Drew

I found the following interesting as well from the press office (link below quote): "It was the Bolshoi’s artistic director of ballet, Sergei Filin, who suggested choreographer Possokhov and director Serebrennikov should work together on a new ballet. 'Have a think about subject matter', he said to Kirill Serebrennikov. 'A Hero of Our Time', the latter answered straight off. A Hero of Our Time is one of Serebrennikov’s favorite books. But however much one might love a book, not everyone is capable of bringing it alive in ballet. 'I find it surprising no one thought of doing it before', says Serebrennikov, 'it is a quintessentially poetical and inwardly musical work. And where there is poetry there is ballet.'" http://www.bolshoi.ru/en/about/press/articles/2015/3392/ Not every new production from the Bolshoi captures my attention to such an extent, but this one--obviously--does. I am very much hoping it is a substantive work and a success.

They also published this video (English subtitles included) with some comments on the role of the director, Serebrennikov, in the production:

I only saw her a handful of times, but always found her a wonderful dancer. (Injuries really took a toll...) Wishing her a fabulous next career.

Very enjoyable reading about this performance. I have never seen Kolegova live -- perhaps I will get a chance at some point.

Some digital sleuthing has been done since the publishing of Go Set a Watchman--it's referred to (and a link given for a fuller summary) in this article--which addresses the issue of Lee's authorship and, to a lesser extent, women authors generally: http://www.theguardian.com/books/2015/jul/20/harper-lee-to-kill-a-mockingbird-authorship-women-writers?CMP=fb_gu

Though, in a way, briefly she did return--many years later to dance Carabosse in the Mckenzie/Chernov/Kirkland Sleeping Beauty. I didn't see her Carabosse but a number of people seem to have enjoyed it, though the production was widely criticized and later, I gather, revised even before it was replaced by the Ratmansky. In any case, her performance in Sonnambula was absolutely mesmerizing--one of the greatest I saw from her at any time and all the more special (to me) in happening at a time in her career when she was having great difficulties.

Kirkland danced it at ABT. Early 80's. Here is a link to Jennifer Dunning's review of the performance in which she begins by saying that Kirkland's Sleepwalker "had the grandeur of madness and the fine detail of a nightmare though a beautiful one..." and goes on to discuss the performance a bit more: http://www.nytimes.com/1983/07/10/arts/ballet-role-for-miss-kirkland.html

I thought the relationship to Putin and politics seemed to be what most intrigued Rose in the later portions of the interview. And no matter how you slice it or how you feel about it--I have some sympathy for Gergiev in this respect as well as respect for his accomplishments--Gergiev comes off as a Putin apologist. (American arts leaders are mostly spared having to defend the politics of their donors. Which may be just as well, but also just as well to remember when people launch, as they have, public protests of Gergiev.) In this context, too, it was interesting to hear his emphasis on DEpoliticizing interpretations of Shostakovich. But altogether a very interesting and, as noted above, wide-ranging interview.

Thanks for posting. I caught the second half of this interview and found it very interesting. (Will try to check out the rest. Though I suspect some of the questions I would most like to ask Gergiev especially regarding ballet at the Mariinsky didn't get asked in any case...)

When I saw it with ABT, I found Kirkland quite extraordinary as the Sleepwalker...

Thank you for posting--a very interesting interview. (I was able to listen to it in its entirety.)

I have only ever seen Lacarra once...at a gala many years ago, dancing a couple of lyrical pas de deux--I no longer even remember exactly what they were, though one may have been by Maillot. I remember finding her breathtakingly beautiful and poignant. I was desperately hoping to see more of her. No such luck...Thanks for your report on this event.

I found that Tharp's works often looked quite different with her dancers, and one saw qualities that only a few ballet dancers have been able to bring out even in works created for ballet dancers.

Not only did she dance it--internet chatter and reviews were consistently very, very good.

