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Simon G

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Everything posted by Simon G

  1. You ask many questions for which there are no answers except if you were to ask the people directly involved and it's highly unlikely they'd spill the beans especially to a total stranger. No one knows the specifics and anything else is just rumour and conjecture. I only mentioned the question of sex as you brought up the issue of sexual harassment and I don't quite get what you meant by attorneys for ballet, why would an attorney practice slander? Most dancers aren't established, rich enough to hire personal attorneys, indeed why would they and if there's one thing guaranteed to ensure someo
  2. A director is absolute authority and power within his or her company. All they have to do is not cast, promote and totally ignore a dancer and that's it, sometimes it's a passive aggressive means of telling dancers to leave and find another company, it's not fair but that's the way it goes. Batalov peaked at first soloist level having spent much of his career not performing at all under Vaziev at the Mariinsky, that's some fifteen years, at the Paris Opera Ballet Lefevre has been frigid to the point of arctic towards Emmanuel Thibault who is now premier danseur but has not had the opportuniti
  3. Batalov was pretty phenomenal, he's kind of the Emmanuel Thibault of Russian ballet, an incredible talent hamstrung by a vindictive, incompetent director, but given that Vaziev is the man behind the inexorable rise of Somova it's unsurprising if depressing that such a talent as Batalov suffered under his direction. You do wonder why Batalov didn't just take himself to another company where his talents would have been fully utilised and appreciated.
  4. The biggest difference is that BRB is a company where everyone gets to perform regardless of rank, artists and first artists are often cast in soloist and even principal roles and Bintley is keen to foster a fairer schedule and apportioning of parts. In the RB the artist/first artist rank is a graveyard for talent with people languishing there their entire careers. Also Bintley actively promotes and nurtures homegrown talent, people enter the company with a shot of rising through the ranks whereas the state of the Principal and first soloist levels at the RB is well known, the company has a s
  5. Can I just say that when it comes to Bintley I do think some of his one act ballets are beautiful, Dance House, Flowers of the Forest, Spirit of Fugue are lovely, it's the three acters that I don't enjoy, but he is extremely clever in the way he has created a rep around thee act ballets that sell and that's the thing he's made a company that really works, gives ample opportunities to perform to all members of the company and best of all he really venerates Ashton and gives him pride of place in the BRB rep, giving his works far more love, care and attention than he gets at the main company. I
  6. Hey Leigh, I remember you saying that you'd seen him in the Black & White programme and not really noticed him, it's in the three acters that he comes alive and you really see what he's made of, especially technically, also he's really established a partnership with the veteran 40 year old Daria Klimentova and together they can be pretty sensational. It's a pity you haven't seen him in full stride, but yes within the classical rep he is exceptional. He's stated that he feels ill at ease within contemporary work and it does show, though the contemporary rep within ENB is limited at best,
  7. I actually think too that Birmingham Royal Ballet is a perfect match for Westwell, ENB is actually a great deal more classically orientated than BRB which under David Bintley has become a good deal more story orientated, I don't like Bintley's works but I do acknowledge that he has very cleverly created a company that really works on a financial and professional level and really fills a market. Westwell is a dancer of some swagger and dramatic weight (though he can tend to be a bit of a ham) he's not a virtuoso or classical stylist but he is a very talented performer and that demi caracter m
  8. The price range of $54-$70 isn't actually that bad, especially compared to London where ticket prices can reach the $200+ mark for a best seat ticket. The thing is though live performance costs a great deal and it's part of the joy and immediate pleasure of what makes dance, and in truth the Corella ballet is a good deal cheaper than a show on Broadway, a musical or indeed ballet in the city centre. But one thing is certain without those prices live performance simply couldn't exist.
  9. And what if the AD in question has no desire to market the dancer who markets themself?
  10. Indeed PT, so Miliosr care to share the contents with your chums?
  11. Do you generally frame your initial inquiries in a very general or very specific manner? The problem with youtube is precisely that, if you're too general you get absolutely everything they have to offer, so putting in Rose Adagio you'll get every Rose adagio going from every company. Probably you're best bet is to research a company, and certain dancers or choreographers then put in a search directly with key words ie "Ashton, Fonteyn" "Lynn Seymour" "sylvie Guillem" "wiliam forsythe" etc If you're specific about a certain choreographer or company you'll generally get results which dire
  12. I found this little news curio from sometime in the 1940s Helen Keller visiting Martha Graham in her dance studio during rehearsals with the company:
  13. This is actually a very contentious issue, in the most notable cases such as Balanchine the choreography is actually part of a licensed trademark and copyrighted and belongs to the Balanchine trust and foundation, they release DVDs or excerpts to promote the work but the revenue collected from the work goes to further the work and cause of NYCB, the Balanchine Trust and Foundation. There's much on the internet but technically the work of Ashton, Macmillan and every modern choreographer who has set up or has a foundation set up to protect the rights and reproduction of their art and the format
  14. Youtube is the antithesis of what dance is about. Live performance, a video will never give anything but a vague impression however it's useful as a point of reference, especially for dance history and there's actually a great deal more available than you'd think on youtube, you just have to know how to search. There are actually many online libraries and resources for dance online. Certain choreographers' work, however, is rights protected and can't legally be put online, the problem isn't with there not being the resources, the crisis facing dance attendance is far more involved and complic
  15. It is business. Every seat not sold is a loss for a company, at the moment lyric theatres are operating at about 85% capacity at best, the NYCB has had to close the top tier of the Koch theatre because of seats unsold in many of its performances. Ballet companies all operate in a deficit and in this economic climate especially that's killing companies. Yes, ballet is art, but you can't eat art, art doesn't pay wages, doesn't keep theatres open. Even with 100% capacity companies couldn't survive without heavy private sponsorship and where available Government subsidy and the lower down the fo
  16. Hey Variated, I think the thing with Smirnova joining the Bolshoi as soloist (besides her undoubted massive talent) was Filin was determined to poach her from the Mariinsky and so his successful gambit was to make her an offer she couldn't refuse. This isn't unprecedented though the Kirov made Nureyev a soloist on entry in order to keep him as he'd received a soloist offer from the Bolshoi. Jensen, again another massively talented prodigy who'd caused a smash on the competition circuit entered Boston as a corps and was rapidly promoted to second soloist, big talent will invariably be rewarde
  17. Mock & Hayward both attended the Royal Ballet School from an early age, rose through the years assessment after assessment and at the end of their training were both offered contracts. Going through the school is the primary way of getting into the company, some of the dancers enter the international competition circuit many don't, but entrance into the competitions and the large-ish media based attention they bring is no guarantee of getting into the company. The Royal Ballet is one of the best jobs in the dance world, full year contracts and around £30,000 pa starting wage, everyone wan
  18. Simon G

