meunier fan

Reference: http://www.staatsballett-berlin.de/en/presse/mitteilungen/26-02-2018/94

Was not Ball's first major outing with Naghdi as Lensky? They were supreme in that PDD I remember and I have rarely seen those tricky over the shoulder lifts managed more sensitively. I agree he is a wonderful actor as well ... and will give Osipova much to feed off of. Certainly I'm looking forward to these performances very much indeed.

Off the cuff ... I was just wondering if Gabe Stone Shayer mightn't make a dazzling Solar. I only have really seen him dance in Paris ... in the Sleeping Beauty ... but he brought down the house at the Bastille (with the exquisite Trenary) as the Bluebird more than anyone else as far as I can remember. I'd certainly pay good money to see him have a punt or two in Le Bayadere I think ... and that would at least keep the assignment in ABT's terrain. (Mindful of how long it did drift off the in-house roster. Do people really want to go down that road again?? The balletic world is not quite what it once was in terms of world stars methinks.) (Mind you the rise in ABT's fees - well, in respect of Standing Room at least ... is rather distressing in and of itself ... MIGHT make SOME people insist on guest artists ... NOT A WISE LONG-RUN ATTITUDE IN MY BOOK - but then they say the economy is doing brilliant things Stateside so perhaps people don't notice quite as much as they certainly do in the UK - where the Royal have just jacked up the prices for this yet to be seen 'new' Swan Lake by the Royal Ballet. That said the RB is - just now - brimming with young talent. The future - at least in their regard - is a rich one. If they wanted a surprise guest artist .... I think young Cesar Corrales would be stellar .... and he has always said he ultimately wanted to dance for ABT. Some might say: 'a Company member in the ultimate making' ..... You can see him in a minute of his ENB Ali here ... and last week he was veritably breathtaking in Le Jeune Homme et la Mort. Moreover he is - even now - only just 21. Bayadere could be a good dry run for him prior to his joining the RB roster as a First Soloist next year. I have a feeling the RB may well do the Makarova again next year. It's been out of the rep now for some years ... and this would fit him to a tee! Do I hear 'Fore'

Merrill Ashley did guest with the Royal Ballet as Aurora. Most happily so. (Oh, and I - for just one I'm sure - would lust to see Mearns as Carabosse in Martins' production. Sadly - with the plunging pound - in this all too strange world of ours - I fear I won't make it ... but can dream. I so wish they would do a cinema relay. That too I realise is probably not a practical suggestion. Would that it were.

How refreshing it is to see ABT now being built from what appears to be within. I think that Lendorf will be a definite plus in terms of male principals and being relatively young should be around for a good term. Tragic if this really is the end of Hallberg as his length of absence seems to suggest. Just wanted to say that i was surprised that Gabe Stone Shayer - he being such a gloriously detailed dancer with such a richly focused love of the art form in his every move - was not cast in more named/noted assignments. Happily I was able to catch up with ABT during their Paris stint - going to seven of the SBs. For me - and it seemed the Parisian audience - with no hesitation but certainly defining cheers - Trenary and Shayer were the definite standouts. I would love to see them dance together more. Their bluebird PDD positively sang. I, too, would like to see Forster given a nod or two more before what is currently extant as dramatic potential begins to dwindle.

Don't know if this is the appropriate place to put this - (probably not - but it was the closest that I could come up with in the limited time I have to search) ... but David Prottas it seems has joined the ensemble of the National (US) Tour of AN AMERICAN IN PARIS Source: http://www.broadwayworld.com/article/AN-AMERICAN-IN-PARIS-Announces-Full-Casting-for-US-Tour-20160809# Sad in a way - as I thought he was excellent in Ratmansky's PICTURES AT AN EXHIBITION during the couple of performances he gave with NYCB in Paris, and he always seemed to stand out for his commitment otherwise.

