for the last Canadian tour in 2011 was the second detail, Other Dances, The Man in Black and Emergence. Apart from Other Dances, obviously, all the pieces had been created for the company. You're not going to get a full-throated defense of Ratmansky's Romeo and Juliet from me, but Judith Mackrell's assessment of it was more positive, giving it 4 of 5 stars. https://www.theguardian.com/stage/2013/apr/18/ballet-canada-romeo-juliet-review
  13. 2016-17 season

    No. The Globe and Mail is owned by the Woodbridge Company. David Binet is President and CEO of Woodbridge, which is also the primary shareholder of Reuters, but he doesn't own it. The company is owned by the Thomson family. They are the zillionaires, not Binet Sr. In the Toronto Star Michael Crabb didn't give Le petit prince a glowing review either.
  14. 2016-17 season

    I hate to say it, but where choreographic flops are concened, I think Guillaume Côté is likelier to deliver them. Le petit prince was thrashed pretty thoroughly by (typically lenient) Canadian critics, and Dark Angels is what I'd call a turkey. I think Hannah Fischer is out of her depth in The Winter's Tale--not awful, but nowhere near Cuthbertson or Dronina class--and I did not see her as Odette-Odile. However, I thought she was a darn good Myrtha, and as the chief prologue fairy in The Sleeping Beauty, she nailed the Lopukhov variation. Given her physique, I don't think there's a ballet school in the world that would have rejected her, and it's not as though she merits a place only in the back row of the corps. It took her five years to rise to first soloist rank, and I would just point out that Veronica Tennant, Karen Kain, Frank Augustyn, Nadia Potts, Vanessa Harwood, Mary Jago, Raymond Smith, Rex Harrington and Xiao Nan Yu are some of the National Ballet of Canada dancers who went from school to principal dancer in five years or fewer, so Fischer's rise is far from unprecedented. (For example, Kevin Pugh was promoted to first soloist in two years, Gizella Witkowsky and Kimberly Glasco in three, Sabina Allemann and David Nixon in four.)
  15. Maria Alexandrova

    From an interview with Alexandrova and Vladislav Lantratov during their recent visit to Tbilisi. http://georgiatoday.ge/news/8060/The-Power-of-a-Duet%3A-World-Ballet-Stars-at-Tbilisi-Opera-%26-Ballet-Theater
  16. 2016-17 season

    But in fairness to Kain, under her watch the National Ballet has visited London, Los Angeles, New York (twice), Washington and Paris, with San Francisco still to come later this season. It's possible to dispute the artistic value of the company's co-productions with the Royal Ballet, and I was certainly opposed to replacing Cranko's Romeo and Juliet with Ratmansky's, but if the primary purpose of these productions was to get the company international gigs (Kain said as much in the Romeos and Juliets film), then the plan succeeded. Under Kudelka I remember there was a poorly sold visit to New York's City Center and a poorly reviewed run of Kudelka's Swan Lake at the Kennedy Center. Perhaps there were other international tours I can no longer remember. On the other hand, under Kudelka the biennial tours of western Canada, which had been a fixture of the company's seasons for several decades, continued. Sadly, they stopped under Kain owing to the gutting of Canada Council touring grants.
  17. 2016-17 season

    I have never encountered serious suggestions that the Kudelka period was some sort of golden age in the history of the National Ballet of Canada. Quite the contrary. Whatever the flaws of Kain's leadership, I think there's general agreement that at least it's not as bad as what went before. Kudelka's tenure was a period of such deep financial crisis that the company was forced to shed, what, 10-15 dancers? This, in turn, seriously compromised its ability to perform certain repertoire. I can't say that technical standards were very high either. I'm thinking of a particularly clunky performance of Giselle that I saw back then and comparing it with the company's solid run in 2016. Given what she inherited, I'm not surprised that Kain concentrated on fixing the company's finances and on raising the technical standards of the dancing, and I think she has succeeded on both counts. My primary objection to Kain is her paint-by-numbers approach to programming--including the fact that she continues to program too many of Kudelka's tired ballets.
  18. ABT will present two programs at Chicago's Harris Theater in late February 2018. The first program features the pas de deux from Tudor's The Leaves Are Fading, Ratmansky's Serenade after Plato's Symposium and Wheeldon's Thirteen Diversions. The second program includes Jessica Lang's Her Notes, a new ballet by Ratmansky and other, as yet unnamed works. Oddly, the "program notes" for program B include the biography of Liam Scarlett rather than Ratmansky. There will also be a gala on February 21, and an ABT Kids matinee, presumably on February 24. http://explore.harristheaterchicago.org/american-ballet-theatre
  19. naomikage mentioned this information on a different thread, but I'll start a new one for future reference. 22 October 2017 Petipa (Ratmansky, Burlaka)/Adam, Delibes et al.: Le Corsaire 26 November 2017 Maillot/Shostakovich: The Taming of the Shrew (repeat) 17 December 2017 Grigorovich/Tchaikovsky: The Nutcracker (repeat) 21 January 2018 Ratmansky/Prokofiev: Romeo & Juliet 4 February 2018 Neumeier/Chopin: The Lady of the Camellias (repeat) 4 March 2018 Ratmansky, Vainonen/Asafiev: Flames of Paris 8 April 2018 Coralli, Perrot, Petipa (Grigorovich)/Adam: Giselle (repeat) 10 June 2018 Petipa, Cecchetti (Vikharev)/Delibes: Coppélia http://www.pathelive.com/programme/ballet-du-bolcho The information about Romeo and Juliet is a little confusing, because the description states that this will be Ratmansky's production, while the sidebar cites Grigorovich. (The Pathé Live site has become sloppy lately.) Naturally, I'm wondering whether this is the same production Ratmansky staged for the National Ballet of Canada a few years ago. That version, it has to be said, is not universally loved by audiences and critics, but it can't be worse than the Grigorovich version the company has now.
  20. 2016-17 season

