leonid17

Quite right. I would say that Keith Money's tome on Pavlova is admirable, but in my opinion he is a biographer and that is something quite different to an historian.

Thanks Marc. It must have been a "senior moment" or tired eyes mis-reading the post date.

It is often internal or external politics not art that runs the ballet world. As Marc points out, how do you place this young lady on the same plain as Vishneva and Ayupova.

I thought that Maria Alexandrova was the only true classical ballerina (not a term I use lightly) with real authority in the Bolshoi on their last visit to London. There were others dancers who performed with technical authority who are principals. Natalia Osipova was a star (not a ballerina) in the making and the only great artist in the company was Yuliana Malkasyants who is a legend in her lifetime. I do not know why Alexandrova is not a principal, most serious minded ballet goers in London I spoke to think her superior to the exaggerations of Svetlana Zakharova. But Alexandrova is a principal, acclaimed, awarded and doing fine, Leonid . (Alexei Ratmansky promoted her on stage in June 2004.) I must say I never concern myself regarding the company status of a Russian dancer, as the politics that exist within the Bolshoi and Kirov have always in my long experience of watching both companies, determined their careers. I should of course realised Alexandrova was a principal but like most of us, I judge a dancers status by my own standards and that is why I consider Yuliana Malkasyants to be more important as a representative of what was once great in the company, above most of the other Bolshoi dancers. As you know Marc I have an independent view on most things to do with classical ballet. Best regards.

I'm with Sacto1654. I can't think of a reason to reduce Balanchine to the Farrell plotline. Wouldn't that become, in essence, a Farrell biopic? Or, worse, a reworking of the story of Svengali and Trilby? Better not to do it at all. Good point. Best to cover many earlier periods in Balanchine's life too. For another very "romantic" chapter, how about his pursuit of Vera Zorina? I remember reading stories, perhaps not truly factual, of Balanchine out in the rain outside Zorina's NYC apartment. What actresses could play the very glamorous trio of Geva, Danilova, and Zorina? Also his departure from Russia is also another very complex story with one of the troup coming to a bad end. Among the sources for the script should be "Choura" and "I remember Balanchine"

I thought that Maria Alexandrova was the only true classical ballerina (not a term I use lightly) with real authority in the Bolshoi on their last visit to London. There were others dancers who performed with technical authority who are principals. Natalia Osipova was a star (not a ballerina) in the making and the only great artist in the company was Yuliana Malkasyants who is a legend in her lifetime. I do not know why Alexandrova is not a principal, most serious minded ballet goers in London I spoke to think her superior to the exaggerations of Svetlana Zakharova.

Nice pics Marc. Thanks for pointing us in the direction to the Bolshoi site. The music ascribed to the variations therein does differ from what has been traditional. The 7 short clips as referred to above begin at. http://uk.youtube.com/watch?v=sIC-gzFS6t0

Amen. And then, having seen Alberto Alonso demonstrating to his american class how Fokine tought him how to do a grand jete for "Petroushka", or Mme. Alonso on her cuban troupe about how curious Mr. B observed-(and approved)-hers and Youskevitch own pseudo-romantical characterization of the Pas de deux from "Theme and Variations" is so wonderful, and helpful to understand that sometimes this gods/choreographers were as human as her dancers, and results were beautiful even if the original idea hadn't been fallowed 100 %. These stories should be gossiped, talked about, recorded, filmed, written, and everything possible so they run away opposite the saddest case scenario: oblivion... Mmm. You are right. The tradition is essential. Notation cannot record that which you have written about and yet it is part of the history of the performance of the ballets mentioned. When I read that a ballet has been staged by a notator without a former cast performer involved, I have to think twice whether or not I want to see the performance. The problem most arises with 19th century works where I believe the performing tradition links broke a long time ago. Sorry to turn this into a British tract but both Markova and Fonteyn who had the advantage of a direct contact with Nikolai Sergeyev and older Russian dancer/teachers, were not in in turn used enough to assist in the performance style of these ballets when they were re-staged. I have heard and read of both of these distinguished dancers recording events of working with choreographers and heritage performers, but I doubt if current performers have any awareness of the clues to performance that they gave. As Mel states, "Whether anecdotal or journalistic, spoken or written, it's useful to historians to have ANY kind of primary material to work with!"

