leonid17

If it works to the advantage of the status of the ENB company I would think it is no one else's business. Don't you agree?

Gotta love Google Translate! Google translate is merely a tool to give a rough translation from Russian to English. A more readable version would I believe be, " Polunin was born in Kherson, and studied at the Kiev Ballet School. In 2003, at the age of 13 years with the support of Rudolf Nureyev Foundation, he went to London to study at the Royal Ballet School. When he reached 17 years of age he joined the Royal Ballet, and when aged 19, he became the youngest principal (or premier dancer). At 22, Polunin left London and returned to Russia, where in the summer of 2012 became a principal(or premier dancer) of the Musical Theatre of Stanislavsky and Nemirovich-Danchenko." Polunin was an extraordinary talent as a dancer and I wish him the very best for the future wherever it takes him. I am however sorry to see such tasteless comments posted about someone who was (is?) a most remarkable dance actor of the sort one rarely sees.

Tamara Rojo has achieved a box-office coup with the engagement of both Alban Lensdorf and Ivan Vasiliev appearing in English National Ballet Production of "Swan Lake." "Continuing to bring the very best talent from around the world to a UK audience, this season sees English National Ballet welcome Guest Artists Ivan Vasiliev and Alban Lendorf, performing with the Company in Derek Deane’s Swan Lake at the London Coliseum from the 7 – 18 January 2015." http://www.ballet.org.uk/

It is sad to learn that Rimma Karelskaya(Born April 16,1927), a leading ballerina of the Bolshoi Ballet has died aged 88 on the 25th September 2014, after a long illness. Karelskaya graduated in 1946 from the class of M.A.Kozhukova and her late mentor was Marina Semyonova. Among her leading roles were:- 1952 – The Lilac Fairy, 1953 -”Odette/Odile”, 1955 “Raymonda”,1957 “Zarema” -The Fountains oif Bakhchiserai, 1957 Laurencia”, 1962 Created the role of the “Tsar Maiden” in The Little Humpbacked Horse,”1962, “Gayane”, 1964 “The Firebird.” People's Artist of the RSFSR 1962. As a teacher, her most distinguished pupil was the late Natalia Bessmertnova( who had earlier studied with Maria Kozhukova.) ***For those interested I have just found an interview in Russian with Karelskaya. see: http://www.ruclip.com/video/OZLqmsWmXzo/rimma-karelskaya-bolshoi-ballet-22.html

http://lib.vkarp.com/2014/01/29/%D0%BB%D1%8C%D0%B2%D0%BE%D0%B2-%D0%B0%D0%BD%D0%BE%D1%85%D0%B8%D0%BD-%D0%B1-%D0%B0-%D0%B3%D0%B0%D0%BB%D0%B8%D0%BD%D0%B0-%D1%83%D0%BB%D0%B0%D0%BD%D0%BE%D0%B2%D0%B0-%D0%BF%D1%80%D0%BE%D0%B4%D0%BE/ There are further photographs of Galina Ulanova if you scroll down pass the text showing her from childhood to a much later age.