I wrote a journal of sorts - as someone who used to live in NYC and came to LOVE NYCB - and still do - and who saw ALL of the NYCB performances at the Chatelet here: http://www.balletcoforum.com/index.php?/topic/12934-nycb-paris-2016-theatre-du-chatelet/#entry178752 Please forgive the errors - I am a more than middling dyslexic - on this forum you only have half an hour to make corrections - and I was frequently in a rush - as I was working in Paris throughout the period. Still I hope it's better than nothing and I think it says much that of ALL the major British broadsheets - on The Times and the Financial Times chose to cover it - and even then not the major Peck programme. Go figure..

As a Brit who lived in the US for 17.5 years (I legally renounced the American nationality I had once worked so hard to achieve - and paid $2,350 for the privilege to exercise that 'inalienable right' early in December of last year in Slovakia simply because the better side of my own personal compromise was telling me - nay demanding - that I should - there was too much in the American political kitchen that I no longer understood let alone supported) I do - although I voted remain in the British referendum - genuinely believe that the Brexit IN THE LONG RUN MAY have many positive impacts on the Arts. (Perhaps I'm a total simpleton.) I, myself, was fortunate - prior to the final establishment of what was the EEC - to practically gain from the reciprocal rights in the arts that used to be common practice between members of Commonwealth nations. While such rights were entirely expunged by the time of the practical creation of what we call the EU I pray that - with time - some of the joy of those much valued interchanges and supporting cultural factors might be restored.

Just wanted to say that - living in London as I do - I frequently feel starved for NYCB (in truth the ONLY thing I really miss about NYC - after living there for 17.5 years .. but then it was a very different city at that time.) (The last time I saw them was in NYC in February.) When I found out that NYCB was to have three weeks in Paris (a city I used to dislike - at the time I was living in NYC - but now have grown to adore) I arranged a work project in Paris for that time frame. I'm so glad I did. I went to all the performances and it was such a treat. I kept a journal for British readers on their forum and you can see that here: http://www.balletcoforum.com/index.php?/topic/12934-nycb-paris-2016-theatre-du-chatelet/#entry178752 Please remember these are but the jottings of an old - and more than middling dyslexic - man - but one who is now - and I have a feeling FOREVER MORE - passionate about the glory that is NYCB. I have to say the French audiences - and they were largely French - was magnificent in showing their passionate joy in response to the works. I'm so pleased I was at that performance when Justin Peck's Everywhere We Go premiered in Paris. At the 12th adoring curtain call he was pulled onto the stage - replete with baseball cap - and the roar was deafening. Here I thought was the true canonisation of the 21st Century's master dance maker. Time will tell of course ... but there is ... after 28 ballets ... and a 29th premiere in Saratoga today ... JUST SO, SO VERY MUCH TO CELEBRATE. Bless you all.

What with Ferri, Bolle, Vishneva, Gomes, Kochetkova, Hallberg (if he is still dancing - as one hopes he will), Semionova and Lendorf I would say that ABT in its coming MET season has more than its fair share of what many balletomanes would term 'stars' be they guests in reality or no.

To be fair this was the 'Autumn 2016/Spring 2017' ENB season announcement - not the entire year ... or at least that is what the press release title said. The Khan had been previously announced in the Sadler's Wells 2015/16 Season announcement.

If anyone States-side is considering going to Paris for the Chatalet run of NYCB - here is the link to buy tickets - now available in levels 1 - 5. (Levels 6 and 7 are said to be available on the day). The link is here. The top ticket price is 109 Euros / ($100.28). I bought a Level 5 ticket to every performance and even with the booking fee paid $17.08 per (full view) ticket. The Chatalet is not the most comfortable theatre on the face of the universe, but that is, I think, a saving over even the Fourth Ring (when it's open now of course). You can buy tickets at the other levels for as little as 8 Euros/$7.36)

Does anyone here know when the NYCB tickets go on sale at the Chatelet? I'm eager to buy mine - as I intend to go to all the performances.

