Alexander

Thanks, Effy. We'll just assumed justice was done and something did happen, then ;-)

An old dancer from London called Frank Andersen a couple weeks ago and asked him if the RDB was doing anything for Volkova who would have been 100 next week. Andersen apparently told him they'd already thought about that and it had been decided to dedicate the opening night performance of the festival to her ... But I haven't heard anything since. Can anybody tell me if they did, or was it just one of those things one says in a situation like that? Thanks.

Thanks for all the good information and suggestions. There is much that indicates that Volynsky and his importance was suppressed by later times. His school and his criticism and aesthetic stand is all very fascinating and I think we shall hear more about him. A

I connection with my research for a biography of Vera Volkova I am also very interested to know more about Akim Volynsky and his School of Russian Ballet. Can anyone on the board suggest somebody knowledgable in Russia with an interest in historical matters that I could get in touch with? Again, all help will be much appreciated! Thanks!

hi mel. thanks! that was very useful. i've left a message for kirovgal, hopefully she knows about his current whereabouts. A

I am trying to locate Henry Danton (former dancer with the Sadler's Wells and Royal Ballet). I have been told he is now working and living in the States. Does anybody know where? Thanks!

hi again ed. re. copenhagen, i spoke to one of the women who attend arne villumsen's classes and she will be happy to give you all the details you need about this class and other options. could you write her, please, at amelmby@hotmail.com? her name is anne-marie. have fun! A

hi ed. re. arne villumsen he only gives 2 a week classes outside the royal theatre but i asked and you are very welcome to attend if you want. the class consists of mostly woman but that shouldn't be a problem as he likes teaching them male variations from napoli, sylphide and more. i don't have the details for the classes yet but i will post them a.s.a.p. A

Admittedly, it's been a while since i've seen Balanchine's version but there are many reasons why I think, I prefer Ashton's. Lanchberry's maltreatment of the score is horrendous, but you still have the sound and the atmosphere of Mendelssohn's music and Ashton really responds to that period with his delightful and delicate choreography for the fairies. He's a master at storytelling and characterization for Oberon and Titania, obviously, and the format and the pace of the narrative is so tight and so convincing an entity as opposed to the massiveness of Balanchine's. Both are masters, sure, but Ashton's work is just more inspired and more innovative even if - on surface - it 'just' looks like a sentimental and entertaining period piece.

Admittedly, it's been a while since i've seen Balanchine's version but there are many reasons why I think, I prefer Ashton's. Lanchberry's maltreatment of the score is horrendous, but you still have the sound and the atmosphere of Mendelssohn's music and Ashton really responds to that period with his delightful and delicate choreography for the fairies. He's a master at storytelling and characterization for Oberon and Titania, obviously, and the format and the pace of the narrative is so tight and so convincing an entity as opposed to the massiveness of Balanchine's. Both are masters, sure, but Ashton's work is just more inspired and more innovative even if - on surface - it 'just' looks like a sentimental and entertaining period piece.

Has anybody seen Kader Belarbis full-lenght adaptation of Wuthering Heights for Paris Opera? Any news of its reception? Thanks

re. thibault, he is a very fine dancer indeed but hardly the best dancer the company has produced in the past 20 years: what about jude, legris, hilaire, leriche, martinez and more anon?! thibault also has an extremely limited repertoire (he can't act or partner) which i think justifies not promoting him, and the comparison with lis jeppesen i dont get at all: she was an extremely versatile performer! he basically has a beautiful jump. that being said, i was shocked to learn that they had chosen to promote karl paquette last year. he seems little but bland and beautiful. belingaard, on the other hand, is an obvious premier danseur with real presence and seems to grow by the day.

estelle, thanks. i didnt realise it was belingaard that they filmed. why him, do you think, and not leriche? i have to say i disagree with you on the costumes for scheherazade. not all were great but some of them were astounding - if you ask me. especially for the men, actually. the choreography was nothing special, i agree, and i wondered why she wanted to avoid the plot when she obviously couldnt get around it?! i found bridard very good in faune.

For the record POB has given some outstanding performances recently. I November The Prodigal Son with Nicolas Leriche and Agnès Letestu, which was filmed and broadcast by Arte Wednesday night. I suspect video recordings will be in circulation soon. Blanca Li has created the choreography for a new production of Schéhérazade with sets and costumes by Christian Lacroix. Choreography was so, so but the over-all performance by the company - and the orchestra in particular - was astounding and had a real taste of what the Ballets Russes premieres must have been like in the beginning of last century: A spectacle - more than a 'ballet' - to be savoured by le tout Paris.

Having given it some more thought, the reasons NYCB and SFB look so different in the piece are probably just questions of company aesthetics (?). SFB is used to being more facially expressive and their response to the piece - having performed it for 2 years now - is more relaxed than previously: They have a good time performing it, it's a treat for them to have it in rep and it shows. I spoke to somebody, who was in it with SFB and this person insisted that they were not given instructions of any kind when the piece was set (by Richard Tanner): certainly not to smile or anything as specific as that.