Susanna Zviagina was born July 11, 1918. She entered what was known as a College, (now the Moscow State Academy of Choreography) where she was a pupil of Elizaveta Pavlovna Gerdt graduating as a member of the Bolshoi Theatre where she was an artist from 1937-1961. Zviagina was a beauty with a strong temperament and great charm who many years danced most of the Spanish dances in the Moscow repertoire and excelled in all the regional dances of the major ballets. Her roles included the Mazurka, Spanish dance, Hungarian dance ("Swan Lake" by Tchaikovsky, staged by E. Dolinskaya A. Gorsky, Nymph (opera "Ivan Susanin" by Glinka, choreography by R. Zakharov, Hungarian Dance (directed by E. Dolinskaya by A. Gorsky), Spanish dance, the mazurka (choreography by Leonid Yakobson) - "Raymonda" Glazunov, Spanish dance, gypsy dance (opera "La Traviata" by G.. Verdi), Mercedes, bolero ("Don Quixote" by Minkus, choreography by Alexander Gorsky), Mazurka, Andalusian ("Cinderella" Prokofiev staged by R. Zakharov), Spanish dance ("Mirandolina" S. Vasilenko directed by V. Vainonen), Teresa ("Flames of Paris" B. Asafiev, choreography by Vainonen), Gypsy ("The Tale of the Stone Flower" Prokofiev staged Lavrovsky), Flamenco ("Laurencia" A. Krein directed by V. Chabukiani), Russian Dance ("The Little Humpbacked Horse Shchedrin directed by A. Radunsky), Persidka ("Polovtsian Dances"), Killeen ("Forest Song" Zhukovsky). One has to remember that Russian character dancers of her distinguished stature were often admired as much as principal classical dancers of the Moscow company. Sviagina was a friend of Sergei Eisenstein who in an unprecedented gift of friendship set for her concert piece "The last conversation (Carmen and Don Jose)," which she performed with success with another brilliant character dancer of the Bolshoi Theatre Konstantin Richter. In 1961, Sviagina left Moscow to become choreographer-coach of the Novosibirsk Opera and Ballet Theatre. Aged 65(?), she graduated from the Faculty GITIS. In the 1970-1975 period Zvagina was the chief choreographer of the Moscow Music Hall, which is under her guidance, managed to revive its status from a low ebb. In the mid-70s she again returned to the Bolshoi Theater, becoming an energetic and active chairman of the Veterans Council. For several years, in parallel was the editor of the Greater Theatrical Works(?). Zviagina was a much celebrated character dancer whose contribution to ballet was recognised with the following awards. 1943 - was awarded the Order of the Red Star. 1951 - the Order "Badge of Honor." 1958 - was awarded the title "Honored Artist of the RSFSR" (Russian Federation). 1959 - the Order "Badge of Honor." 2004 - Medal of Honor. Zviagina died in Moscow March 13, 2006

http://www.broadwayworld.com/article/2014-Bessie-Award-for-Lifetime-Achievement-Goes-to-Dance-Theatre-of-Harlem-Founder-Arthur-Mitchell-20140918#.VB0CkDcN5gk.twitter The announcement includes a wonderful summary of his life in dance. Congratulations to Mr. Mitchell The Dance Theater of Harlem's earlier performances in London were part of an extraordinary world success and entirely uplifting. I add my congratulations to Mr Arthur Michell.

During her final year at the Imperial Ballet School, Pavlova performed many small roles with the Mariinsky Ballet. The mention of 1899, is I suggest merely a notated reference to Pavlova's official graduation debut in “The Imaginary Dryad's” as one would find in an official record. Whilst Alexander Gorsky had perfected the Stepanov notation and moved to Moscow, Nicholas Grigorovich Sergeyev was appointed regisseur of the Imperial Ballet in 1903 he assigned Alexander Chekrygin and the following year Victor Rakhmanov and later Nikolai Kremnev and S.Ponomaryev who undertook the majority of the notation of the repertoire.

Petipa's definitive revival of Giselle of 1884 followed versions by Coralli and Perrot and was established by Maria Gorzhenkova in the title role. Petipa having seemingly arranged his definitive revival of Giselle in 1884 for the Ballerina Maria Gorzhenkova, however, he made ​​his final touches to the work, to debut Anna Pavlova in 1903 having the confidence in her following her triumphant performance as Nikiya in 1902. It is clear that Petipa amended in parts the choreography for Pavlova's Giselle which is confirmed in the Stepanov notation held in the Sergeyev collection. The notation can be dated to1903, based on Anna Pavlova’s performance history in Giselle because her name is included in the notations of both acts. See also: http://www.pnb.org/AboutPNB/Repertory/Giselle.aspx

Also in the UK.

Two years ago in the National Gallery London, there was staged a collaboration linked to Titian's “Diana and Acteon” through new ballets related to the same subject at The Royal Opera House. See below. http://www.nationalgallery.org.uk/whats-on/exhibitions/metamorphosis-titian-2012 http://www.roh.org.uk/productions/metamorphosis-titian-2012-by-various Dogs abounding. http://matters-arising.blogspot.co.uk/2008/09/actaeon-18th-century-onwards.html http://www.users.globalnet.co.uk/~loxias/diana.htm Apologies if this has been posted elsewhere.

