meunier fan

What a fantastic description, Drew. Truly mesmeric and apt. Bless you.

I'm sorry, mnacenani, but I feel your comment about MATTHEW BALL in reference to the 'entrechats' is simply unfair. Of course blame a dancer if he is supposed to do 32 - or let's say 'a mass of' - entrechats ( and Sarafanov I agree can be totally brilliant at this) .... but NOT if the choreographer (here Sir Peter Wright) ONLY allows them (e.g., the dancers currently dancing Albrecht in THIS production as it currently stands) about 12 to a very explicit count BEFORE the variation is broken up. IF anything 'peters out' (and I agree with you - I feel that variation - as it currently stands - does) it is the CHOREOGRAPHER'S VARIATION. Whatever else it may be THAT IS NOT THE DANCER'S FAULT. Of course, I realise you may not be familiar with the production - and Wright has and will (he's in his 90's) continue to tinker with it ... Dancers will tell you he does this constantly. Just don't blame the messenger, mnacenani, in this regard. Matthew Ball is strong; VERY strong; he's also a fine musical actor which makes such a difference. He is young - there is oh, so much to come from this lad ... and he has come oh, such a distance. Please keep your eyes peeled. It will pay off heartily. Promise.

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I'm surprised that ABT has never revived the last ballet she did for them 'The Informer' - I would have thought that might have been a good candidate for a winter season outing ... and I realise this has not formally been announced in its entirety. Wondered too - with the current compilation of Robbins' musical works for NYCB - if there might not be coinage for ABT in doing something similar for DeMille and her bounteous Broadway choreographic repasts. (Just a suggestion.)

So lovely to see that the glorious memory of Maximova on her 80th Anniversary is honoured with not only a gala but an exhibition and the Balanchine and Petit anniversaries (115th and 95th respectively) are honoured with both a production and a dedicated exhibition as well.

I have come to the conclusion that with McGregor's work it is often best to take it at face value and trust your own judgement. Reading his programme notes ... or sometimes listening to the circulating hyperbole ... can - at least in my experience - be more frustrating than - in the end - it proves worth.

Seems he is taking on a different - if perhaps not necessarily bigger - role. Good on him I say ... and good luck https://www.linkedin.com/in/cameron-dieck

For me, Kim is the weak link in that list. Will give him one thing though - stylistically he is CONSISTENTLY inconsistent. You can count on that - and I've seen him any number of times. I'd take Louvet or even young Ball as Solor over him any day of the week. Can't wait to see Corrales in the role. The Parisians went ape for his Ali. Of that there can be no question ... though I realise that may not stand much truck with your good self, mnacenani - given your stated philosophy.

I applaud all the sentiments expressed by Ashton Fan above ... (happily all the performances noted I have seen) but simply wish to point out that Hayward was blistering as the second soloist in Emeralds - that solo being one of my favourites - and I felt actually made Pita's 'The Wind' a narrative piece rather than the summation of twists and turns (as interesting as they spasmodically were) at its premiere. Hayward is a gossamer daredevil; i.e., an infectious gift to be cherished.

I have not seen the SL ... but I have seen the Company a goodly number of times in Budapest in Oneign; in Anna Karenina; in Le Corsaire, in a Kylian programme and in a Nagy gala celebrating all bits and pieces of their rep. They did do a segment from the SL in that gala - but as it featured the RB's Muntagirov and a principal dancer from Vienna (which is only an hour away) I doubt that it was even remotely connected to van Dantzig's take. I would say they are a competent regional company with a well mannered orchestra of a higher ilk. (I mean this as a compliment - but want to be realistic.) I also saw a number of opera performances; a fine production of Queen of Spades and one of the worst Traviatas it has been my misfortune ever to encounter. I much admired the Eva Marton Singing Contest - but then that had an international roster of competitors. I am surprised at their sojourn in New York - especially for such a span of time at State Theater (sorry, I prefer to call it as I remember it). Perhaps I should not be entirely surprised as the opera house in Budapest (and it is a TRULY STUNNING one) is closed for renovations - certainly into next year as far as I recall. The Erkel Theatre where they are currently holding fort is definitely bland by comparison ... but then - in many instances - what wouldn't be. A side note: Tamas Solymosi's younger brother, Zoltan, danced with the Royal Ballet for a spell - largely partnering (Dame) Darcey Bussell. He was tall and handsome - as many Hungarian men are. I don't remember him as being entirely exemplary as a dancer, however. He now it appears teaches for his native alma mater. Hope that's of some help.

But, Mashinka, it sometimes strikes me that McGregor's are lower than other triples - and this is to take nothing away from McGregor. Am I wrong in this? If so, I happily put up my hands. In any event, RB prices seem - understandably - to be rising (like everything else). Certainly that is true for the escalating tariffs for the new Swan Lake headed by Scarlett.

It's interesting to note that the RB seems to subsidize McGregor's one act ballets when they appear - certainly in their premiere outings - by subsidizing the ticket prices. They are much lower than the full lengths certainly. (If memory serves this was true for the premiere of Woolf Works as well.) I don't know if this will be true for ABT's triple outing in this regard.

I so agree with you, fondoffouettes. I saw Trenary's Aurora twice in Paris and was entirely enchanted - as was her Bluebird with another who Paris deemed a substantial talent, Gabe Stone Shayer. Their potential is DEFINITELY there. Also - with the discussion of guests - and if a guest were to be brought it - (and I realise this may seem a little off the wall) - but what about the prospect of Robbie Fairchild for a selection of performances. He still seems to be local - and if he's in shape - why not. A fine dancer and a good actor at his best methinks.

