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  1. Principal of the Royal Ballet Sarah Wildor has "resigned". Very sad news.
  2. It was being discussed in a thread a while ago about drawing dancers as a hobby, I can't find the original thread but I wondered if anyone would like to look at my dancer drawings which I've just put online, although it's not exactly a hobby for me because I am studying art. They are at http://amysymons.250x.com/dancers.htm, let me know what you think! Amy [ 08-22-2001: Message edited by: Amy S ]
  3. Can anyone tell me anything about him? Also, I remember someone mentioned a while ago that he had danced in Onegin, would that be as Onegin or Lenksy? We are, unfortunately, suffering a severe chap shortage in RB at the moment, I don't know where we're going to find enough Onegins to go round!
  4. The exhibition finishes on the 22nd, Sunday. As to potential duos Cojocaru/Putrov just occurred to me, but I suppose we will have to wait until after they dance in the mixed bill or it's really just conjecture.
  5. It is definitely a shame that Acosta and Rojo won't dance Don Q together in the autumn, I can't see any reason why they haven't been cast together. I suppose we will have to be content with the pas de deux for now! By the way, for those interested in Acosta, there is an exhibition of photographs of him by Angela Taylor at the e-onegin gallery, it's at 54 Shepherd Market in Mayfair. I can't remember when it finishes (don't think it's on for long) but the opening party was on Wednesday, lots of people were there, including Carlos himself and Zenaida Yanowsky. It's well worth a look if you are in London.
  6. It will be interesting to see who replaces Hilaire in London, Murro again? Giannina, Kevin, I have emailed you both.
  7. No dancing........knee socks.......spinning sets, you're frightening me! Surely it can't be that bad? I can't wait to see it in London now, I usually like ballets that nobody else does so maybe I will think it fantastic. Which performance are you going to Giannina? Does anybody know if Hilaire's foot is actually broken or just injured? I was very much looking forward to seeing him dance.
  8. I'll try to do a proper one when I have time but for now just a couple of things that stand out to me: Tamara Rojo as Ondine Gloria Wildor's La Fille Rojo as Giselle Song of the earth, especially Leanne Benjaman and Johan Kobborg Come on, help me, where is everyone?
  9. I also thought Nikolai Tsiskaridze superb as the Golden Slave, especially from my seat 4 feet from the stage! The last-night atmosphere was electric, there was a lady from Moscow with friends in the company who had managed to get in without a ticket just to see him dance Scheherazade kneeling on the floor next to me, she had to dash out quickly at the end before she was caught, only at the Kirov! I too thought it a terrible shame that the company didn't assemble for the final 'goodbye' applause, both Diana Vishneva and Igor Kolb were in the theatre but didn't appear, I did see Vaziev for a moment but as Mashinka says, blink and you would have missed him. Now looking forward to the Bolshoi next year............. [ 07-10-2001: Message edited by: Amy S ]
  10. Now there's something that could be revived, they may only have lasted for two performances but if the Kirov want to be absolutely faithful to Fokine's original idea, and with some strategically placed air conditioning........ Or maybe not! ;)
  11. A note on Tamara Rojo. I have been watching Rojo since she was with ENB (English National Ballet), she has to be seen to be believed. Her technical skills, though excellent, are never visible (at least when I have seen her), she lives her dance, the steps are merely her way of expression. She is no longer a 'showy' dancer (I say 'no longer' as Tamara herself has stated that she has leaned this way in the past), her movements are never an effort, she is her character and is not a slave to the audience. She is an actress and an artist.
  12. It really depend what interests you but I would say Diaghilev and the Ballets Russes is a good choice, not just because it's facinating, but also because, as dirac says, of the sheer volume of good reference material and first-hand accounts. I've studied it myself and I'd be quite happy to point you towards some useful books and give you any information that might help. If you really can't decide try looking through a general ballet history book (Clement Crisp and Mary Clarke's 'Ballet, An Illustrated History' is a good one) and just picking what attracts you most.
  13. Phones ringing in performances seems to be reaching epidemic levels, I haven't been to a single performance, ballet, opera or play, in the last two years (which must in triple figures) in which a phone hasn't rung. They don't even just ring now, they play very loud tunes, last week we had one which even manage to resound over Shostokovich's Lady Macbeth, anyone who knows the opera can imagine how loud that phone must have been! What a shame the devices that block mobile signals are not legal, maybe a large fine for any phone that rings would work, I'm sure audience members sitting close would happily report the culprit. Amy
  14. Makhalina also did a very impressive Swan Lake last year, I would have liked to see her Manon. Does anyone know what her reviews are like in Russia? Amy
  15. I don't know what her injury was, but even after an entire Corsaire on Saturday she seemed very well and not to be suffering at all (and signing lots of autographs!). Just out of interest did anyone also notice a huge bruise on Diana Vishneva's hip after her Manon? It looked quite nasty to me, I hope it was nothing serious. Speaking of durable dancers, Ilya Kuznetsov has danced every night this week and still seems to show not a trace of tiredness, I don't know what the Kirov would have done without him this season. Amy
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