Oh dear you have brought back memories with the mention of Law and Order. I used to be able to watch it free but now I have to pay and as a poor old pensioner, I gave it up. The series was always popular in the UK.

In discussing mythology in this particular performance context, it helps to remember we are not explicitly treating its subject matter as allegories requiring serious interpretations. Nothing in this discussion is built upon actual realities of events. We can however state that the composite nature of mythology does not aim to establish any kind of reality that matters given the assertions of inaccuracies suggested by Amy. There is no need for correctness of names or titles to be asserted as It is after all, only variations on an earlier story telling in which everybody knows that Petipa, Vaganova and others, gave the pot a stir over time. As regards incorrectness, it is only a ballet we are talking about not an actual biographical study.

I am with the 15% who think that ballet at its best is a "High Art." Why oh why have 85% contributed through voting otherwise. I am sorry if I offend, but such a vote result appears to reflect upon the value system of a good number of the contributors.

Perhaps some audiences respond differently to English audiences who always warmly applauded Helpmann and Ashton in their roles which I saw on a good number of occasions.

Lillian Baylis – Facilitator Extrordinary There should be no under-estimating the sometimes eccentric Lillian Baylis's role in opening the door for Ninette de Valois to create a ballet company. In 1898 a neice of Emma Cons, Lilian Baylis CH, an English Theatrical producer and manager took over the Old Vic and Sadler's Wells and produced an extensive run of Shakespeare's plays. In 1925, Baylis began a campaign to re-open the derelict Sadler's Wells Theatre, something she finally achieved with a gala opening, on 6 January 1931, of a production of Shakespeare’s Twelfth Night starring John Gielgud as Malvolio and Ralph Richardson as Toby Belch. For the first few years the opera, drama and ballet companies, known as the "Vic-Wells" companies, rotated between the two theatres, but by 1935 the ballet and opera companies would be based at Sadler's Wells and the drama company at the Old Vic. In 1919, at the age of 21, de Valois was appointed principal dancer of the Beecham Opera, which was then the resident opera company at the Royal Opera House having earlier studied with notable teachers, including Edouard Espinosa, Enrico Cecchetti and Nicholas Legat. From 1923 to 1927 de Valois appeared with Diaghilev's Ballet Russe and through this experience she learnt how a ballet company should be run. Determined to establish a ballet repertory company in England she chose to create a dance school for girls who would dance in an English manner(sic). Students of de Valois would be given the opportunity to appear both in plays and operas at the Old Vic. In 1928 Lilian Baylis decides to fully acquire the Sadler's Wells Theatre creating a sister theatre to the Old Vic and she engaged de Valois to stage full scale dance productions at both theatres when the Sadler's Wells theatre re-opened in 1931. Lillian Baylis had few material resources but many friends who happily yielded to her persuasive ways. John Maynard Keynes, the influential British economist (whose wife Lydia Lopukhova was a Diaghilev dancer), was persuaded to divert his attention from Britain's economic problems to help raise money. On at least one occasion Keynes got economists who were attending a conference in London to pay for a performance by “ Ninette's” dancers. Here de Valois nurtured the careers of dancers such as Margot Fonteyn and Robert Helpmann, and her productions of classical work often featured guest appearances from Alicia Markova and Anton Dolin. Musical direction was by Constant Lambert, and choreography for new works by de Valois and rising star Frederick Ashton. Baylis was awarded an honorary Masters degree from Oxford University in 1924, only the second such honour to be given to a woman by the university. In 1929, she was made a Companion of Honour (CH) for service to the nation. In 1934 Birmingham University awarded Baylis an honorary doctorate. A Greater London Council blue plaque commemorates Baylis at her home, 27 Stockwell Park Road in Stockwell, South London.[4] After a long illness, Baylis died of a heart attack on 25 November 1937, aged 63, the night before the Old Vic was to open a production of Macbeth starring Laurence Olivier and Judith Anderson.[5] She was cremated at East London Cemetery and Crematorium, where her ashes were scattered at her own request. There is no memorial. PS: Sorry for the bold and the underlining my computer has a mind of its own today.

