leonid17

Could not find film of Daniel Sarr's winning performance, but found a series of videos about the man himself. http://www.nrk.no/sok/index.php?site=default_collection&client=default_frontend&output=xml_no_dtd&filter=1&num=10&type=html&q=Video+Daniel+Sarr

You are right mention de Morada's important work on notation and there is some current work being undertaken in realising her work for film. Madame de Moroda is for me one of those dance personalities of whom I have always wanted to know more, but have been cautious in going outside of my main areas of interest. This following link I found earlier in the day may interest others. http://www.movement-notation.org/VisualizingArchives/project-background/derra-de-moroda-dance-archives.html

If anyone has any leads, please feel free to post them here, or, if you'd prefer to contact this poster directly, since she doesn't have PM privileges, please PM me or email through our "Contact Us" link, and I'll pass it on. It's a fascinating subject, and it would be great if we could get more information on it. First port of call should be http://www.uni-salzburg.at/portal/page?_pageid=585,462570&_dad=portal&_schema=PORTAL. Salzburg Univerity is home to the Derra de Moroda Collection. There is an option to search in English on the left hand side of the webpage. Another site of interest can be found at http://www.corpusweb.net/search-2.html?ordering=popular&limit=100&areas[0]=content&searchword=derra+de+moroda

Rest in peace, Mr. Falk. I was saddened to hear this news. Your pen portrait has perfectly captured his very personal and inimitable style which gained him wide affection in the Uk as Columbo. I admired him in a number of films and up until recently the Columbo series was still being repeated here. BBC Obituary http://www.bbc.co.uk/news/entertainment-arts-13458172

All true, of course. But the layers of empathy and sensitivity in Shakespeare are so extensive and so deep. There's also the matter of Shakespeare's knowledge of and caring about a wide range of social classes, as Quiggin says. "Human flaws" are compatible with these qualities and no doubt enrich them. But only to a point, I think. Hard to say where the point is, though. It was a very different era. The questions about knowledge of classes and the nature of personality and biography have all been raised by the Oxfordians, so you're playing on their field.... The only people I have ever witnessed who have a particular claim to insight into "...classes and the nature of personality... of the persons and period in question, are the living descendants of notable families who have an encyclopaedic knowledge going back beyond the 16th century. Which in general, they keep to themselves.

Because of the two strongly negative comments on this thread and other positive comments elsewhere from personal friends known for their integrity, this reader now wants to form her own opinion. To paraphrase Socrates, "All our beliefs are merely opinions."

Thank you Cristian for posting this variation fest. I think all of the dancers show some kind of quality and technical achievement and it was fascinating to compare them in such a way as presented. I am only sorry that Mr Villela is not amongst them, as he and Miss Verdy in this pas de deux was so far as i have got in my life, one of the oustanding highlights of bravura dancing in my entire period of attending ballet performances.

Inspirational. Thank you little-junkie for posting the article.

Would you care to enlarge on that statement? Briefly, I have been attending performances of the Royal Ballet since 1961. The Royal Ballet under Sir Frederick Ashton received more international fame under his direction than under and other Artistic Director. The dancers of the company were not only the most talented and respected artists the Royal Ballet ever had, Sir Frederick, was still creating masterworks. The company received universal critical approval and it was recognised as a major international export of art and a great attraction for tourists to London. The tragedy of Sir Frederick was that he was undermined by Dame Ninette who wanted her malleable animal,"Kenneth MacMillan" to take over and her politicking (and some have said her jealousy)got the removal of Sir Frederick and Macmillan proved a disaster as an AD and the Royal Ballet School stopped producing really talented dancers in any number. The tragedy was compounded by a series of disastrous Artistic Directors until Monica Mason's firm hand brought about a revival of the company's status which is diminishing once again with second rate choreography being staged by second rate choreographers. As to the new AD to my mind, he lacks suitable status and observing him in the theatre he appears to lack charisma. One hopes that Dame Monica's steady hand will skillfully guide him in his new role. Few people today will know the absolute truth about the history of the 1960's but certainly it was not that Sir Frederick failed in any manner as Artistic Director as far as the audience was concerned.

It certainly is a rather fragile Carla Fracci.