L. Cope (AiP/RB) and R. Fairchild (AiP/NYCB) perform an AiP PDD segment (choreo - Tony Award winning C. Wheeldon) live on The Late Show (CBS), 18.9.15 https://www.youtube.com/watch?v=PL06Si4xXvE Something else you might enjoy from the same source:

Seems the British critic, Graham Watts, is getting a picture in Norfolk (UK) .... He posted a picture on Teatro Colon's Twitter feed .... but as Noel Coward put it in Private Lives: 'Very flat, Norfolk'. ... Wish Watts would let us know the trick

The same thing is happening in the UK, Helene ... Two people have posted so far on BalletcoForum. Agree that the orchestra sounds good ... which makes the loss of the picture particularly distressing. Ah, well .... ... Can't have everything, huh .... and here it is 1230 am .... so may listen to it while falling asleep ... At least I won't feel guilty in that case. Maybe the video will end up on youtube ... ;)

Helene, I tried to join via the link above but it kept saying that it would not accept either of the two email addresses I entered. Certainly there were accepted by Ballet Alert and BalletcoForum in the UK. Do you know why this might be. I would like to be able to gain access to your forums. Much thanks for your kind advice.

Drool

Many years ago we were all much younger. On this occasion I was just past my 19th birthday. (I will be 60 tomorrow). During this period - when I was beginning to pursue my graduate studies in Canada (having just escaped from England) - I did many interviews. The first was one of the last interviews Hitchcock ever gave. Amongst my most cherished memories was a session with the balletic legend that was ERIK BRUHN. Recently I was clearing out my flat (an ever endless activity) and I found this tape at the bottom of a box. I thought a few here might be interested. I will remove this link shortly from our published web space as it takes up far, FAR too much acreage. http://www.lswproductions.co.uk/B.mp3

Not only one of the greatest singers but one of the greatest actors of all time. It has been our privilege to live in his age. RIP

It has now been confirmed that Leanne Cope will take a second year's sabbatical from the Royal Ballet in favour of An American in Paris on Broadway. It would be grand if perhaps a London production could open with her as Lise in 2016. That would allow her to (i) originate the role in London as she had on Broadway and in Paris before (ii) going back to the RB with a fresh gaggle of British media and an adoring new (musical theatre) audience in avid tow. It would be grand too if Mr. Fairchild could briefly open a London production, understanding of course that his creative commitment to NYCB is paramount for both his own and ballet's sake. Source: http://www.roh.org.uk/news/promotions-joiners-and-leavers-at-the-royal-ballet-for-201516

You may find this footage interesting ... The Royal Ballet has just released it. It's home movies from the 1955 tour of the USA and Canada by the RB. It's amazing to see just how much of New York is the same ... after 60 years ... Oh, but that Camel smoke won't see that now, huh ... If you go through to the end you will see a rehearsal on the West Coast (I assume) of Sleeping Beauty .... Was that Ashton as Carabosse??? ... You see Puss in his boots but no mask ... and the last act PDD is being rehearsed in heels by Aurora ... All in all a blast from the past ... and, as such, a privileged peek ;)