If we are going to consider significant and influential women in ballet. I am afraid I have a much shorter list than that you present in which I sensibly omit a number of my most favourite dancers. Anna Pavlova – No need to qualify her international success. Agrippina Vaganova – Undoubtedly the most significant contributor to the performance of Russian Academic Ballet of the post revolutionary period. Galina Ulanova- Who bridged the gap between the lyrical and dramatic Academic Classical dancer. Ninette DeValois – Who got the money in, laid down the discipline of the Royal Ballet and knew her market in both terms of ballets, dancers,designers and composers. Margot Fonteyn – Whose persona on and off-stage made her charm, style and dramatic ability who was admired across the world. Lucia Chase – For the reasons I expressed elsewhere. Alicia Alonso – Again her wide international appeal who truly was a magnificent dancer/actress. Whilst other dancers and pedagogues made significant contribution to Academic Classical Ballet performances it all boils down to what “important” really means for every one.

Dear Richard I have thoroughly enjoyed reading your blog. You capture the flavour of your period extremely well. Thank you.

Galina Ulanova. When I think of the tributes that Ulanova received ,(Honorary Member of the American Academy of Arts and Sciences, Anna Pavlova Paris Academy of Dance (1958), Commander Order of Merit in the field of art and literature (France),People's Artist of the USSR (1951). Award "Golden Mask" in the nomination "For the honor and dignity" (1995). I join with others in wishing I had seen her dance. The parents of Galina Ulanova were the ballet dancer and director SN Ulanov and Marie Feodorovna Romanova, classical dancer and an outstanding teacher. Galina Ulanova was a reluctant pupil realising how difficult the life of a ballet dancer would be. This was especially so since she was growing up in the difficult post trevolutionary years. Galina was necessarily taken in the evening through the St.Petersburg snow carried by her mother to the cinemas where her parents worked part time for a ration of bread then dancing before the films were shown. Naturally, Galina even as a child began to realize how difficult the life of a ballet dancer, especially growing up in the dark post revolutionary years.In her memoirs, Ulanova recalled the reaction of the people sitting in the unheated room "....smiling, happy that they see a beautiful and easy dance, full of joy, light and poetry. " I think of a modest, centred, smartly dressed woman generous of her time Ulanova's performance can never live on one plain only the swiftness of a fleeting expression, the bending of her body the outstretched yearning of her arms and her arabesque seemingly reaching to escape in moments of turmoil are unforgettable. Ulanova onstage would somehow leaves normal dramatic expression behind drawing out of the audience a oneness with her experiences in a number of roles.All though Ulanova (born 1910) would grow up during the turmoil of the Russian Revolution which would later influence some highly politically characterised ballets. At times she dances in a lighter key than that you find in Anna Pavlova's most expressive performances. But when Ulanova enters into a world where our most sensitive reactions are frailly laid, we cannot help but be carried away by her emotional yet subtle actions that resonate with our hopes and fears. However when Ulanova graduated from the school in 1918 the political climate in Petrograd was bordering on the dangerous following the 1914-18 world war and fear reigned in the former Imperial capital.It is questionable that she was entirely a Vaganova pupil as no where on film, do you see a steely attack in her line or the intensive expression of some of Vaganova's other pupils. Galina Ulanova was the daughter of two Mariinsky dancers of some note. Her mother Marie Romanova taught her at the Imperial Theatre School and later she was taught by Agrippina Vaganova. Her father was a dancer of some note and a regisseur in the early Soviet era. Dickie Buckle eulogised over Ulanova as "Giselle" in "Buckle at the Ballet," having also earlier said," That no one can dance Giselle like Markova but when the Bolshoi visited London for the first time he added that,"Now I have seen Galina Ulanova I can say that she too, in quite a different way, is amazing and wonderful." When