Thank you <toeprints.> Your last comments confirm that notoriety has no shame. For me,” Dancer“ encapsulates the exploitative financial nature of the vulgar, that became part of the new world zeitgeist when values imploded with naked greed and prurience at a new public level from the beginning of the 1970’s and is still no doubt inhabiting the pages of tabloid journalism. Hard edged authors do not have to sink to that level and I feel Mr. McCann goes not just to the edge but over it in “Dancer” and it really does matter how you dress a book up as a novel/biographical study when clearly it is not the latter. The real Mr.Nureyev achieved real fame for his art and not for his personal life. The latter of course, has attracted a number of disgusting grave diggers and muckrakers, who have course undoubtedly profited from what they have written and exposed this to a gullible public who may well see Mr.Nureyev in an entirely different light to that which he shone on international dance stages. In writings on anyone famous because of their artistic contribution to a particular oeuvre, one does not seek a hagiography, but one does seek a balance and an accurate timeline of events that is not the distortion of what after all remains a private life. I have never quite understood the vulgarity of wanting to know what an artist’s private life is about. No person bought up with decent values would want to know the intimate activities of any other person. The discussion should remain on what they did in the public arena which has given them their fame otherwise people move into a world of degenerate values. Performing artists belong to themselves, their art and history. I find no evidence that private lives contribute as much to their art, as does their innate skills, talent and the guidance of teachers and choreographers, as is the case in the context of a dancer such as Mr. Nureyev. My very personal view is that why would any reader want to cross the line and their memory become tainted with gossip, innuendo and salaciousness in any book where the artists fame came from their art. Just because it has been written, is not excuse enough. I regret I had no inkling as to content when I purchased, "Dancer," if I had, I would not feel so soiled by the experience. Mr. Nureyev was never famous for being famous. Hundreds of thousands of people across the world actually witnessed his fame on stage and not just either in the press or in an invented narrative. History is always fascinating and for those seriously interested in the art form ballet there are fortunately, always authors whose biographical studies deal primarily with the art of the artist. Reading “Dancer” reminded me of Phillip Freneau’s, “The Scurrilous Scribe” which is as apt today as when it was written so long ago and undoubtedly, confirms the status of modern tabloidism and regrettably its dire influence on those that do not either have real knowledge or judgement in such matters. EDITED

I read the Mr.McCann fictional life of Mr. Rudolf Nureyev when it was first published. It is with out doubt the worse book I have ever read in questions of actuality and taste concerning a major influence on ballet and dance of the 20th century. I am sorry I did not throw a bonfire party for friends and others who had worked closely with Mr.Nureyev, because that is what the book deserved. The fire for the disgrace of the author and the party as a celebration for the life of the extraordinary Mr.Rudolf Nureyev.

For me they are more than interesting opening a fascinating window into the life and work of an extraordinary man. I met Ram Gopal on a number of occasions in London and if a little over the top, he was always deeply interesting and sincere when talking about dance and dancers and we had a shared interest in the life and work of Anna Pavlova. Hearing him talk about Dame Alicia Markova brought also brought back a lot of memories having worked with her on projects at Ivy House and also having recorded a BBC radio programme with her in Pavlova's former home almost thirty years ago where I staged a "Pavlova Festival." Thank you Christian for posting these films. I was deeply touched to see them again. Obit: http://www.guardian....bituaries.india Obit: http://www.independe...ova-674993.html

I think it has a certain unexpected charm.

Thank you for posting the photograph. Although the caption says it is Gorsky's production, it was in fact a revision of the 1906 Gorsky production by Rotislav Zakharov staged in 1940, with Kasyan Goleizovsky contributing choreography for a new Gypsy Dance. Anna Pavlova staged a two-act version of Don Quixote in London in 1924 and I saw the first full western in production in 1962 when it was staged by Ballet Rambert.

