leonid17

I'm currently doing research on Russian pedagogy, but I can say this much: The position of a student in Russia is not to argue with the authority (her coach) but to take the comments and incorporate them. There is the utmost respect for these coaches, many of whom, at least in the older generation, worked with Vaganova themselves. In another 30 years, we aren't going to have her (Vaganova's) direct students around coaching others anymore... I have been watching the Kirov Ballet since 1961 and have seen the Vaganova aesthetic change to such a degree perhaps influenced by the Vaganova Academy (I hope not) and the personal coaching by Vaganova's former pupils. I for one will not be sorry to see the last of some of the older teachers who had no taste in their performing and who exhibited such vulgarity, I find it hard to believe they have anything to pass on except technical tricks. I would also say that the artistic direction also needs to be questioned during the Kirov's recent history that has allowed such extraordinary distortions of choreography by senior performers. If I go back to when the principal dancers and senior soloists included Inna Zubkovskaya, Irina Kolpakova, Alla Osipenko, Gabriella Komleva, Alla Sizova, Yelena Evteyeva etc and then see the debasing of that earlier aesthetic by the likes of Mezentseva, Zakharova, Lopatkina and Somova et al, I doubt if there is much of worth to see in any modern film on the Kirov, other than the commitment of dancers to sustain the discipline handed down to them. The products of the Vaganova Academy in St. Petersburg at its best, are sublime technicians with a fully integrated artististic ethos. Regrettably today we are witnessing a progressive artistic dissolution of a once great company whose other acts of Philistinism is the rejection of the reconstruction of their 19th century repertoire heritage. These two aspects of the Kirov Ballet reflect errors of artistic judgement and are a combination of vulgar influences which the dancers have been led to by their artistic direction. It seems hard to believe in a country that flaunts magnificent museums which are presented with great taste, which sadly has not been extended to the Kirov Ballet

