Marc Haegeman

The trouble is, Paul, that none of the casts scheduled for this run of "Cinderella" is really settled. Of the casts listed there's only Benjamin and Yoshida whom we can remember from the past. Neither one struck me as ideal for the role, but that's only personal, and at least they danced it before. Most of the others will be dancing their debut in the role (Cojocaru, Rojo, Tapper, Makhateli, Bonelli, Samodurov, Kobborg...), so your guess is as good as mine. We should realize that this company has changed quite a lot in the last few years (principals-wise). Buying a ticket is more than ever luck of the draw and it's best to forget about the glorious Sibley-Dowell-Helpmann-Ashton years (although Dowell will now return as one of the sisters, if that's of any consolation...).

Paul, sightlines are still a problem at the ROH - unfortunately. My advice would be to avoid orchestra stalls seats. They are ludicrously expensive and because of the insufficient rake in many cases you can't see a thing. Better are balcony center, first or second row, or amphitheatre center, first rows (although many people consider this already too high and far - which it is, and you will still know what you are paying for), or stalls circle center and sides, not too close to the stage. Stalls circle seats usually have good sightlines, but there are not too many of them. And the ushers did change a bit since the days you are describing, Paul Hope this helps.

I've added a page with photos and short (very short!) biography of Vladimir Ponomarev, principal character artist and one of the veterans of the Kirov Ballet. Definitely one of the most overlooked artists in the company (well OK, he doesn't dance, he is "only" a mime ), in so far that one still reads in reviews he is only a member of the corps de ballet. In any case an artist without whom most of the story-ballets in the Kirov repertory would look quite different. Thank you for looking. All comments are welcomed! For Ballet Lovers Only

Thank you, Viviane, for sharing this detailed report. It is indeed rather bizarre that the succession of Robert Denvers as AD of the Royal Ballet of Flanders next season is still such a mystery.

Hi Dido, if you are talking about the seat distance in the theatre, then it all depends of the ballet. For instance re the Fokine program (which is surely worth the money ), for Chopiniana it's better to be a bit further away from the stage as it will allow you to see the choreographic patterns better. I guess the same goes for The Firebird, where you have the color effect, which needs to be seen from a distance. As for Scheherazade, I would prefer to be closer to the stage, because it's interesting "to see the faces" in this ballet, but again, being at a distance won't kill the fun. Finally, it's also a matter of personal taste; some people like to be close enough to see the spots on the ballerinas backs in no matter what ballet, others want to enjoy the ensemble. Hope this helps

Don't beat yourself too hard , Viviane, but yeah, being so close to London it's a shame you couldn't make it. A few more days of patience and DanceView Times will bring some consolation (I hope).

The choreographer is (as Mikhail said) Radu Poklitaru, one of the young hopes in Russia. Mikhail will undoubtedly be able to say more about him and his work.

Shakespeare can stand a lot by now, but I agree, ballet audiences are far too tame. Brilliant move again: the Bolshoi artistic director having to kneel for a (famous or not) western producer?! I'm sure his name will have been made after December, Alexandra. :grinning:

Thank you, Inga for posting this, and congratulations with the wonderful job you are doing by writing these biographies. Having them in English is really luxury I hope many more will follow.

Thanks, Inga, for this review. I think it's a great shame that this peculiar version seems to have been preserved for posterity. How was this "Pharaonka light" received by the audience? Anybody else who saw it? Mikhail, Ina, Akimova?

The trial has been postponed until November 4th, as last Monday the Bolshoi Theatre was not represented in court.

Vinogradov's version of the "Adagio" from Barber was performed in the early nineties by the Kirov, even a few times on tour, but I don't think it has ever been revived since Vinogradov left in the mid-nineties.

Thanks, socalgal. Staggering that once more audiences are mostly left guessing as to whom they are actually seeing :angry:

She made the role come alive and she caught the fairytale aspect really well, as far as I'm concerned. Now you must tell me what you didn't like about Nioradze's Firebird, Paul. It sounds as if you are declining a good strong meal for some fast food?

Thanks for the review, Millamant. It doesn't matter how long it is and we are all eagerly awaiting your comments about La Bayadère and Jewels . I saw Vishneva on several occasions as the Firebird, first in 1997 and last time last year. I always found she only skims the surface of this role and never caught the fairytale aspect. The edge and a lot more could be found with dancers like Asylmuratova, Shapchits, Nioradze (sorry folks ), and come to think of it, even Volochkova was not a bad Firebird way back in 1995.

Thanks for sharing your impressions about this Kirov night Socalgal Could you tell us a something more about the cast you saw perhaps - who danced Zobeide in Scheherazade, and who danced the Firebird? Anybody else who went?

Well, if all this is the case, than I can only feel sorry that so many external factors and influences are deciding what's happening at the Bolshoi Ballet. Moreover, Zakharova has been dancing to great success all over the world - as a member of the Mariinsky, not of the Bolshoi. Nobody doubts she will learn the role. Yet some people are bound to have doubts as to what she will eventually do with it. I take your sense of humor, Akimova, but I guess it was clear to everybody that only "active" (in the sense of "still dancing on stage") ballerinas were considered .

Thank you for your report, and welcome KBfan! The pairing of Nioradze and Sarafanov in La Bayadère doesn't sound like a great idea to me either, stylistically nor temperamentally, but one never knows. As for this lack of adaptation and rapport between the soloists and the ensemble that's a flaw we better get used to when watching the Kirov today. It's indeed a shame you couldn't catch Pavlenko in this role, as she is by far the most complete Nikiya the company has to offer now. Good to know, though, that Covent Garden seems to have understood that

Sounds like a very reasonable 'Bolshoi-style' explanation, Mikhail. A good debut is not strong enough a motivation, neither is a lifelong career at the top of the Bolshoi, but the arrival of a dancer from another company, who still has to learn the role, is. Oh well.... Speaking of Masha Alexandrova again, there are rumors that she will dance the new, bare-footed "Romeo and Juliet"? Do you something know about this, Mikhail? Anybody else?

Anybody who saw the Kirov's La Bayadère at the Kodak Theatre in Hollywood? Please report.

Thank you, Mikhail, for this wonderful news. To continue in the optimistic vein, you don't think there is any chance that Masha Alexandrova will be selected for the filming of "La Fille du Pharaon"?

Yes, like Hans mentioned, Konstantin Zaklinsky is now a teacher at the Vaganova Academy, specialised in pas de deux class for the final years. In the late nineties there were rumours that Zaklinsky (one of the greatest comedians the Kirov ever had) would go to character parts (roles like Carabosse where mentioned), but somehow that step never happened - which I think is a great shame. But anyway, his talent is not lost.

Silvy, I'm afraid it's Russki version only - which is a shame for an institution like this. The last page (http://www.balletacademy.ru/page-contact.htm) provides a postal address, telephone numbers and e-mail: info@balletacademy.ru Maybe you can try by contacting them this way? Thanks for the link Bee and Hans.

This poll has now been closed. Many thanks to all who participated! The majority of the voters (almost 37 %) enjoys the authentic versions but thinks that the updated versions should be kept in the repertory as well. 20 % likes the authentic versions even better than the updated ones, but also 20 % finds that they turn the classics into heavy handed museum pieces, while another 16 % finds them interesting to see once for historic reasons, but not really essential. The results can be checked out on http://users.skynet.be/ballet-lovers/ A new poll about the value of pantomime in the great classics is now online. http://users.skynet.be/ballet-lovers/

Floss, the 'problem' with the jester and why so many people don't seem to like him, was discussed some time ago. Here is the link to the older thread: http://balletalert.ipbhost.com/index.php?s...st=0entry1035