As you were typing, I edited out the idea of Lendorf as Colas (in my post) just to express my general desire to see him dance period--but in fact I think he has the potential to be great as Colas and...uh...yes to anything he is dancing as you say!

My difficulty with this remark is that you were the one who brought up Copeland (albeit calling her "the other one") in a context that did not require it--you were talking about the dancers you wanted to see in Sylvia in a thread on "wish lists" for next season--and then you took a dig at her fans as well (describing them as "whooping and hollering"--another not exactly respectful phrase). We all slip into saying and writing things in tones or terms that later we may partly regret or that others may consider disrespectful. Ballet fans can be a sharp-tongued lot. Or, on a message board, sharp-typing. But Copeland is constantly subject to this kind of dig even when the topic, as here and in your post, isn't necessarily Copeland at all. That's one of the things that is rather disturbing to me. You (and probably many others) don't want to talk about her--then by all means don't. But one can't have it both ways. Is all this just the price of fame for Copeland? She seems to me to be paying a much higher price than other famous dancers. My wish list for next season? I think I mentioned Ashton in my post above. I'll specify Fille in case I didn't already and with pretty much any cast. For myself personally I'm especially eager to see Lendorf in any role as I have never seen him dance live.

I remember loving Underwood in.Giselle. Best of luck to her in the future.

Thanks--I wasn't sure who that was, but had thought Naghdi. I also found her the stand out in the afternoon cast of Infra. Much as I always like Nunez--who danced that pas de deux in the evening I believe--I may even have liked Naghdi in that particular choreography a bit more. I have only seen two McGregor works before one of which was a kind of miniature. I had a mixed reaction to the ballet. I'm not crazy about the almost non-stop gymnastic erotic mode--but the larger setting of the ballet (the sprightly lit, almost, but not quite, uniform images of walkers above (on the LED screen) and the more twisting, messy, irregular, darkly lit world of the pas de deux below as well as the introduction of the crowd slowly walking across the stage and one section with a slew of simultaneous pas de deux across the stage each contained in its own rectangle of light--all of those elements made it kind of formally interesting to me at times (in a way the movement did not) and perhaps a bit more suggestive in atmosphere than I might have expected. I also agree that the Royal Ballet dancers know how to put it over, though it does tend to even out some of their individual qualities -- which may be the point, but...(In the evening Watson was especially notable in part because he seems always able to put a stamp of individuality on what he does.) Enjoyed Marcellino Sambé in the "Borrowed Light" Solo...not profound/complex choreography but I found it a very effective contemporary ballet showcase for this dancer.

This afternoon's performance of Infra, along with a collection of excerpts, pas de deux, solos etc. and Age Of Anxiety had, for my taste, mixed results, though I found the Scarlett consistently rather interesting which I had not quite anticipated. Same program in the evening with mostly different dancers (in many cases more senior or in case of the Scarlett the 'original' cast) went rather better. Age of Anxiety is the third Scarlett ballet I have seen and the first that has made me curious about how he will develop. Don't know about this afternoon, but this evening Scarlett was in the audience, as was Wheeldon (whose pas de deux from Aeternum was one of the excerpts danced) and Justin Peck. From the NYCB family I also saw Peter Martins, Darci Kistler, and Amar Ramasar--and from the Royal's Monica Mason. I rather suspect someone sharper eyed than myself, or more familiar with the two companies, would have recognized others.