The Royal Ballet was once an academic classical ballet company that danced demi-classical and neo-classical works and they performed them exceptionally well. The guiding aesthetic was that of Frederick Ashton while the organisation skill was provided at first by Dame Ninette de Valois. Today dancers of this company are expected to perform works in a manner contrary to academic classical ballet methods of training and performance. So that when dancers come to perform a Romantic Ballet, the correct aesthetic, even if tempered by Marius Petipa’s classical take on the choreography there is a need to adapt to the correct Romantic style of performing “Giselle.” The only guide we have to dancing “Giselle” as a Romanic ballet, is “La Sylphide” and the Royal Danish Ballet repertoire tradition. With RDB at their best, they perform with a real dramatic expression and a continuous flow of movement that suggests flight. I suspect the other authentic aspect of their performances is their ability to impersonate characters of all types, set against the lively human activity of their characterful ballets. On April 22, Alina Cojocaru returned to the public audience stage after many months away from performing, to assume the role of “Giselle.” Partnered lovingly by Johann Kobborg, this extraordinary partnership expressed a rare refinement of style achieving a miracle of Romanticism in which every dramatic and choreographic moment was shaped by the correct emploi. Cojocaru looks the quintessential Giselle. Young, truly innocent a real simple peasant girl who convinces from the moment she stepped out of her mothers cottage. She is confused by the appearance of this stranger Albrecht and Kobborg realising this, gently and swiftly convinces her that she should not be afraid of him. The interplay that follows is both touching and romantic at a level that brings an expressive reality to their meeting. Here Kobborg’s Albrecht gently leads Giselle to trust him and in the short time they are given, she haltingly begins to respond. Miss Cojocaru is sweetness personified, gentle, open and so subtly expressive in her naïve submission to his wooing. Where, when and how does a dancer become Giselle? In my lifetime not many dancers have assumed the miracle of the two portrayals of Giselle in this ballet and in the first act none seemed any more expressive than Cojocaru in what I feel was a truly Romantic reading of the role. Kobborg and Cojocaru moved with exquisite lightness of their dances. He had recovered his best form with high flowing elevation and perfection in beats with an appropriate weight of execution that I expect few today can stylistically equal. When her betrayal becomes apparent, Cojocaru reveals a whole physically internalised response and quickly becomes broken, lost, roaming the stage in utter despair. The atmosphere in the Opera House caused by this rapt audience was palpable. In Act 2, their performances achieved great heights and the beauty of execution of steps, were a joy. Kobborg was remarkable in this act and it was one of those occasions when an audience suddenly realised they are watching something sensational. After his variation the audience, despite the music moving on, kept applauding and it was seven or eight bars before they subsided. Giselle flowed and floated and so did Albrecht. Dancing was everything and the audience were lost in the magical performance that had unfolded before them. When the curtain came down the tumult was extraordinary. Flowers were thrown in hundreds Miss Cojocaru was presented with extravagant bouquets and the applause became almost deafening when stamping of feet (yes at the ROH) was added by hundreds of among the audience. The response went beyond audience warmth and extraordinarily the whole of the stalls as one stood to applaud, as did the rest of us. The tribute to her and Kobborg was complete. Miss Cojocaru became Giselle, touching and naïve in character and I thought she now realised her interpretation with a newly assumed status of the powerful performer and projecting the drama so arrestingly while harmonising with the choreography at a very high level. Like all great interpreters, the eyes say so much in Giselle as well as body language and Miss Cojocaru was eloquent on both accounts. Were their moments when she seemed to falter after such a long time away from the stage? Not really. There were a few moments where completion of phrases were slightly faltering, indicating perhaps a lack of absolute stamina at present. In the interaction with her being handled by Albrecht, Hilarion and Berthe, some barely discernible caution was seemingly present. Genesia Rosato played Berthe effectively enough but Thomas Whitehead as Hilarion did not. Sian Murphy as Bathilde played the role with rather too much disdain and too haughtily when giving the necklace to Giselle. This makes for nonsense of Giselle’s response to her in the mad scene, where she reacts to the lady who was so kind previously is now revealed as Albrechts fiancée. This Giselle showed it was too much, much to much for her thinking that both Bathilde and Albrecht have deceived her and killed her happiness. The pas de six which I dislike, was brilliantly led by Yuhui Choe and Steven McRae the latter exhibiting true ballon, not so often seen on this stage. Laura Morera danced Myrtha efficiently with no great elevation and for me little authority. The orchestral performance of Adam’s/Minkus’s characterful score was driven with authority by Boris Gruzin. As regards Cojocaru, given the opportunity, I believe there is even more to come from her in this role. Was it a great performance? It was for me!

When Miss Ansanelli left NYCB this is what she said in an interview with Gia Kourlas. see http://www.nytimes.com/2005/07/30/arts/dan...0ansa.html?_r=1 Like many I am rather shocked at this sudden news, as Miss Ansanelli has worked very hard to become a fully fledged Principal dancer with the Royal Ballet where she had gained a number of successes since she joined the company in January 2006 as First soloist. Her roles have include Terpsichore in Apollo, Tchaikovsky pas de deux, 2nd aria couple in Stravinsky Violin Concerto, Coppelia, Sugar Plum Fairy, Gamzatti, Red Queen in Checkmate, Afternoon of a Faun, Aurora, Lilac Fairy as well as other roles. Senior London critic John Percival in The Stage wrote, “His Tchaikovsky Pas de Deux introduces a new star, Alexandra Ansanelli, transferring from NYCB to the Royal. Her swift, light exactness and convincing musicianship in this voluptuously virtuosic duet promise a fine future....." Roslyn Sulcas (see: http://www.nytimes.com/2006/12/17/arts/dan...sulc.html?_r=1) who made the trip to London to see Ansanelli make her debut as Aurora Noted, “The famously tart British critics agreed. “When I saw that Alexandra Ansanelli was down to dance Aurora at Covent Garden, I wondered if she’d be up to it,” Luke Jennings wrote in a review in The Observer. “If there are doubters, she wins us over.” The venerable Clement Crisp, who remembers Fonteyn in the role, was even more effusive. “She brought a radiant assurance to the role,” he wrote in The Financial Times.” Ahead, Miss Ansanelli has performances of “Ondine” to look forward to and will end her career with the Royal in London in a series of performances in Jewels. Miss Ansanelli has had success with two of the world's major ballet companies a dream few dancers can realise. I wish good fortune in what ever path Miss Ansanelli decides to take.