I am glad you enjoyed the performance which I did attend. I agree with you about this Peter Wright production and although his earlier production for the Royal Ballet Touring Company was a much grander production, with huge Wolfhounds making the act 1 a dramatic spectacle, I personally prefer productions that follow what was first seen in London with the Diaghilev Ballet. I would say that Kobborg is around 5'8" or slightly taller in height and not short for a leading ballet dancer if you think of other famous dancers. I do not believe that there is a pre-requisite for Albrecht to be stunningly handsome and Kobborg is a serious actor on stage with great subtlety of expression shown in a good number of other roles. Interestingly last week I was standing no more than four feet away from him watching RB company class and was surprised how pleasant and youthful looking he is off-stage. I admire Cojocaru in almost everything she performs. This does not mean she is perfect in every thing she dances. Nunez is shortish, but then Myrtha, like Giselle, Nikiya, Odette-Odile, Aurora, Kitri, Aspicia, Medora etc etc was never meant to be danced by anyone more than 5'2 in height. Taller dancers can never give the shape and meaning to the steps that choreographers intended or for some dancers, the impossibility to perform at the correct tempi. For me, it is always good to have a filmed version of a ballet and although it may give a very good idea of what a performance was like, a film will always remain a long way away from the visual, aural, physical/psychological experience of a live performance when so many things contribute and pass by, but are essential the a whole experience, rather than in the detached and somewhat cold experience of watching a film when one has the opportunity to analyse in a way different to the theatrical experience.

Well, I've never considered "sportsmenka" (no translation needed, it's very clear...) a ballet genre or emploi, Leigh It's anything but flattering even when used to make a contrast and between " ". I love "sportsmenka". I can remember a number of Russian dancers of the past for whom this descriptive would have been most apt. Unless Osipova has changed dramatically in the last two years, it is most definitely an inappropriate term to apply to her. She struck me in type as an excellent demi-classical dancer by stature, temperament and manner of technical execution. She was definitely a young star who might one day, achieve the company status to a similar, but much more extraordinary type example, Yekaterina Maximova.

I am a great admirer of oral history and am regrettably of an age, when I can recount what some now consider to be historical events. When carrying out a study of oral history in an area which I thought I was reasonably well informed, I shamefacedly to this day remember being brought down to earth as if I was a twelve year old, by a good number of octogenarian ladies, all of whom had been ballet dancers when younger and were participants in distant past events about which I was enquiring. At the same time I also placed and advertisement in newspapers requesting memories of a particular person and many though not all recorded impressions that were vivid and powerfully personal. This for me, was confirmation of the importance of oral history as I was later able to speak to them at a tea-party I arranged.. I am sure a number of ballettalk contributors consider quite rightly that they are contributing to ballet history when they post and I personally keep a record of what to me are the most important, as an historical source. PS I wish another descriptive rather than fan (short for fanatic) could find universal usage when talking about a deep interest in a ‘high art’. In London among people I know, I find fan is now used in a pejorative sense to describe people who ‘love’ particular dancers rather than the art form. But then sometime, some of us are rather snobbish when we talk about ballet, because we deeply admire the form and are protective of its status as a "high art".