Dear Friends, I'm not certain if regional boundaries will apply but ENB's (English National Ballet) CHOREOGRAPHICS programme (wherein company dancers are invited to create original works using other Company members) is to be simulcast today at 2.15 pm GMT ... (9.15 am I believe in NYC) ... In any event here's the link http://www.artstreamingtv.com/event.php?id=43 I went last night and thought the programme had much to recommend it. I wrote a review and will attach that here: ENB CHOREOGRAPHICS – 19.06.15 ENB's life enriching CHOREOGRAPHICS incentive has become a 'must do' calendar event for me; something along the lines of Christmas. As previously this year's celebration provided a proverbial stocking that brimmed with potential. Aptly (not to say amply) it hung on that fireplace of hope that is the Lillian Baylis Studio's stage. The great lady herself would have heartily approved methinks. Indeed I thought I spied that crooked smile happily crease as I passed her portrait on the way out. But, no, I was more like just lost in happy thought. As ever the programme was beautifully facilitated by the insightful steer of the young and very gifted George Williamson (who, himself, produced one of the most gracefully sincere introductory remarks it has ever been my privilege to hear). Thereafter as per now honoured tradition - each piece was introduced by one of Laurnet Liotardo's dynamic film 'featurettes'. ENB’s CHOREOGRAPHICS model has now become one for other such programmes to aspire to. By the end there was no doubt in my mind that it was definitely the ENB home team that rose victorious on this particular occasion. I say that acknowledging the fact that the Choreographics' bill - loosely hung in and around a theme of post-war America - for the first time this year brought dance makers from without the ENB family fold. (That said - although Renato Paroni de Castro's MEMORY OF WHAT COULD HAVE BEEN which pitched a triangle between two naval twins (the ever winning Menezes brothers) up against one woman (a stirring Sarah Kundi) did not strike a particular cord for me - there were telling elements in Morgann Runacre-Temple's GIVE MY LOVE TO THE SUNRISE – itself a three pronged decoration to the theme of The Lady for Shanghai - that fascinated. Indeed never more so than when focused on the face of Tiffany Hedman's capricious femme fatale a la Rita Hayworth (as abetted by Daniel Kraus) and laddered within the impact of David Richardson's structural lighting. Both hauntingly illuminated the shapely variety of Laura Stevens' motley (i.e., many coloured) score, the only original collaboration between choreographer and composer in this particular bill. The evening commenced with a zealous choreographic compendium, BABEL by the obviously evergreen Joshua Legge, winner of this year's ENBS Choreographic Competition. Paying homage to the youthful works of one William Forsythe (always a winning place to begin) Legge's conversation to Venetian Snares' 'Integration' sought to accordion a male quartet alone together. The four ENBS students won well the Legge challenge. BABEL's ending - 'and then there was one' - not only stung but suitably prepared us for James Streeter's corrosive take on Julius and Ethel Rosenberg's final meeting - 62 years to the very day. David Richardson's illumination and Louie Whitemore's costume design again enticed for A TOUCH FOR ETERNITY.no less than did Max Richter's rightly nagging 'November'. Adela Ramirez and Juan Rodriguez vividly replicated the impassioned fingers and blood of those historic entities such as was cut through and dripped over the metallic mesh of a visitor room’s regime, The very courage of Streeter's concept bit. Captivated too was I by Fabian Reimair's 'traumA' (German for 'Dream') wherein angelic Anjuli Hudson's young wife was left in a state of perpetual nightmare by the loss of her husband (a sorrowfully trapped Ken Saruhasi), himself lost as but a number amongst a corporate many. That latter – eternally present it seems - were wittily represented by both Barry Drummond and Shevelle Dynott. Reimair's piece was well framed and it was encouraging to witness the enhanced focus of his choreographic progress from last year's effort. Max Westwall was ENB's new boy on the choreographic block and his FRACTURED MEMORY not only was the evening's most academically classical piece of ballet but one that allowed its core characters in the final adagio (vivaciously inhabited by both Lauretta Summerscales and Junor Sousa) to not only wear the memory of their joy in their smiles but to twist such into our hearts. Mr. Westwall more than walked on the Choreographics' grass, he ran all over it. He offered diverse opportunities for the largest ensemble of the evening as enriched by Madison Keesler, the evocative Katja Khaniukova, Jinhao Zhang and Daniele Silingardi, an able partner. Collectively the audience's appreciative zeal all but demanded more,. . Still all was to be but prelude to Stina Quagebeur's A ROOM IN NEW YORK. This was a complete four act drama in but ten minutes of Scriabin: A chillingly complex treatise celebrating the souls of two people - visionaries both - Edward Hopper and his other half, Josephine Nivison. Hopper once wrote: 'Great art is the outward expression of an inner life in the artist, and this inner life will result in his personal vision of the world.' Since Quagebeur has had the courage to invade her own soul, she enhances ours. As far as I'm concerned this is an incisive chapter on Hopper’s own defining work. This too should be preserved in the Library of Congress. As the light faded on that iconic pose owned now by time I saw and felt a slice of life in a manner that could only have been foreign before. That's what ballet and Quagebeur can do. Crystal Costa's amorously tenacious Jo prods James Forbat's profoundly isolated Edward as much as he does her. These characters deserve each other through dance. As originating artists Forbat and Costa more than help define Quagebeur's devastatingly majestic whole. How I wish the UK mantle that is so oft embossed upon LIam Scarlett's shoulders might be equally enshrined upon Stina Quagebeur. I say this wanting to take nothing away from the core gift that is Scarlett's but fervently coveting an opportunity to see this extraordinary woman - no WRITER - Stina Quagebeur honoured as by rights I feel she deserves to be. Please forgive me. I felt this way after thrilling to last year's searing VERA. Now even more I'm convinced. My admiration stands humbled in the daredevil face of her artistry. Hopper related: 'No amount of skillful invention can replace the essential element of imagination.' Quagebeur has both in perceptive spades. 'She Said' in deed We can but listen and learn. I, for one, give great thanks for the privilege of such opportunity. What can I say: The evening was a gift.