It was good to get the details kind of first hand of Miss Cojocaru's recovery which led to a return to the stage tonight where the Royal Opera House audience gave a standing ovation to her the like of which I have not witnessed for many decades. What made the response extraordinary was that it was not a typical ballet audience but they were aware that they were watching something that has touched them deeply and the dancing by the two principles was more than laudable, it was illustrative of what force Romantic Ballet can have in the right hands. Here was no sham Romantic style, here was as good an evocation as one might hope to see. Older ballet connoisseurs were out in number and one found oneself saying hello to people not seen for some time. I will write more tomorrow when I have finished celebrating. I hope that you Jane and others will also give us your impressions.

Real tennis is still played in England and Australia and there are also courts in the USA where it is played.

I don't resent the copyright issues which has in itself become legendary, as I can still see the joyous performance in my minds eye.

I am somewhat impressed that there has been more than a hundred hits on this post. 300 would have really impressed me. Thanks for posting such an interesting and arresting thread. Check the video. Now. It can only enrich everyone.

The 10 different ballerinas for me could never efface the memory of Violette Verdy and Edward Villela in this pas de deux seen live in London. For youtube fans, does a film of their performance exist?

Thank you so much. I had not imagined such a site existed as Miss Inglesby appears to have been sidelined in British Ballet history at the expense of Ballet Rambert and the Sadlers Wells Ballet and I suspect for some critics she was an irritation taking away the glory they wanted for the two companies mentioned and with whom they had some personal contact. I have not read the book but will now purchase it. Mona Inglesby took ballet around England especially to places which had never seen ballet before, or to major towns and cities where no ballet had been performed since the heady days of Anna Pavlova. Most people I knew who saw her ballet company perform, thought her productions of the classics were more than serviceable and that Miss Inglesby herself was an outstanding technical dancer a little lacking in lyricism and as one obituary kind of confirms, lacking in a really dominant stage personality. Errol Addison an excellent teacher who had danced in Diaghlev's company, had a whole range of stories to tell about his time with the International Ballet and mostly unflattering, but that was Mr. Addison for you. Other dancers I met from the company were always more prepared to talk about there own performances rather than Miss Inglesby's which makes me think she kept herself somewhat distant from the rest of the company. Of the obituaries, I only give value to Mary Clarke's and John Percival's. The Clive Barnes is too short to gain a real impression of either the International Ballet or Miss Ingleby's achievements. As Bart says, "History can be cruel as to whom and what it forgets."

Thank you for your full and interesting report. For someone across the pond who could not attend, it is most useful to get some idea of what the event is like. Thank you for the Forbes link which also publishes events elsewhere.

Of all the “modern” dance choreographers whose work has been seen in London, I think no other has been taken into the hearts of our dance public as has Merce Cunningham. In Alistair MaCaulay’s assessment of the choreographer in the Times Dance Review of 18 April, http://www.nytimes.com/2009/04/18/arts/dance/18merc.html goes a long way to establish his significance for a new audience when he says, “It is not unusual these days to hear Merce Cunningham called the world’s greatest living choreographer. I go further: I have long thought that he is the greatest living artist since the death of Samuel Beckett, almost 20 years ago.” That is not a comparison I would be brave enough to make, but I believe it to be honestly heartfelt. His review of ‘”Nearly Ninety” is certainly ”enticing” kfw, as he judiciously advises his readers as to the intrinsic values of the great man’s work, but still keeps his objectivity placed where an independent critic should. Leigh in his review, mentions the quality of the dancers excellence, which has always for me, been reflected in their apparent natural assumption of Cunningham’s language as if spoken from childhood. Leigh then paints a memorable picture at which he was present and if I might ever assume some small envy, it is in his description of the finale to the evening. “Afterward, the company gathered onstage as Cunningham arrived, seated in his wheelchair, looking regal in a velvet suit. Audra McDonald sang a birthday song by Dr. Seuss, and then the whole audience, 2,000 strong, sang the familiar birthday song. There was a cake, of course. How could such a momentous event be without one? “ I wish I had been there.