Better response from the audience for Song of the Earth this evening--people in the orchestra still left by the dozens well before curtain calls were over, but those that remained received the ballet quite warmly. I was struck by how different Cuthbertson was in it than either Morera or Nunez. I liked her long lines, but in the beginning found her affect cooler than the other two. I didn't dislike that, but it did make the ballet feel different...by the end she built up the same kind of emotion ... But it still felt a more restrained interpretation. A great pleasure to see Watson again as the Messenger of Death. The other main male role was danced by Hirano. I confess I would like to see the ballet with someone who makes a stronger impression than I thought Kish or he did in that part, but it's possible I'm looking for the wrong things. I like the ballet very much. The Dream received a more energetic and funny performance tonight than it had earlier in the week (with Golding as Oberon working up a little more speed than he had last night and the ensemble looking the most polished it has all week too). It got a very warm reception -- I think the warmest I have heard for the Royal this visit. In case anyone is wondering: Osipova, who danced Titania, did not slip--she was also a touch more restrained in the turns that last night had preceded the slip--and portions of the pas de deux with Golding went better than last night. To my eyes, she gives one the wild woodland creature Titania, though perhaps not equally effectively at all moments. I find her fascinating in the role.

Well, Polunin has said he wants a film career. That's not meant as an endorsement.

I don't frequently use 'honor/honored' or 'privileged' in conversation or writing, but have used both of them in the idiomatic way being objected to here and, come to think of it, on this very website. I guess I am grateful I was not taken to task. But...uh...if occasion arises I will do so again. The extremes of opinion generated by Copeland's career speak clearly enough to insularity in the ballet world. Not all forms of insularity are bad, but some are. The next talented African-American ballerinas who rise through the ranks at ABT will owe Copeland a debt for weathering this firestorm.

Had a very different reaction than Amour to tonight's performance. For me, Lamb's Titania is a Victorian postcard, Osipova's an otherworldly creature--wild, imperious, sensual. I have never seen her port de bras so fascinating. Thank you Royal Ballet for that. She slipped which was unfortunate. Rather more unfortunate (if less dramatically so), the pas de deux with Golding was often hesitant and even a touch awkward despite Osipova's greatly imaginative inhabiting of her role; some of that may have been Osipova still coming to terms with Ashton, but I cannot believe Golding is a good partner for her. He lacked McRae's presence as Oberon and obviously was slower than McRae in parts--but neither of them danced with anything like the quicksilver beauty and command the role calls for. In a different role I might like Golding just fine. And I could have overlooked a lot for a masterful account of the pas de deux. I thought otherwise tonight's ensemble dancing had more energy than opening and particularly preferred the lovers (Cowley, Mock, Calvert Hirano)--Calvert has very pretty feet, what I think of as just right for Ashton. Morera brought intelligently honed emotional intensity to Song of the Earth. Her hands were particularly beautiful and articulate throughout. For my taste, though, Nunez and she showed different strengths in the same role--ditto Acosta and Watson, and I am glad I saw the opening cast as well as this one. In particular Nunez' greater flexibility, greater ease and daring in the partnering and trio work, and greater security and cleanness in turns brought out imagery and effects that were more muted in Morera's dancing and added to the expressivity of the performance not just its beauty or technical fluency. (Though it did the latter as well.) But Morera and Watson were very fine. Morera wonderfully intense and free in her bourrees at the end as if entirely carried away by powers and feelings beyond her control. The ensemble was better than opening night, but I don't find it hard to believe that this ballet has been danced better overall in the past. It did not cast a spell on much of tonight's audience certainly, and New York does not appear to be embracing it. Leaving aside ticket sales...Within my line of vision I saw half a dozen people leave early and while last night's response was good not great, tonight's response was barely that. Something like a quarter of the orchestra--or so it seemed--headed for the exits the nano-second the curtain came down. And those that remained could barely, if at all, work up a cheer except a bit for Morera's solo bow. I do not think this can all be passed off on tourists. I do think people were perhaps not prepared for what they were going to see, and maybe the Mahler is a turn off for some. Still, I was embarrassed for the audience. (There has to be room for touring companies to present ambitious, serious modern ballet choreography that is less familiar to American audiences ... And, even from those who disliked the ballet, time for some minimal good manners. I just don't believe that all the people leaving had to catch a train or were rushing home to care for a sick relative etc. And I mean they didn't stay for ONE curtain call.) Even if these dancers (principals included) are not the best the ballet has ever seen, I am hard put not to think these were fine performances deserving of a warmer reception. I, at any rate, am glad I got to see them -- am glad I got to see both casts, too, and am headed back tomorrow night.