Firstly, although from outside it may look so, we do not have a single state theatre in the UK. The Royal Opera House which may appear to be a state theatre, but it has to raise the greatest proportion of its finance through, the sale of tickets, ancillary activities and most importantly donations and sponsorship which far outweighs the funding that comes from the taxpayer via the Arts Council of Great Britain. The Sadler’s Wells Theatre provides a venue for modern and classical ballet companies from the UK and especially from around the world. If there is a second ‘dance’ house this is it. Like the Opera House, its finances have to be acquired in the same manner. I do not know why the Royal Ballet appears to be losing faith in its own tradition in not commissioning works by only ‘classical choreographers’, as we know that the canon of the Royal Ballet, has always had a very wide reading of ‘classical’, having been originally inspired by 19th century classical ballets and Diaghilev’s Ballet Russe style of ballets. If you look at the one act ballets of MacMillan, works by Helpmann and even Ashton, there are works that are not all tutu ballets and many still remain modern in concept. What makes them different from the work of Wayne McGregor, is the balletic and aesthetic tradition of the mentioned choreographers (and others) in sustaining a healthy and wide view of what classical ballet dancers can and should perform and yet still break earlier perceived boundaries in the process. Why Mr McGregor would want to work with classical ballet dancers from a company seemingly diametrically opposed to his own aesthetic, is as unfathomable as is the Royal Ballet wanting to employ him? There is nothing old-fashioned about classical ballet as there is nothing old fashioned about 18th and 19th century opera or 16th century drama. I can say with all certainty that English audiences retain a respect for tradition, not for its own sake for many works have come and gone, but for that which sustains their concept of what is art and what sustains the genre they most admire. The Royal Opera House audience is I would say solid in their judgement as to what they want to see, yet most frequently open to the new when they consider it to be both right and good for themselves and the company. The current programme with Wayne McGregor’s “Infra” which gets a terrific performance by the RB dancers but does not attract audiences and undermines the ballet as a lesser contributor to the Opera House financial pot as a result. If this does not indicate a perceived division by audiences, what louder voice could there be. The Royal Opera House contains a second auditorium called the Linbury and I think “Infra” would have looked better there, the McGregor audience (?) might have preferred its ambience and turned up in numbers to be a sell out. To exist for the performance of works other than large classical ballet ballets, was I thought a function of having the Linbury Theatre. It is potentially a third if not the a second London home for dance.

The Royal Ballet's "Choreographer in Residence" Mr McGregor, talks about himself and his work in this interview "The Times" presaging his new ballet "Infra". http://entertainment.timesonline.co.uk/tol...icle4669279.ece I always find such interviews revealing.

Clive Barnes along with Peter Williams, John Percival and Noel Goodwin writing in the magazine "Dance and Dancers" helped to form the ballet taste of at least two generations of ballet lovers in London in the 50's and 60's. He wrote incisively and picturesquely, alerting one to aspects of production and performance that enriched appreciation of what had been seen. I feel he personally played a part in educating my observational powers and taste. A friendly and energetic personality, approachable and fearless in saying what needed to be said. It can be said he really led a life. My condolencies to his family.

I sure don't want to change it, but I do disagree with you that one has to be knowledgeable about ballet, or about any art, to experience it as art and not merely entertainment. The more one knows, the richer the experience is, of course. But I think even novices can experience that uplift. I did. Your right, Of course your right. I was hooked as a teenager the first time I saw "Giselle".

I do not want to reduce what you wrote to a mere quote. As a sometime lone voice, it is very nice to hear a loud echo. Loved the way you expressed your feelings which conveys the sense of caring which appears absent from the Royal Ballets current thinking and repertoire planning. I am going to see "Infra" again tomorrow night as I would really hate someone to say you can't take it all in in one viewing. Keep posting. Regards L

Patrick, I see your point. I was aiming at irony and clearly missed the target. I did not mean to suggest that ballet was not a higher art, just that it is no longer perceived as such to the extent that it was in Balanchine's day. It's not "ballet" that has changed, necessarily. But the cultural environment IS significantly altered, especially in the decline of the role of intellectuals as cultural commentators. I concur. Balanchine in not merely important, he is significant I say this with sincerity even though neo-classicism is my second love in ballet. He, his legacy and contemporary performance of his oeuvre needs to be commented upon and occasionally looked at from a different angle. It is healthy to do so. I believe we all need to be challenged on our appreciation and views as our deep consideration and response, may help keep senility at bay. I do not know what is like in New York, in London it seems that many commentators are terrified that an interest in the "high arts" and the consideration of using the descriptive "high" is politically incorrect and would avoid the expression at all costs. The problem here has been that we have a large number of critics who think they have an authoritative position, but regrettably they apply little or no intellectual rigour or knowledge in what they write to justify this self view. I believe many critics in London prefer to write about dance as they feel (like fans) that they are part of the creative performance process by witnessing new works and touched by the celebrity of the event. Regrettably they also write about ballet. I'll say this now and say it often, ballet, is not for everyone. If you do not love it, know it in depth and see it often over a period of years, you will never reach that mystery that ballet has to elevate the spirit which the "high arts" can do in a special way, but not the only way. Ballet can entertain, but it is not entertainment and there are some who want to change this. There are those that want to see “real life and experience” expressed on the ballet stage if in doing so, it will become "more inclusive". Fine, just remember ballet is an old tradition and it has it own rules and there are still more people every year that want to see ballet as an experience of a “high art” and not go to see something they could see on the television or a film. Balanchine's genius stands comparison and should be compared to ensure that his stature is confirmed and that his works are not just part of a night out. I would say support any writer that looks in depth at the art of ballet and if they are a newspaper critic and you do not agree with what they have to say, write to the editor. Or better still do what we are doing now, post it on ballettalk. PS I have not always agreed with his views but I now miss Mr Macauley's presence in London.