on a visit to London with Bolshoi Ballet, I invited Galina Ulanova to the Pavlova Museum in Ivy House the former home of Anna Pavlova. She was enraptured when watching films of Pavlova, making comments on her gestures and technique. When examining items that had belonged to Pavlova, Ulanova seem to silently muse on the objects becoming withdrawn to another world for just a moment oblivious of those around her.. When I think of Ulanova I also think of her totally engrossed watching films of Pavlova and responding with joyous expression at various moments and pointing out the more than felicitous moments. Geoffrey Whitlock and I took Ulanova on a tour of the Ivy House garden where we had prepared a tree planting of a Silver Birch for her to complete filling the earth around the young stem. Not saitisfied with the job done, Ulanova bent down to pat the earth tight and flat with her hands and then stood there silently for some moments. Ulanova had of course a relationship with Pavlova through her parents, who had come to London as members of her ballet company more than a century ago and was deeply touched when I gave her a photocopy of a programme with her parents name listed. As she left the museum I asked her to sign the Museum's visitors book.. Ulanova simply wrote "Thanks to her." The Eulogies of Ulanova abound. ALICIA MARKOVA Dame Alicia Markova (Little Alicia the Child Pavlova) was born in the same year as Ulanova and would begin to dance on medical advice to strengthen her weak limbs. She came from a background some what removed from Ulanova's. At various times, her teachers would include Seraphima Astafieva, Nikolai Legat, Enrico Cecchetti and Vincenzo Celli. Markova made her stage début at age ten, performing the role of Salome in the pantomime “Dick Whittington and his Cat” for which she was billed as Little Alicia, the child Pavlova. At the age of 13, Markova was observed in the studio of Astafieva by Diaghilev, who was visiting London in search of new talent for his ballet company. He invited her to join the Ballets Russes in Monte Carlo, which she did in 1925, one month after her 14th birthday acquiring her stage name. Due to her age, she performed a number of roles which were specially choreographed for her. Markova appeared in "Le Rossignol" and "La Chatte." for Diaghilev. In 1931 Markova was invited by Ninette de Valois to join her new ballet company, the Vic-Wells Ballet with Anton Dolin as her partner. Markova returned to appear in England following Diaghilev's death and began working with Marie Rambert and Frederick Ashton as the leading ballerina of ,"The Ballet Club" founded by Marie Rambert. Cyril Beaumont in his,”THE BALLET CALLED GISELLE ” published in 1944 was to write, “Markova's interpretation is remarkable for its grace and poetry and its technical beauty, so that the most difficult movements seemed effortless. Her portrait of the peasant girl, like that of Spessivtzeva's delicately balanced hypersensitive quality so rarely encountered, while in the second act Markova is so light, so intangible, so seemingly indifferent to the laws of gravity, that she resembles a wreath of mist. Ashton was invited to become resident choreographer and the rest as they say is history except, that Markova would leave the company with Anton Dolin and in 1950 they formed a highly successful company simply called, "The Festival Ballet" to coincide with the shortly to be staged "Festival of Britain". Markova would not retire until 1963 with an extensive record of notable performances from her earlier career as both Giselle and Odette-Odile. One of the last works I saw her re-create was, “Les Sylphides” and for atmosphere and dancing, I have hardly ever seen a better production anywhere. Markova was a much admired ballerina who became a legend in her lifetime encompassing a wide range of roles. I was to meet Dame Alicia on a number of occasions notably when she brought Alexandra Danilova to visit Ivy House to show her old friend Pavlova's Furniture, which she had inherited and loaned to the "Pavlova Museum" collection founded by Roberta and John Lazzarini. Dame Alicia had a somewhat very clear stylised manner in her speech which took one back to an earlier era of time. Always very elegant and frequently generous of her time I was fortunate to meet Dame Alicia on several occasions. SEE;- http://www.independent.co.uk/news/obituaries/dame-alicia-markova-6156634.html