An extraordinary event took place yesterday in London when Dame Beryl Grey, the former Sadler’s Well’s ballerina, was ably and most interestingly interviewed by Ross Alley, who elicited full and remarkable information on this much loved dancer’s career. It was followed by a Master Class in excerpts from Act II Swan Lake with Jia Zhang and Junor Souza from the English National Ballet. The venue was Ivy House, former home of the legendary Anna Pavlova, which for the last five years has become the permanent home of the London Jewish Cultural Centre that offers a wide range of cultural and educational events and has celebrated both Anna Pavlova and ballet from its inaugural event in 2005. Dame Beryl arrived looking both extremely youthful and elegant in a very smart tailored black outfit that elegantly revealed her beautiful slim figure and shapely legs. Yes, Dame Beryl was born in 1927. Ross Alley guided Dame Beryl through her life history revealing that she was something of a wunderkind aged 10 years after studying with Phyllis Bedells, (see http://en.wikipedia.org/wiki/Phyllis_Bedells). Ninette de Valois immediately recognised her talent and she was offered a scholarship at the Sadler’s Wells School and by the age of 14 had begun appearing with the Sadler’s wells Ballet. In 1942 Robert Helpmann created the role of “The Nightingale” for her in his ballet, “The Birds” and the following year she was the Duessa in Ashton’s, “The Quest.” Her career was taking off in the provinces during the Second World War where her first major role was that of Giselle aged 17 and in 1946 she was dancing Aurora at London’s Royal Opera House. Dame Beryl was to essay an extraordinary number of roles at Covent Garden and her Ivy House audience was thrilled to see early films of her dancing made by her late husband. Though the latter films were silent, Ross Alley a lecturer at London’s Birkbeck College and a former rehearsal pianist of some standing, confidently sang Tchaikovsky’s music for those members of the audience less familiar with Swan Lake Act II. These films together with excerpts from television recordings, revealed Beryl Grey both in brilliantly sustained elegiac and technical form, clearly revealing her great artistry. Ross Alley directed Dame Beryl towards discussing her career away from the Royal Ballet when in 1957 she pursued an international career in which extraordinarily she was to guest with both the Bolshoi and Kirov Ballet Companies. This was of course the first time any western ballerina had appeared on the Soviet stage. Dame Beryl spoke length about her Russian partner Yuri Kondratov with affection during her interview and afterwards to a group of admirers familiar with her Russian exploits. In the Second Part of the afternoon’s programme, Dame Beryl confidently and most subtly coached the delightful young couple from English National Ballet explaining quite clearly why the changes she imposed were necessary and both they and the audience were delighted with the results. Though restricted by the available stage space, Jia Zhang as Odette showed us a confident and beautifully schooled Odette which Dame Beryl authoritatively and gently refined both the shape of her port de bras and the shape and height of arabesques, thus achieving subtle changes to the breathing out of the choreography. Junor Souza First Artist with the English National Ballet originally from Rio de Janeiro was an elegant, ardent and youthful Siegfried. Here Dame Beryl illustrated moments where a change in the weight of his movements led to a more effective characterisation of his role. This was an afternoon of an exhibition of refined taste and illumination by a most famous dancer, in which she exhibited enthusiasm, subtlety and joy communicating in such an effective manner, I was at times deeply moved by the most respectful way she spoke of colleagues and her dancing years. This event has followed on from previous ballet programmes and will continue later this year with Ursula Hageli, Ballet Mistress of the Royal Ballet in “Dance for a Day”, see:- http://www.ljcc.org.uk/events/1542-dance-for-a-day.html In 2012 the LJCC will celebrate the centenary of Anna Pavlova taking ownership of Ivy House as her permanent home, with a wide range of events, together with an exhibition of Pavlova related memorabilia. A special thank you has to go to Irene Newton who has taken over the presentation of music and dance activities at Ivy House and is enthusiastic about the ballet content of its programmes. ADDED Dame Beryl Talking most interestingly on BBC radio programme, "Desert Island Discs." http://www.bbc.co.uk/iplayer/console/p0094805

We do know a bit more about Marie Petipa's pointe work skills. When an Italian guest star was meant to appear in Le Roi Candaule, Nikolai Bezobrazov recalls that Petipa re-choreographed her part without any of the pointe work that had previously been assigned to the role. I think it may have been a pity that Mr. Scholl did not look closer at The Sadlers Wells Producion of "The Sleeping Princess" which as one can see from the programme was a complete staging undertaken by Nikolai Sergeyev, especially so as members of the production were still alive at the time of his writing and some, are still with to this day.