I believe the rights and royalty negotiations are mammoth in such undertakings given so, so many creative participants ... which is why there has been such a wide gap in ABT releases ... and indeed why there was such a paucity with ABT video releases even during their own glory days at the end of the so-called dance boom. Had it not been for the PBS' supported 'Dance in America' series I think there would have been even less than that smattering we have to cherish now. I briefly worked for the woman responsible for contracts at ABT during the preparation for the 'American Ballet Theatre at the Met' video and I well recall how close it came to that not being done at all. Time I believe has made the negotiations even more cumbersome and the bottom of that particular commercial market has now well and truly evaporated.

If that were to be the case - and it is September - it wouldn't be entirely 'back to back' as the NYCB dates are 28/6 - 16/7/16 and are at the Chatalet which I assume means they are being privately sponsored. As such I assume NYCB are definitely NOT being presented under the direct auspices - although I'm certain with the unquestioned sympathy - of the POB. As it is the Chatalet holds a long tradition of a summer dance residence. (SFB was memorably there last summer with a set of 38 different programmes. The Alvin Ailey Company are there this summer. Sadly after the NYCB presentation in 2016 the Chatalet - itself a historic venue associated with dance - will close for a couple years of refurbishment.) One thing I do think might count against ABT SPECIFICALLY presenting Ratmansky's SB in Paris - and I would love it if they were to as I would very much like to catch up with the Company within easier (to be read more affordable) reach of my own home in London - is the fact that it is a co-production with La Scala and I'm fairly certain that the Italian Company would have the exclusive European rights to any presentation of that specific piece of the Ratmansky oeuvre given their initial artistic and fiscal investment in it. As it is La Scala itself danced Giselle with Zakharova in Paris last season so they are not an uncommon guest in the City of Light. Zakharova is a La Scala etoile and is scheduled to open Ratmansky's SB production at the famed Milan theatre this year performing on 26th September as well as on 2nd and 6th October 2015. Currently she is scheduled to be partnered by David Hallberg who will be a guest with that Company as he has been in the past. Should Hallberg sadly be required for health considerations to withdraw from his La Scala commitment as he was with this season's ABT turn at the Met, I'm sure Roberto Bolle (a principal with both ABT and La Sala) might well step in as he oft partners the Russian dancer there. Such a proculsion vis a vis Ratmansky's SB would be in a similar vein to that under which the RB is understandably not able to present either Wheeldon's Alice or Winter's Tale in NYC or LA given that it is a co-production with the NBoC and therefore the North American rights legally fall under the latter's territorial remit.