Lovely to hear of Cyril Beaumont's bookshop in Charing Cross Road. It was absolutely crammed with books, lithographs and objects. I so wanted to obtain several lithographs but on every occasion I viisited he would say they are not for sale so I gave up. One day I met him gong into the stalls circle of the Royal Opera House. He said, "I wondered what happened to you?" As he began to drift towards his seat (I was in standing room), he stopped and turned round and said, " You know I was red-headed like you once upon a time, but I never gave up so easily." PS The address of Beaumont's bookshop was 75 Charing Cross Road.

In certain ballets, I am far from sure that the, “contemporary technical demands...” are any more complex or difficult than those exploited by the late 19th and early 20th century virtuosi of which we have some little, but explicit knowledge, of the execution of the steps that they executed. There always arises the problem that studies made by indirect observers and frequently in ballet, is that of historical revisionism to fit what really appears to be only an opinion See: Wiley, Roland John (1997). The Life and Ballets of Lev Ivanov. New York: Oxford University press. p. 164. ISBN 0-19-816567-6.

I include Agrippina Vaganova on the following basis. Agrippina Vaganova was accepted into the Imperial Ballet School in 1888 at the usual age of ten graduating from the Classe de Perfection of Eugeniia Sokolova and later worked with, Ekaterina Vazem, Christian Johansson, Lev Ivanov, Nikolai Legat and Pavel Gerdt. Dedicated in the extreme to achieving a perfected technique though not suitable to many leading roles, she found success as the Goddess Niriti on “The Talisman” winning promotion to that of Prima. Without any great beauty of face or figure Petipa rather dismissed her due to her lack of emploi. However what Vaganova lacked in fluid expression she made up with an extensive technical abilty gaining the accolade of, “the Queen of Variations” due to her extensive virtuosity. Regrettably Petipa abhorred her yet she would achieve success in in Legat's 1915 revival of his “The Talisman.” That year she decided to retire and concentrate on teaching and became and possible remains the most outstanding teacher of the 20th century having graduated from Eugenia Sokolova's . Significantly in 1934 she published her famous book Fundamentals of Classical Dance and this same year Vaganova (along with Boris Shavrov) initiated the establishing at the Leningrad Conservatory of pedagogic department for training of future ballet teachers which she began to manage. Among Vaganova's dance alumnus were the distinguished Soviet ballerinas Marina Semenova, Olga Jordan, Galina Ulanova, Tatiana Vecheslova, Feya Balabina, Natalia Dudinskaya, Alla Shelest, Alla Ossipenko and Irina Kolpakova among many others. Her teaching combined the elegant, refined style of the old French School which Vaganova had been taught by Christian Johansson, At their best, the present day Mariinsky Ballet remain the supreme classicists with a corps de ballet second to none then add a few exceptional ballerinas and thus through Vaganova's achievements she becomes a true example of "Important Women in Ballet." PS I will try to conclude tomorrow with Irish born Edris Stannus more readily known as Dame Ninette de Valois.

I don't believe you can equate the list you have given to the life blood that Lucia Chase gave as much as I fully admire Altynai Asylmuratova. I am not sure how many people believe Merle Park was succesful at The Royal Ballet School and God Bless her, Dame Monica Mason did not get everything right in what was a difficult tenue but in some areas, she remains entirely admirable. In fact the revival of "Sylvia" with Darcey Bussell and Roberto Bolle was one of the most spectacular events of a decade. Mona Inglesby despite having the assistance of Nicholas Sergeyev with his significant notations of the Mariinsky repetoire and some money behind her from her father, regrettably attracted an English snobbism when it was the dancing that counted. Despite the fact that Miss Inglesby was exceptionally talented technically the story of her " false toe" drew attentions that other dancers would not have experienced.

I leave the Lucia Chase recommendation as to being an " Important Women in Ballet" with ABT;s record of productions, let alone their visits to at least 42 countries. Her American recommendations can be found as follows. http://www.nytimes.com/1986/01/19/arts/dance-view-lucia-chase-helped-create-the-ballet-world-we-know.html?module=Search&mabReward=relbias%3Ar Lucia Chase - Wikipedia, the free encyclopedia http://www.danceheritage.org/chase.html http://www.huffingtonpost.com/richard-nash/lucia-chase-americas-ball_b_386658.html http://www.nytimes.com/1986/01/10/obituaries/lucia-chase-of-ballet-theater-is-dead.html http://www.broadwayworld.com/bwwdance/article/BWW-Interviews-Hilda-Morales-An-Extraordinary-Career-with-Pennsylvania-Ballet-American-Ballet-Theater-Antony-Tudor-and-the-Hartt-School-of-Dance-20140512-page2 http://query.nytimes.com/gst/abstract.html?res=9D06E5D91039E732A25756C0A9679C946890D6CF http://www.nytimes.com/1986/04/26/arts/a-memorial-for-lucia-chase.html?module=Search&mabReward=relbias%3Ar http://123movies.tv/biography/Chase,_Lucia PS You will have to wait for me to get round to de Valois and Vaganova.

This really is a parody.