    Alina Somova

    In truth Somova is hugely divisive but I have to say too I have never seen a dancer with such an overwhelmingly negative press and opinion about her abilities from the majority. Which is why those who love her will love watching her videos and those who have problems with her will continue to do so. I have to say under Terekhova she has made huge improvements, I've even said so on this thread, though sadly in London apart from In The Night she garnered very bad reviews and seemed to fall back on many of her bad old habits, it's unfair too to say that Somova isn't talented, but she has a speci
  19. Simon G

    Alina Somova

    The video is set to private and it's not my photo. Sadly for her the critics, her company and audiences aren't backing her in any legitimate way, and like I said I think it's very sad for her to see her career fizzing out, but perhaps she should never have been promoted so fiercely to start with, and yes in certain ways she has indeed improved, I've even said so on this thread, but I still don't think she's a ballerina. But again as Natalia said, the FACT is the Mariinsky aren't casting her and I do feel for Somova, it must be pretty terrible for her. However, I'm sure there are boards out
  20. Simon G

    Alina Somova

    The Swan Lakes with Sarafanov were five months before the Mariinsky Festival where she wasn't given a single full length, do you really think an ambitious dancer, a principal would turn down an opportunity to dance Odette/Odile on her home turf because she'd done a limited run in a foreign city some five months before? Mea culpa, I got the dates wrong, but again the reason why Somova chose not to return, or rather perhaps was replaced following her poorly received Swan Lake is open to debate, none of us know the facts, but burying a dancer in third casts and matinee performances is a fact whi
  21. Simon G

    Alina Somova

    But she stayed for her Swan Lake, and In The Night which were both after the funeral?
  22. Drew, I'm sorry you feel that I was denigrating Healy as a dancer, the fact is she was very very young at LFB & only stayed there a very short time before deciding to give up dance and return to college. Schaufuss went on record as saying that when he took the helm of LFB now ENB the company was cash strapped and he didn't have the money to hire stars, so he decided to create a furore of his own with very young prodigies. Healy & Sevillano being 16 & 15 respectively when he took them into the company and elevated them to principal status. Of the two Healy was the ostensible "perf
  23. This was the 80s Bart, a real man wouldn't be seen dead in anything other than baggy pants, shoulder pads and thigh highs. Either that or you were totally Emo.
  24. Hunterman Here's another interesting use of costume and how it can dictate or work with a ballet or choreographer it's the Lyon Ballet's version of Cinderella by Maguy Marin from 1989. Lyon is a classically trained company, but they take a contemporary approach to the classics and ballet:
  25. He was pretty special at that time, it must be said. Also in terms of Karinska she truly was a genius, one of the greatest theatrical costumiers of all time.
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