    Furthermore:
  21. 2016-17 season

    As long as this is happening, I don't expect many calls for change.
  22. 2017-18 season

    Nijinsky casting Vaslav Nijinsky Guillaume Côté (Nov. 22, 24 eve, 26 mat) Francesco Gabriele Frola (Nov. 23 mat, 25 eve) Skylar Campbell (Nov. 23 eve, 25 mat) Diaghilev Evan McKie (Nov. 22, 24 eve) Piotr Stanczyk (Nov. 23, 25 mat, 23, 25 eve) Ben Rudisin (Nov. 26 mat) Romola Heather Ogden (Nov. 22, 24 eve) Svetlana Lunkina (Nov. 23 mat, 25 eve) Sonia Rodriguez (Nov. 23 eve, 25 mat) Xiao Nan Yu (Nov. 26 mat) https://national.ballet.ca/Productions/2017-18-Season/Nijinsky
  23. 2018 Met Season

    The noteworthy thing here is that McGregor was supposed to have choreographed a Rite of Spring for the Bolshoi in 2013 but never did in the aftermath of the attack on Sergei Filin. Five years later ABT is going to get that premiere instead.
  24. 2016-17 season

    I hate the Kudelka production like few other things in this world. I saw it in the year of its premiere (1999) with the original cast (Hodgkinson, Antonijevic, Harrington), was thoroughly horrified and swore I would never go see it again. And indeed I didn't go see it again until last June, and as I sat in the theater during the first act I thought, "Dear Lord, whyyy did I come?!!" It's truly awful: visually hideous, choreographically and musically mangled, conceptually incoherent. And there's a jester. So from my point of view, not being cast may actually be a blessing in disguise. It's true that corps dancer Christopher Gerty was not up to the task of dancing Siegfried. But I would also note that in many respects Benno is actually a better role than this production's Siegfried, who, given his non-reaction to the gang rape of the Wench, is either useless or worthless, not to mention just plain weird. Kudelka's Odette is not an enchanted maiden. She's just a bird. There's no spell, no vow, no prospect, however remote, of a relationship. Kudelka's Siegfried is not a tragic romantic hero, he's just strange. Benno not only gets a lot of solo dancing to do, musically he even gets Siegfried's swan theme. So casting Naoya Ebe and Harrison James as Benno is not necessarily a slap in the face from my point of view. During this last run there were two casts of principals: Ogden and Côté, and Lunkina and McKie. During the previous run Lunkina and McKie had danced the first night, so I'm not surprised that the press night was given to a different pair this time, especially since it marked Ogden's return from maternity leave. Hodgkinson and Rodriguez had already relinquished the role. Yu was left without a partner after Maddox bolted for An American in Paris. I don't know what the story is with Lobsanova (who danced the Russian would-be bride), but Dronina and Vanstone, being small, are considered "wrong" for Odette-Odile. (I don't know whether that's Kain's assessment or Kudelka's). Fischer and Hawes being tall are considered "right" for the part. And however screwy Kudelka's conception may be, Hawes really is well suited to it. After studying the notations, Ratmansky told us that there weren't any "swan" arms in the original choreography. They are later accretions, and in Kudelka's production extreme swan mannerisms reach their apogee (or, rather, their nadir). I have seen Lunkina dance Odette-Odile in two other productions, one very English, the other post-Soviet, and she reduced the swan mannerisms to a minimum. I think she'd be an ideal candidate for the Ratmansky production. All the arm-flapping and head-twitching Kudelka requires run against the way she understands the role, though of course she does exactly what he asks. Hawes delivers all the swan mannerisms Kudelka wants and makes them look as natural as breathing. It's not emotionally involving. It makes no sense. But it's what the choreographer wants.
  25. Bolshoi's Corsaire...and where's "Ali"...?

    No baggy pants, no bare chests, and no bare midriffs either. It's great. Some feathers, but not worn by any of the Greek men. Lots of hair extensions, though. When I visited the Benaki Museum in Athens, I was struck by how much Conrad resembled Athanasios Diakos.
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