It was, I promise, all in jest ... and I'm happy (and proud) to come from the Land of Brexit .... even if I didn't vote for it (i.e., I did vote ... but ticked 'to stay).

And ... for those in the land of Trump - a live appearance by the RB (with a McGregor World Premiere) in LA!!! (oh, and for those a tad further out - Japan).

Mayerling 08/10 to 30/10 La Bayadere 01/11 to 17/11 Infra/The Unknown Soldier/Symphony in C 20/11 to 29/11 The Nutcracker 03/12 to 15/01 Les Patineurs/Winter Dreams/The Concert 18/12 to 04/01 Asphodel Meadow/The Two Pigeons 18/01 to 13/02 New Scarlett for the RBS/The Two Pigeons 12/02 to 16/02 Don Quixote 15/02 to 04/04 Frankenstein 05/03 to 23/03 Romeo & Juliet 26/03 to 11/06 Within the Golden Hour/New Side Larbi Cherkaoui/Flight Pattern 08/05 to 21/05 The Firebird/A Month in the Country/Symphony in C 04/06 to 14/06 Full details: https://s3-eu-west-1.amazonaws.com/static.roh.org.uk/for/pdfs/press-releases-17-18/PRESS-RELEASE-THE-ROYAL-BALLET-2018-2019-SEASON.pdf

She IS. In fact she's doing the opening performance - again with Bonelli. I assume this run is the last that either of them will be around for. She's a fine Manon; a richly intelligent take. On Corrales - I think that it is a good move for this talented young man - and I'm sure he - and ultimately the Company will profit from it. Those performances he recently gave in La Jeune Homme et la Morte were thrilling in the extreme. He virtually breathed charisma.

NOW one of my favourites is James Hay. THAT BOY can do EVERYTHING - and is such a fine actor. He is small, of course ... but he has come SUCH A WAY. This past season and a half has been so notable for him. He is that rarity: A VERY small dancer who knows how to dance big with precision. (They don't grow on trees.) I remember I was reading online how spectacular he was as Florimund in SB. (He got these chances I think through others' injury.) I hadn't bought a ticket for those - but found one just to see what everyone was talking about. He was truly stunning. Indeed, his was I think one of the best Florimunds I've EVER seen - be it in London, New York (numbering Dowell, Nureyev, Bujones, Woetzel, Angle, etc. - so many) or Paris. If I hadn't seen it myself ... I don't know that I would have believed it. He is so detailed in EVERYTHING he does. I just hope that Corales coming in (as fine as he is) doesn't retard the progression of, say, Hay or Sambe. VM is, as you say, truly excellent - and entirely consistently so now. Sometimes I think he almost makes things look SOOOOOO easy. He's a dancer's dancer ... and you can understand why ALL the women want to dance with him. I'm so pleased they are filming his Manon with Sarah Lamb. It was his debut last time - and his performance was entirely life enriching - and the two of them were wonderful together in it. Enjoy.

HE IS. NO QUESTION. Still - amazingly - there is such a richness in the ranks just now. Have you had a chance to see Calvin Richardson? Another truly inspired talent.

Of course there is ... (Talents keep pouring in - William Bracewell was stellar last night in the new McGregor) ... but I suspect this may have happened in part to lighten RB Company rehearsal commitments with everything else that is coming up. The time would have been independently scheduled for Hallberg (his having no other RB commitments thereafter) ... and those replacement sequences may be easier to fashion now that it is Shklyarov. Also with those last act Manon throws I doubt that Osipova (or O'H for that matter) is too eager to take too great a risk. The second act of Giselle is quite a different kettle of fish and - as it was - Osipova / Ball didn't do that full body lift that others do. I think O'H has been prudent in this instance ... and I'm sure Shklyarov will honour himself and others about him as he has in the past.

I will be VERY surprised if that were to happen. She didn't pull out of the second Giselle with the wonderful Matthew Ball when Hallberg sadly had to withdraw. She is a PRINCIPAL with the Royal Ballet after all.

Saw Frola and Lunkina in Paris and thought they were stunning - together and apart. Certainly the best of the two NBoC casts I saw in this work. This young Italian is definitely a talent to watch and this role suits him down to the ground. Here he is rehearsing the ending (minus the inevitable exhaustion at that point): In many ways I didn't feel the Company presentation was a match on Neumeier's own Hamburg Ballet - but that I suppose was to be expected. That said, Dylan Tedaldi was thrilling as Nijinksky's brother. Enjoy.

Sadly his appearance at the London Ballet Circle tomorrow evening has now been cancelled. This is perhaps not surprising under the circumstances.

Hallberg himself explains here: Blessedly he himself suggests it is not a serious injury. I look forward to hearing him speak tomorrow ... and towards the potential for the 9th March Giselle... and his RB Manons with Osipova beyond.

A correspondent on BalletcoForum is reporting as follows: [Dance Europe is saying that he [Hallberg] was anxious about aggravating a minor injury had he continued into Act 2]. I have tried to find this reference but sadly can't at the moment ... but wanted to drop this into the Ballet Alert mix in any event. Let's pray - whatever it was - that it was relatively minor. Hallberg is STILL listed for his 9.3.18 Giselle with Osipova on the ROH listings. Fingers crossed (He is also scheduled to speak to the London Ballet Circle on Monday at 7.30 pm ... and there too has - as yet - been no notification that this engagement was in any fashion not going forward. In short - ALL GOOD SIGNS.