The Royal Ballet is not a dance company and ballets that only border on the classical, have frequently had a poor follow up by audiences after their first night at the Opera House. The London audience expect to see ballet and not dance at the Royal Opera House unless like in the past it is a visit from the Graham company, but then they never sold well. My concern is that despite offers in newspapers for reduced seat prices for this triple bill, there are more than 700 tickets (more than 100 at top price and 400 plus in the cheapest seats) unsold for tomorrow evenings performance of this programme. I have been watching dance companies in London since the 60's and still watch certain dance companies that present 'authentic', original, gimmick free dance works. I not only think McGregor commissions are an artistic step in the wrong direction for the Royal Ballet, the Royal ballet cannot afford to present them in the main auditorium. The other two works on the programme have real claim to fame and I am sad that audiences will have been put off from seeing them by the presence of "Infra". I would also say that those critics that enthused over this ballet, would I believe in their descriptions of 'Infra' also frightened off normal occasional balletgoers.

"So why now?" Perhaps because he cares. I have similar concerns about the Royal Ballet.

Thanks. I typed it incorrectly once and it stayed with me for the next half a dozen times. If you saw the performance, please post. I need company from other RB followers.

I do not want to be too, too terribly English, but your example is what we might call, civilised behavior. It doesn't matter if it is not meant, it is a code of politeness that establishes your upbringing your education and your class and would also when obviously genuine indicate a certain selflessness. (Yes, in some circles one is still measured by these standards). It would be seen to separate people as others, as opposed to PLU( People like us). Once open a time one would regularly say when meeting someone for the first time, "How nice to meet you". Today, I would reserve this expression for only when I meant it and then only to some person who is distinguished in some way or have some age as it does seem kind of archaic. I think I have used it once on the two years. The Americanism "Have a nice day", rankles most with English people sounding particularly phoney and robot like.

Wow. Thanks for your full explanation. Like many posters I am keen to know as much precise historic information as possible and you have given it. Thanks again.

