leonid17

Yes, they both danced in the London Sadlers Wells production of Coppelia in 1949 and I am not certain that they danced this ballet before that date but someone will certainly post the date of their first performance together.

High Yellow was choreographed by Buddy Bradley(Black American dancer and choreographic fixer) with assistance from Frederick Ashton. Buddy Bradley had an interesting dance career and worked with many famous people. see:- http://www.streetswing.com/histmai2/d2budbrd1.htm After reading about him, I am sorry that I had never heard of Bradley before.

Not really. The subscribers all had strong social or artistic links with the presenters and were already or in the process of becoming big fish in a small pond.

I agree. Chopin and Les Sylphides has such a powerful connection for me that I see the performance in my minds eye whenever I hear various pieces played.

I would like to add some further information to this article by Cyrus Parker-Jeanette as it contains some errors and misunderstandings. Adolph Bolm was not born unto an intellectual family per se, his father Otto was first first violinist and assistant conductor of the Mikailovsky Theatre in St.Petersburg. Adolph Bolm entered the Imperial Theatre School at the normal age and not after an audition at 16 years of age. He graduated in 1903 not 1904 and was a pupil of Platon K. Karsavin(1854-1922) Tamara Karsavina's father. Although Beaumont first quoted that Bolm organized Pavlova's first tours abroad it is most unlikely as negotiations between an impresario Edvard Fazer, the Swedish Ambassador and the Imperial Theatre Director Teliakovsky for these tours took place in St.Petersburg following Fazers contact with Pavlova. The senior male dancer though now less famous than Bolm on the first 1908 tour was Mikhail K. Oboukhov (1879-1914. As regards the competition with Nijinsky, Bolm never essayed any of the high status roles his colleague did. From all reports, it would appear that Bolm was an outstanding character dancer of a quality that was superior to any other Diaghilev male dancer. The reason that Diaghilev did not return to America was not because the danger of crossing the seas during wartime but a morbid fear of the sea. Bolm being the first choreographer of 'Apollo' is important and fairly unknown, but he also choreographed a version of Stravinsky's "The Firebird " for Ballet theatre at the Metropolitan Opera House premiered on 24th October 1945 with scenery and costumes by Marc Chagall the cast being: Alicia Markova, Anton Dolin, John Taras, Diana Adams Bolm wrote a memoir that was published in 1926.

I would like to add some further information to this article by Cyrus Parker-Jeanette as it contains some errors and misunderstandings. Adolph Bolm was not born unto an intellectual family per se, his father Otto was first first violinist and assistant conductor of the Mikailovsky Theatre in St.Petersburg. Adolph Bolm entered the Imperial Theatre School at the normal age and not after an audition at 16 years of age. He graduated in 1903 not 1904 and was a pupil of Platon K. Karsavin(1854-1922) Tamara Karsavina's father. Although Beaumont first quoted that Bolm organized Pavlova's first tours abroad it is most unlikely as negotiations between an impresario Edvard Fazer, the Swedish Ambassador and the Imperial Theatre Director Teliakovsky for these tours took place in St.Petersburg following Fazers contact with Pavlova. The senior male dancer though now less famous than Bolm on the first 1908 tour was Mikhail K. Oboukhov (1879-1914. As regards the competition with Nijinsky, Bolm never essayed any of the high status roles his colleague did. From all reports, it would appear that Bolm was an outstanding character dancer of a quality that was superior to any other Diaghilev male dancer. The reason that Diaghilev did not return to America was not because the danger of crossing the seas during wartime but a morbid fear of the sea. Bolm being the first choreographer of 'Apollo' is important and fairly unknown, but he also choreographed a version of Stravinsky's "The Firebird " for Ballet theatre at the Metropolitan Opera House premiered on 24th October 1945 with scenery and costumes by Marc Chagall the cast being: Alicia Markova, Anton Dolin, John Taras, Diana Adams Bolm wrote a memoir that was published in 1926.

Now that is what I call a, "just you look at me" entrance and your'e right to include it. There was always a frisson of excitement amongst audiences before Rudolf Nureyev came on and a swell of applause as he arrived centre stage.

The entrance of The Hostess in "Les Biches" . Startling, hilarious and completely arrived. Especially when performed by Svetlana Beriosova or Deanne Bergsma.

Prior to joining the Ballet Russe, Frederick Franklin had worked with Josephine Baker at the Casino de Paris, appeared with Wendy Toye and Anton Dolin in cabaret and other dance activities in variety, concert ballet, vaudeville, and theatre. From there he progressed to the Vic-Wells ballet and then to the Markova Dolin Ballet. Thanks for your post Richka, I am with you on praising and celebrating Frederick Franklin.