I had read the lyrics to Song of the Earth ahead of time (via Wikipedia) and it does help. Perhaps this is not the most sophisticated response, but I also found the ballet's themes of loss (which can be extended figuratively beyond literal death) to be something I related to more closely than bares discussion on the internet. More importantly, I felt Macmillan's imagery was really up to the power of the music. At least on a first viewing. The Dream is one of my favorite ballets but I found last night a touch lackluster as well. No sooner was I admiring the cleanness and unison of the corps of fairies than they hit their final pose and 1 of them bobbled...this happened a second time with more than one bobbling. I thought McRae performed Oberon marvelously--with a touch of real malevolence--but his actual dancing often looked labored (despite the brilliant super fast chaine turns) as were key moments in the final pas de deux including the supported arabesque penche where he seems to turn Titania under her own leg (as it were). Nor do Lamb and he have at all matching lines. Full disclosure requires me to say that I saw Dowell dance the role (albeit past his prime). I have enjoyed a few Oberons since--notably Hallberg--but still no-one comes close. Lamb danced very prettily and I enjoyed watching her, but there's more to Titania than she showed. Still, I would be happy to have more chances to see her dance. (I saw her dance a very uneven--to put it kindly--Aurora many years ago in which--apparently--nerves did her in. So I was actually very happy to see her give a graceful account of herself here even if I wasn't crazy about the performance.) I don't know what Royal fans would think of ABT's Dream, but I have found even ABT's weaker casts in most roles to be at least as good as what we saw last night. BUT though the Royal had already performed the ballet at a gala I suspect there was a touch of opening night 'blahs' over the performance with the possible exception of McRae who, whatever his faults, certainly knows how to command the stage. (I know comparisons are odious, but inevitable too.)

Since I just saw Song of the Earth for the first time, I can't speak with a mental library of memories and other knowledge behind me in evaluating the performance. I did find it beautiful as well as moving and completely agree that this is a different and much more compelling Macmillan than the Macmillan of Manon and Romeo and Juliet. I can see that if you don't like Mahler, then it would be a chore. I do. And I think anyone who does--especially any ballet fan who does--should not miss this. I thought It received a warm but far from rip-roaring response from the audience -- and when the curtain came down I had thought everyone was going to leap to their feet. The dancers? I am still getting to know the ballet, but will report a few impressions, understanding that different casts may give me different perspectives even on tonight's performance. First, regarding reports that Nunez smiled inappropriately when dancing the role in London... The only time we saw her smile tonight (and a beautiful smile it was) was during curtain calls. I can see that occasionally her sheer physical facility can start to look facile in this work, but mostly the utter security of her dancing meant that one was able to completely forget about what she was 'doing' and just enter the world of the ballet. Or so it seemed to me. She has a 'rich' slightly sensual quality at times, too, in the way she moves-especially the arms-something I did not remember really from the times I have seen her in the past. I am very happy to have seen her again after quite a few years. I thought Acosta was quietly mesmerizing and showed a responsiveness to the music as well as a kind of simplicity or economy of movement that really showed up every other man on stage. Not least Kish who dancing side by side with him would sometimes be performing the same movement seemingly with twice as much energy and range of motion, but still less than half the effect. However Kish's big pas de deux with Nunez looked so fluent--effortless even--in the most seemingly complex partnering maneuvers--that I am almost willing to give him a pass on everything else. I did think the opening of the ballet looked a touch ragged and expect that to improve tomorrow and the night after. Anyway, the chance to see this in the theater--whatever the vagaries of casting--was one of my main reasons for coming to NY to see The Royal. (Osipova was another.) So far, I am not disappointed and will be interested to see how I think it holds up on repeated viewings and with casts that others have admired more.