On the 28th April Daria Pavlenko is dancing Maria in The Fountains of Bakhchiserai at the Maryinskii Theatre

The Royal Ballet School Summer Performance Matinee at the Royal Opera House will take place on the 12th July 2009. The performance will include Sir Fredick Ashton's "The Dream" and a new work by Stanton Welch, Artistic Director of Houston Ballet. Tickets go on sale on April 28 at 10.00AM Link: http://www.roh.org.uk/whatson/production.aspx?pid=9863

I absolutely agree with the sentiment you express Mashinka in respect of the majority of London critics. Every critic has the right to an opinion, but in the major newspapers I expect it to be informed opinion. I have noted that most seasoned ballet watchers and especially literate female watchers dislike Somova. What is the appeal of this dancer? Natalia writes, "Thanks for your insights. Interestingly, the Japanese reporter with whom I met last month in St. Petersburg -- the one who first told me about the addition of LHH to the Japan tour -- told me that Somova is a "big favorite with Japanese businessmen. She is very beautiful." [The reporter is a man.] So maybe the businessmen -- not traditional, knowledgeable fans -- will fill the hall?" In general, I find the over extensions in penchee arabesques and jetes vulgar as the groin area is brought into emphasis. Is this what the casual male ballet attender wants to see? Is this what artistic directors wants to see? For me it goes beyond the aesthetic of the academic classical ballet genre. I personally would not object if male dancers wore some kind of costume arrangement that could move and not destroy the leg line yet remain somewhat modest. It is the incarnation of dance and the inspiration of choreographers and dancers that makes me watch dance not the physicality of dancers bodies. I will see a good number of performances of the Kirov this summer , but none of my money will be spent on Miss Somova.

I look forward to reading your opinion on the event. I have only today found this 10th of April, Alister MaCaulay article on Cunningham. http://www.nytimes.com/2009/04/12/arts/dan...1&ref=dance I hope co-ballettalkers find it as interesting and celebratory as I did.

Today is the 90th birthday of the living legend Merce Cunningham and he is celebrating it with a new work. Mr. Cunnigham is the dance choreographer I have admired most and is for me a modern choreographer of real dance movement. See website: http://www.merce.org/

I am no expert in this particular matter but I would offer my minor Knowledge in this matter. If a modern publisher of an old score can absolutely prove that the original Minkus score was never published before, in some countries it would appear that the first published (modern) version may/can be the legitimate copyright. It would appear despite the international conventions on such matters, what is technically in copyright in one country may in the USA be considered according present copyright laws be outside of a copyright if it was published before 1923. In terms of the copyright for a reconstructed score I think Robert makes an important point when he states, "i suppose the Maryinsky can file copyright on the work it's done on the long lost act 4. if someone, i suppose, could get hold of the materials with which Maryinsky worked to put this act back together, such persons could make their own version of this Minkus act, but if one wanted to use the precise work done by the Maryinsky musicologists, from their sheet music, etc., one might have to pay the Maryinsky royalties? " Copyright law is a growth industry.

I have admired Veronika Part since she was a member of the Kirov Ballet and I join all admirers in congratulating Miss Part's elevation to Principal. In the recent ABT season in London her performances as Odette/Odile were overwhelmingy admired by critics and connoisseurs alike and I would say many thought that Miss Part was superior to other principles in this role by a margin of some distance. There is no doubt she has stayed an artist determined to serve and achieve and I am sure there has been some disappointment for both Miss Part and her admirers. If Miss Part can achieve the same level of technique and expression that she rose to in London, I am sure the ABT management and her home audience have a lot to look forward to.

I should have said in my previous post that I hope someone who saw the Ballet West's Diaghilev productions gives us their views on the performances and casts.

Further to Helene's post, Alistair MaCaulay has written an enthusiatic review of the production in the New York Times. http://www.nytimes.com/2009/04/07/arts/dan...1&ref=dance Mr MaCaulay says, "Triple or quadruple bills of ballets created between 1909 and 1929 for Diaghilev’s Ballets Russes are not uncommon. All the more remarkable then that Ballet West’s current “Treasures of the Ballets Russes” triple bill proves the most stimulating Diaghilev anthology I have seen in more than 30 years. " I am sure he is right about the quality of the productions and performances, but then he never saw the great productions that still survived in the 1960's.