We do know a bit more about Marie Petipa's pointe work skills. When an Italian guest star was meant to appear in Le Roi Candaule, Nikolai Bezobrazov recalls that Petipa re-choreographed her part without any of the pointe work that had previously been assigned to the role. I am rather sorry that Mr. Scholl did not look closer at The Sadlers Wells Producion of "The Sleeping Princess" which as one can see from the programme was a complete staging undertaken by Nikolai Sergeyev, given that members of the production were still alive at the time of his writing and some, are still with to this day.

That one is good, and also has Debussy's Sonata for Flute, Viola and Harp, as well as Ravel's Introduction and Allegro. There is also an even more ancient one with Rubinstein and Heifetz. If you like the piece that much, you might as well listen to some others if you're able to get them from a library and have the time. I played the Franck with violinist James Graseck a good bit in the 70s, but I've never liked it that much except for the last movement, which has a very Gallic sound, almost like a popular tune, or a touch of Faure. On the Lupu/Chung, I admit I much prefer the Debussy Flute, Viola and Harp Sonata, but then that's one of my favourite of all pieces--top 4 or 5. I had an organist friend who was much more enamoured of Franck than I've ever been, but people did usually respond favourably when we performed it. That 'French country' sound of the last movement is a little bit like what you hear, although this a kind of stretch, in the 'Etude pour les Accords' of Debussy, which is the last of the 12 Etudes, and is a very open and extroverted kind of joyful piece. I tend to prefer Faure as well as the others, but you can hear a lot of these other French composers on the various Franck Sonata recordings. There are a good many. Anne-Sophie Mutter/Alexis Weissenberg is bound to be good, too, but I haven't heard it. The Rubinstein/Heifitz was extraordinary and I am sorry you mentioned it as I was sorely tempted me to go search in a deep dark cupboard for it but then the thought of dusty boxes soon dried up the urge.

Here is a favourite violinist of mine playing the sonata.

It is a pity that this thread which started as an enthusiastic celebration of the Royal Wedding has been hijacked(in part) by ill informed political ranting which is certainly out of keeping with the usual tone of Ballet Alert. I hope never to see such a degeneration of a thread allowed on Ballet Alert again.