In London I pay twice for my tickets to see a Royal Ballet triple bill. Once for my top price ticket at £55.00 and secondly through my income tax a portion of which subsidies the company through our governments Arts Council grant to the Royal Opera House. This does mean, I have two reasons to complain when the Royal Ballet produces a triple bill of "Voluntaries", "The Lesson", and a new Wayne McGregor ballet “Infra”, that causes the public to stay away in droves and prompts hasty telephone calls to members of the company, offering them complimentary tickets for a premiere. It still left very many seats empty. Someone should have advised the board that their marketing may try to make the Royal Ballet “sexy”, but if it doesn’t appeal, the answer is to give the regular audience what it wants ie Ashton, MacMillan and Cranko one act ballets many of which have been a long time out of the repertory. There is a received wisdom within the government that we must encourage young people to attend the ballet. That is laudable, but it has been my long experience attending the ballet and a sometime producer of events, that the young people who find their own way to the ballet, do not just go to first nights but see the same programme more than once. When you sex up a dance work to get media coverage, the vast majority of young people will attend once and once only because young people see ‘events’ as ephemeral and move onto the next 'sexed up’ event. Two years ago a headline in the UK Guardian newspaper read “Experiment or face slow death: star warns of crisis in ballet “Acosta points to lack of young choreographers and new full-length works….. I do not hold Carols Acosta responsible for what followed and follow it did, Wayne McGregor of Random Dance, was appointed Resident Choreographer to the Royal Ballet. Mr McGregor’s first work for the company was, “Chroma” and his second performed last night confirmed for me personally that he does not work with an original voice that would separate him from others that make works for a theatre. First things first, the company performed “Infra” very well and Eric Underwood stood out giving an exceptional performance and receiving the loudest cheers. For me “Infra” is extremely old-fashioned in as much as I feel the dance vocabulary used and the choreographic style was already well established 25 years ago by the likes of Merce Cunningham, Rudi van Dantzig, John Butler, Glen Tetley, Toer van Schayk etc in their various highly talented ways. The programme gives the definition of ‘Infra’ to be, “below,esp.when used in referring to part of a text see below Below; underneath; under; after And further states At any rate it is important to imagine a language in which our concept ‘knowledge’ does not exist. Ludwig Wittgenstein: On Certainty There is then quoted from T.S.Eliot’s ‘The Waste Land’ Unreal City, Under the brown fog of a winter dawn. A crowd flowed over London Bridge so many, I had not thought death had undone so many. It would appear that the Royal Opera House programme uses the above quotes perhaps chosen by Mr McGregor, as necessary supporting twaddle for a ballet whose authority they are not sure of , a David Gamez quote is also given which I cannot bring myself to post. If a ballet or stage work using movement cannot speak to an audience on its own terms it has failed -full stop-. It is a frequent error in so called modern dance that an explanation of where a work, "is coming from" is necessary when it should just stand on its own values. Nobody needs to be shown how a famous painting, famous piece of music or a famous ballet originated, Get real. Infra follows the well worn formula of similar works with people walking, moving as if dancing singly, duets, quartets, in groups and he entire ensemble.music is by Max Richter known from his work as a distinguished musician member of “Piano Circus” and is a composer. There is also “Sound Design” by Chris Ekers who had obviously escaped for a short time from the movies. The music and sound I found absolutely acceptable for a stage work and supported without intruding or distracting one from the dancers. Throughout “Infra”, there is brilliant lit animated projection high up on a backdrop of human like figures walking across what may be a bridge so echoing T.S.Eliot’s deeply felt poem. I think not. The designer for the costumes was Moritz Junge looking to me personally, very like cut down or cut up T shirts and shorts. Infra for me exhibited marketing over content. I am sure Mr. McGregor may one day produce something I find of suitable quality for the Royal Ballet and I am sure there is something better to come from someone who looks such a nice chap in the curtain calls that a wider Royal Opera House audience will enjoy and bottoms will be on seats that have been paid for. The Lesson was given a very good performance with Johan Kobborg, Roberta Marquez and Laura Morera. It is a favourite work of mine since I first saw it on television in 1963 when it was thought a little shocking. Perhaps dance teachers should show it to irritating mothers who insist their daughter is the next Pavlova, to get rid of them and their child from their studio. I first saw Voluntaries shortly after its premiere in Stuttgart and was moved by the intensity of the performance by its starry cast. It is a work that has been performed right around the world by good number of companies. Last night it was led by Marienella Nunez and Rupert Pennefather, Mara Galeazzi, Sergei Polunin and Thiago Soares. It may have been performed well, but it didn’t move me and in the end that is what counts. PS Mr McGregor dedicated "Infra" to Dame Monica Mason’s celebration of 50 years with the Royal Ballet. AMENDED

Some very interesting statements are made amongst other that appear to be supposition. If you were present at the revival and worked on it we would all be fascinated to hear. But when you say " Tudor undoubtedly changed some it to make up for the lost material. " That doesn't sound a fact. What does sound a fact is that Romeo and Juliet has been notatied in full, there are performers who have worked Tudor on this ballet still very fit and active and certainly not "feeble". I believe the Notation Bureau and the Tudor Trust have some standing, who with former performers in the ballet in question could revive this ballet. The Berman question has been discussed above. What does a ballet not being full length have to do with a revival may one ask? A ballet is a ballet is a ballet to paraphrase Miss Stein. Short or Long. If its good and stands the test of time it can be revived. In the last 10 years or so Tudors works have been revived successfully around the world. Can anyone confirm who assisted Tudor in the Revival R & J in the 70s? I have just returned from a Wayne MacGregor first night at the Royal Ballet and I am, frustrated and in a state of despair to check it right now.

Thanks carbro. Villella has always remained a favourite dancer of mine since I first saw him in the middle sixties, He looks great and speaks authoritatively. His company may be the first announced victim of budget cuts due as he says to the recession. If any posters are going to these performances I would be grateful to hear of the progress of Zherlin Ndudi as wellas the overall standard of the company. Thanks.