Thank you Pamela for this thread and the background. I am investigating the Galitsyn background. I remember Miss Elg from my childhood as a beautiful princess like woman, cool and beautiful. I also saw her later in a number of films a few of which get shown on UK television. Whilst I knew she had been a dancer and even though I have avidly read old ballet magazines, I did not remember that she spent time with Sadlers Wells Ballet. For a Biography see: http://www.imdb.com/name/nm0253359/bio Re: Glebb's "Is this the Taina Elg who played Guido's mother in the original Broadway cast of NINE? If so I saw her live on stage." Yes it is. See Miss Elg's Broadway credits at:- http://www.ibdb.com/person.php?id=39381

Yulia Malkhasyants has for me been the superior artist of the Bolshoi Ballet for a long time. Yes, superior to all the recent principals of the Bolshoi Ballet. She is in nature and artistry a direct descendant to those great character dancers seen on early films and whom I first saw in the early 1960's. This familiar music on this clip is reputedly by Valery Viktorovich Zhelobinsky born Tambov, 27 January 1913 – died Leningrad, 13 August 1946) who was a Russian composer and pianist who Shostakovich thought should be considered to be among the leading 100 composers as his early death not see the fruition of his highly successful compositions.

On Wednesday 31, March 2010 the Bolshoi Ballet will broadcast a performance of The Flames of Paris to UK cinemas seen earlier in the day at the Bolshoi Theatre. See:- http://www.picturehouses.co.uk/News/Item/The_Bolshoi_Ballet/

Thank you for reminding us of Chabukiani's centenary on 27 February(12 March) 1910. This will be celebrated in Tbilisi and has been marked by UNESCO. See: http://www.opera.ge/eng/ballet.php?page=ba...t_press_release SCROLL DOWN FOR DETAILS. The first performance of a revival of Chabukiani's ballet "Laurencia", unseen for many years, is to be given at the Coliseum Theatre London by the Mikhailovsky Ballet on the 20th July.

I saw Struchkova dance this pas de deux the length and breadth of England in 1968 partnered by the excellent Vilen Galstian. Struchkhova was very much loved in England and for me, there have been very few dancers I have seen that have expressed such a joy for dancing as Struchkhova or be so movingly tender whether in a soviet 'nightie' number with her husband Alexander Lapauri, or as a remarkable Juliet with the magnificent Maris Liepa at Covent Garden in 1963.

You are quite right to ask for a report of live performances and I was wrong to judge Bouder from such a poor quality film. Film can never, ever capture the experience of a live performance and I do not watch films of significant performances that I saw live.

The angle and distance that the film has been shot from is not flattering, but even so I found Miss Bouder lumpish and especially unnattractive were her arms from the very beginning of the variation. For all her faults, Somova is not lumpish.

I wonder how many revivals of "Les Sylphides" will take place across the globe this year? As to new works, Paul Chalmer is staging a ballet called “ Chopin tells Chopin” (Chopin racconta Chopin) premiere 26 March 2010 Ballo del Teatro dell'Opera di Roma

Today is the 200th Anniversary of Frederic Chopin's birth who is not only famous for his waltz, polonaise and mazurka compositions, but the attraction he has had for choreographers of some note to create important ballets. I would not be at all surprised to find that Chopin is in fact the most choreographed composer who never actually composed a ballet score. BBC Radio 3 has been celebrating this event and played a good deal of Chopin music today including songs which I had never heard before. This afternoon I went to St. James Place in London where a Blue Plaque celebrates Chopin's visit in 1848. It was from this house that Chopin left to give the last concert of his life at London's Guildhall. I first discovered this house when a teenager and I have often taken visitors to London to see the house. A new Chopin museum has opened in Warsaw today. http://www.google.com/hostednews/ap/articl...qg2gwAD9E5V1BG2 See an interesting article on the subsequent history of the Pleyel piano Chopin had brought to London at: http://www.timesonline.co.uk/tol/news/article1527757.ece If you are not familiar with either of the two extant daguerritypes of Chopin here is a photograph copy made by Bisson. http://kalejdoskop-chopin.pl/persons.php?id=31 Patrice Bart is to stage a seemingly major two act work to Chopin in Warsaw for the Polish National Ballet: see:- http://www.teatrwielki.pl/en/polish_nation...iversaries.html

I am saddened to see that Wendy Toye has passed away just a few weeks after Margaret Dale. I knew Wendy Toye from her stage work and became friendly with her in 1986 when she assisted me in providing me with copies of her collection of photographs of the Sadlers Wells Ballet during war time for a Dance Festival I produced. Miss Toye was a warm and enthusiastic woman who shared her memories and experiences readily. I feel privileged that I knew her if only slightly. See: http://www.telegraph.co.uk/news/obituaries...Wendy-Toye.html http://www.guardian.co.uk/stage/2010/feb/2...y-toye-obituary http://www.timesonline.co.uk/tol/comment/o...icle7044357.ece

Once again phenby, thank you for posting so much information on the Diaghilev Ballet Russe celebration.

Senior Russian dancers to take part in Closing Ceremony of Vancouver Winter Olympics. http://rt.com/Top_News/2010-02-27/mariinsk...-lopatkina.html See also Official Olympic site at: http://www.vancouver2010.com/more-2010-inf...e_271546vc.html

The "ashton" act in their swan lake is quite wonderful Thank you for posting the clips which though too short to get a real impression, look interesting enough to want to see more.

Regimental Tartans meant something something quite individual before the 19th century fashion took over. A good explanation of tartan history can be found at http://encyclopedia.stateuniversity.com/pa...723/tartan.html The reel in La Sylphide with its swirling movements is one of my favourite moments in ballet.

Thank you innopac. Goodness knows why I did not think of posting the link. For those who have never heard Karsavina speak it is a rare treat.