To Go Coyote's last post I'm not sure it is technically possible for any of us to judge the level of support for the wedding (or the royal family itself) given that (1) the mainstream media was 'heroically' biased in favour of the event and (2) many dissenters or even 'questioners' and 'free thought provokers' were silenced in pre crime (thought crime) arrests the day before. (quote) There was no media bias towards the event it was in terms of the UK an absolutely major event embracing people from all classes, many different racial background and numerous religions. Children and adults across the country dressed up for it and 16 million people were glued to the TV plus large screens were available at numerous sites. Had the royal wedding been given about the same amount of build up and coverage as, say, the London marathon I doubt very much there would have many complaints about the media underplaying it. (quote) The London Marathon had several weeks of promotion on the BBC prior top the event and newspapers profiled all sorts of competitors who were running for charity prior to the event. Just my personal opinion of course. But the more the media builds up an event, the more of a sense of occasion they generate and the more people are likely to believe it must be a special occasion (and vice versa).(quote) Citizens of the UK in their millions are interested in the Royal Family and even more so when a Prince is getting married, They know it is a special occasion. Yet despite all the hype, and as Mashinka points out, there was still a distinct lack of interest, beyond the isolated pockets and all the TV coverage of them.(quote) Absolutely untrue, I published enough examples and I could publish many more to show this. I also think you can't start to make sense of people's attitudes towards the royal wedding unless you start deconstructing the spectacle itself. I mean, what were most ordinary people actually celebrating last Friday? A day off work? A friendly gathering and mingling of fellow strangers from around the world with a carnival type atmosphere? A good nosh up? A break from the breakneck speed of economic and technological 'progress' (and imminent collapse!) which just leaves us all so stressed out and with even less time on our hands?! A breathtaking display of bright colours, beautiful horses, gorgeous clothes, and overall magnificence? And of course a wonderfully overblown ceremony dedicated essentially to the power of love?(quote) You have very little idea of the actual experience otherwise you would not have made that statement. People in their millions care about the Royals and a Royal romance with all its glamour bring people together in support and to discuss the occasion. I only mention all of that because, strictly speaking, none of those things actually have very much to do with either the institution of monarchy or the current royal family at all. They are all examples of theatre, showmanship, costume, scenery, setting and of course an overwhelming sense of occasion.(quote) Wrong! It is the panoply of the occasion that is fully identified with the Royal Family for more than a century and its grand expression is entirely peculiar to Royal events especially as so many of the Royal Family were in attendance. The fact that the royal family have the necessary wealth and clout to be able to close down half of London, 'give' everyone in the UK the day off work and take command of the nations' media and police forces etc in order to create such a palpable sense of occasion does not mean it could not theoretically be created some other way (minus any royal involvement) .... and it doesn't mean the crowds would feel any less enthralled to be attending such an event, whatever it might be (provided politicians were kept well away from any decision making processes!).(quote) You quite mistake the relationship the British public has with the Royal Family. There is a symbolism of status, relationship and essentially a personal belonging as a citizen of a country that has a Royal Family. And so was it actually a 'royal occasion' or was it 'an occasion' which happened to have been organized for us by the royals? OK so granted the happy royal couple were at the centre of it, but who paid for it? (we did) and would it have been the same without the cheering crowds? (I suggest not). So we paid for it and we created the atmosphere. The royal family provided the excuse. I guess the question is whether that excuse is interchangeable! (quote) If you had read the earlier posts, you would have seen that the Royal Family costs each British citizwn, less than 70 pence per person per year and the Royal Family attracts income benefit for the every UK citizens at the rate of £2.60 per person. Also, as a balletomane, I couldn't help thinking that as far as the theatrical side of it was concerned an equal (or greater?!) amount of pleasure could have been had from a particularly electrifying night at Covent Garden (or equivalent)..... perhaps after a day spent strolling in one of the royal parks and a wondering round some of London's wonderful buildings.(quote) There was no “theatrical side of it” it is a formal process familiar to anyone who has attended a church wedding and a couple that wants a full service. As a balletomane you should know that the prefix Royal adds status to a good number of ballet companies in Europe. As to comparing ballet with a wedding you are not comparing like with like and may be offensive to those who have taken solemn vows in a church. And so it could be suggested that a large proportion of the good will and support the royal family apparently received on Friday (and in general) was really due to a whole bunch of reasons only circumstantially connected to the royal family itself. Driving the point even further it could be suggested that without putting themselves slap bang in the middle of such extravagant, colourful and theatrical ceremonies they might not actually have anything like the support they currently do, which is already far less than the media lets on and dwindling fast.(quote) Whilst the media reported a decline in support for the Royals a decade ago, the support has been growing consistently over recent years. Mashinka said: The wedding, which was not a state occasion by the way, could have been conducted more appropriately at Windsor at far less expense.(quote) For a country that has “Great” in its name I would not expect anything less and it was never designated as a “State Occasion” so why mention it. Yes that sounds more sensible and maybe the various street theatre groups and 'royal challengers' ('anti royal' is rather a negative and loaded term) etc could have been allowed to play 'having free speech' out in the sunshine instead of being 'disappeared' and spending 24 hours behind bars.(quote) A trifle over stated don’t you think. Having said all that I think there is another issue which affects our view of the monarchy and its role which is that we are desperately lacking big happy, meaningful, frivolous, intelligent, colourful, ceremonies and occasions in the western world. Beyond royal occasions we have sports or pop concerts or the Red Bull challenge ... that's about it! (quote) Well there is of course the Trooping of the Colour. Wouldn't it be wonderful to have some big cultural events that weren't corporate sponsored or competitive in nature!?(quote) Would we not also like to see pigs fly? This raises the question: how much might some people's apparent support for the institution of the monarchy be simply a reaction to otherwise being starved of the opportunity to experience and participate in meaningful 'cultural' occasions? I mean we are social animals. Beyond providing food and shelter for ourselves this is what we generally like to do! (Quote) I have read some specious arguments in my time and that almost takes the proverbial biscuit. And so the follow up question would be: if there were more alternative ways to celebrate and express 'British culture' (or a sense of community or whatever you want to call it), or simply more opportunities to have some great big, colourful, overblown ceremonies and occasions, would our feelings towards the privileged position enjoyed by the royal family be altered?(quote) The point being? We have what we have and you have earlier mentioned the thought of sponsorship is anathema to you so where, would the money come from? But we all know politicians (and I would add the majority of arts councils) can be trusted to make the worst possible decisions regarding any such events or occasions. Royalty do seem to be a little better at it. But I guess I have just made the case that their popularity depends very much on them being able to put on a good show (with our money!). (quote) I am happy that the Arts Council England, assists both The Royal Ballet and English National Ballet to have the ability to continue to perform.