In today’s Guardian, Mary Clarke doyenne of London ballet critics, has given us a beautifully sensitive obituary for Evie that conjures up her qualities so well and quietly puts her in the context of ballet history. http://www.guardian.co.uk/stage/2009/apr/0...-eva-evdokimova

The National Classical Ballet doesn’t exist yet in Spain...... More than ten years ago Clive Barnes suggested that a National Classical Ballet of Spain should be created given the wide number of talented dancers graduating from various schools and teachers classes. Mr Corella has himself now spoken about this on a number of occasions. In an interview with Sunday Express critic Jeffrey Taylor published in December 2007, Miss Tamara Rojo is quoted as saying, " “Some time ago,” she explains, “the Spanish government asked me to draw up plans for a national company. I asked the Royal Family’s permission to call it the Royal Ballet of Spain and they agreed. I took most of my information from how things are run in England, what it will mean, how much it will cost, how I would run it. Basically all the methods you have developed here to make a company permanent like creating a charitable Trust to handle the money, some from government, some from private individuals." Miss Rojo then went on to talk about the changeable scene in the arts in Spain where the Minister for Arts is changed every 4 years which she felt did not lend stability. I assume by that she mean that one Minister may admire and support classical ballet whilst another might move government funding to another art.

The BENOIS DE LA DANSE have issued a Press Release for the 2009 awards published by the press agency Itar-Tass. Copy and paste link then click on (translate this page) www.itar-tass.com/level2.html?NewsID=13750013 The usual event has been restricted due to finanicial reasons. For those not familiar with these awards, I have provided some background. In 1992 UNESCO adopted the patronage of the Prize BENOIS DE LA DANSE and in 1996 the Prize was included to the UNESCO's Program "World decade of culture". OBJECTIVES An artistic philanthropic program BENOIS DE LA DANSE has three main aims. The first aim is cultural — to present to public an entire theatrical panorama of dance around the world. The second aim is professional — to unite the best representatives of variety of choreographic tendencies and schools together for creative contacts.The third aim is social — to support veterans of ballet financially. The revenue from BENOIS DE LA DANSE — GALA is given to veterans as personal financial assistance The Jury for the first awards were: Yuri Grigorovich — President of the jury Galina Ulanova (Russia), Rudolf Nureyev, Yvette Chauviré (France) John Neumeier (Germany), Kirsten Ralov (Denmark), Carla Fracci (Italy) Americans to have sat on the jury include; Cyntthia Gregory, William Whitener, Victoria Morgan, Eva Evdokimova, Mikko Nissinen, Carlyn, Carlson, Kevin McKenzie, Anne Marie-Holnes, John McFall, Francia Russel, John Taras, Ben Stevenson, Robert Barnett, Helgi Tomasson, The first Laureates were: John Neumeier,Nadezhda Gracheva,Alexander Koelpin,Julio Bocca, Subsequent winners have included:- Isabelle Guerin, Sylvie Guilleme,Sergey Filin,Galina Stepanenko,Dominique Khalfouni, Nicolas Le Riche,Diana Vishneva,Irek Mukhamedov, Ulyana Lopatkina,Farukh Ruzimatov, Manuel Legris, Elisabeth Platel, Nikolay Tsiskaridze, Alicia Alonso, Nacho Duato,Alessandra Ferri,Julie KentJea, Angel Corella, Jurgen Rose, William Forsythe, Rudy van Dantzig, Aurelie Dupont, Marina Semenova, Maurice Bejart, Mikhail Baryshnikov, Edouard Lock, David Dawson, Paul Lightfoot, Sol Leon. Alina Cojocaru, Lloyd Riggins, Laurent Hilaire, Hans van Manen, Trisha Brown, Alexei Ratmansky, Marie Agnes Gillot, Svetlana Zakharova, Mathieu Ganio, Boris Eifman. Kim Joo-Won, Ekaterina Kondaurova, Leonid Sarafanov, Wang Di, Martin Schlaepfer, Agnès Letestu, Svetlana Lunkina, Hervé Moreau, Carlos Gallrdo, Fernando Alonso, Jean-Christophe Maillot, Silvia Azzoni, Tamara Rojo, Carlos Acosta, Marcelo Gomes.