Living with the experience of terrorism and its possiblities with crowds getting together, UK authorities imposed regulations regarding organised celebrations. This robbed the kind of spontaneity of a 'peoples event' and celebrations took place at home, in clubs and pubs rather than having to be subjected to what was in effect legal restrictions. The North/South divide in respect of the celebrations is a myth. Check my earlier post which concentrated on our most economically challenged cities of the Midlands,the North, Scotland and Northern Ireland celebrating the wedding, which Mashinka liked to call "propaganda" as it did not fit her anti-royalist thesis The suggestion that the raid on Bin Laden was delayed because of the wedding, is of the stuff of trashy tabloid newspapers looking for a sensational story for gullible readers.

No! It is a true reflection of what happened. Our Royal Family is admired and loved because they are above politics.

This is a report from someone who has lived in the UK for 65 years, who has had a university education*, having had experience of working for the UK's Trade Union Congress and I am often on the left of centre politically. I have also worked as a Civil Servant and for more than ten years helping the unemployed into work and on an occasion sat on a panel where government legislation for the unemployed was decided. I live in South London working class area of the capital a hundred yards from where I was born. I am fully aware of the working class experience, the middle class experience and have had contact with the upper class experience on the UK. I think I know what I am talking about in respect to the response by the UK population to the Royal Wedding and the Royal Family in general. From where I am sitting it seems to my mind somewhat disingenuous to suggest that the Royal Family is not popular, or, that the Royal wedding was not celebrated the length and breadth of the UK. *As to insightfulness into character, I read Pscychology. SEE BELOW Celebrations in Liverpool http://www.liverpoolecho.co.uk/views/our-view/2011/04/29/the-royal-family-s-enduring-popularity-100252-28603185/ http://onlinelibrary.wiley.com/doi/10.1111/j.1744-540X.2011.00626.x/pdf I do not believe the Royal Family’s status needed reviving, but Media Week says the Royal Wedding has just done that. http://www.mediaweek.co.uk/news/1067157/Wedding-fever-helps-restore-royal-brand-says-survey/ Birmingham a city with the highest unemployment in the UK celebrates http://www.birminghammail.net/news/worcestershire-news/2011/04/30/how-birmingham-solihull-and-the-black-country-celebrated-the-royal-wedding-91466-28611100/ Glasgow city with second highest unemployment in UK 10,000 attended an unofficial street party. http://news.scotsman.com/scotland/In-pictures-Glasgow-celebrates-the.6760014.jp Manchester third highest unemployment in Uk http://www.bbc.co.uk/news/uk-england-13238437 http://www.messengernewspapers.co.uk/news/9004415.Thousands_enjoy_a_right_Royal_knees_up_/ Manchester Muslims to celebrate Royal Wedding http://menmedia.co.uk/manchestereveningnews/news/s/1419181_north-west-muslims-get-ready-to-celebrate-royal-wedding http://www.manchesterbars.com/royalwedding.htm Peterborough equal third with highest unemployment in UK http://www.heart.co.uk/cambridge/news/local/royal-wedding-parties-pictures/ http://www.peterborough.gov.uk/news/latest_news/2011/april/licensed_premises_opening_hour.aspx http://www.peterboroughtoday.co.uk/news/features/royal_wedding_events_planned_across_peterborough_1_2563633 Plymouth with 4.1% unemployment http://www.thisisplymouth.co.uk/news/people-s-party-royals/article-3506383-detail/article.html Northern Ireland celebrates http://www.bbc.co.uk/news/uk-northern-ireland-13243558 http://www.u.tv/News/Carrick-thrilled-by-royal-appointment/3d67e42b-380e-4846-90c0-55c9f9cde9ab