Naoko S

Thanks Inga for a great link! It appears the Magazine itself has been in circulation for quite some time, but the website is a recent device? I've found myself amused at browsing through a lengthy list of the people involved; 'board', 'council', etc. and unexpectedly have found the name of a renowned Japanese critic, Mr. Kenji Usui!

Ticket prices... here it is, as you've dared to ask! Prices for all evenings & Saturday matinee performances range from 8.50 to 80 quid; mid-week matinees slightly cheaper at 6.5 to 70 quid. There are many layers of the price setting in each level of the theatre (for instance prices for Stalls Circle ranges from 22 pounds to 80 pounds) so be extra alerted when booking your tickets! In my views there's a substantial increase in the price compared to their last visit in 2001 - especially at the lower end. One friend of mine has pointed out that side amphitheatre, where usually are completely occupied by regular ballet-goers who seek a better value for money, now costs 22 pounds - it used to be 12 pounds.... (Oh and just in case you're wondereing, true to the impresario's own traditions, there seems to be a limited number of "Champagne Superseats", costing just 100 pounds!) They open public booking on 20 May. >>So, I guess, yes, it could be true about the three new ballets and it could be well in time to bring them to London. Wonderful! Will keep fingers crossed this comes true....

Lucky me - someone close to a ROH patron has given me a leaflet by V. Hochhauser for the summer season - looks like this allows me to book ahead of others! (Sorry folks!) FYI here's the performance schedule: WEEK 1: 21 - 23 July (including one Matinee performance): Le Corsaire 24 - 26 July (including one Matinee performance): Swan Lake WEEK 2: 28 - 30 July (including one Matinee performance): Homage to Diaghilev mix bill* 31 July - 2 August (including one Matinee performance): "London Premiere" New/Old Bayadere WEEK 3: 4 - 5 August: Contrasts mix bill** 6 - 8 August: (including one Matinee performance): Swan Lake 9 August (M&E): Le Corsaire *Diaghilev mix bill to include: Chopiniana; Les Noces; Scheherazade **Contrasts mix bill to include: Serenade; The Rite of Spring; Etudes They claim to bring the following dancers: Amosova; Ayupova; Dumchenko; Gonchar; Gumerova; Lopatkina; Makhalina; Nioradze; Pavlenko; Sheshina; Sologub; Tarasova; Vishneva; Zakharova; Zhelonkina; Baranov; Fadeyev; Kolb; Korsakov; Korsuntsev; Kurkov; Merkuriev; Ruzimatov; Sarafanov; Yakovlev; Zelensky. Question for MarK on 'premier' performances: In the leaflet, referring to this year's special 3-months long White Nights Festival, the impresario mentions the following: "And in honour of the occasion, The Kirov Opera and Ballet will present no fewer than ten premieres, which will include a complete Ring Cycle, The Demon, The Enchantress, Il trittico and Etudes, Les Noces and the Rite of Spring." This has made me confused - has Kirov ever performed these 3 ballets at all?? Or, as to Les Noces and the Rite of Spring, are these identical productions you described as dreadful in another thread?

Hi Inga Here's one of the sites I saw - but be warned again it appears to be in Japanese only... The owner of the site is a dance critic and university professor. www.shosbar.com

Not a stupid question at all! I myself have not had a good knowledge about these companies, but one thing's for sure, they are completely different institutions. New National Theatre Ballet is, as the name suggests, a public institution which the government subsidise - for a large part, I guess. (Just in case you're wondering, the original "National Theatre" is the institution for a traditional Japanese performing art - Kabuki.) The other, Tokyo Ballet is, I should guess, a private institution. Interestingly, a parent organisation for the company, Japan Performing Arts Foundation, is also an impresario for ballet & opera performances. (A plea: Any Japanese readers who've found the above accounts absolute lies, or misleading rubbish please do correct!) Yes! Hilaire is a wonderful and utterly irresistible dancer, isn't he? I saw him in Le Parc a year ago, and above anything else his passions for stage/dance moved me greatly... In a month time I should be able to see him in RB's Nureyev pro. (lucky me!) so I'll tell you how it goes... (certainly in other threads!)

Hi Inga - how's Moscow? Freezing cold? Not having been based in Japan, I'm afraid I cannot tell you how they were received. I did spot some comments on the performances in Japanese ballet sites but don't think it appropriate to quote them here... perhaps other Japanese readers who had actually seen the performances may be able to tell us about it. Anyway I can assure you that Zakharova has had huge followers in Japan - in recent years she frequently guest-appeared with domestic as well as international companies so Japanese ballet-goers stand a better chance to see her. Her next engagement in the country has been arranged as early as in July - in Giselle. (Her Albrecht will be, the best Albrecht of all time, Laurent Hilaire from POB!)

I've spotted more details on Kirov's Japan tour on their impresario's site. Scheduled dates and programmes in Tokyo area are: 23 Nov "Swan Lake" at Ken-min Hall, Yokohama 24 Nov "Cinderella" at Ken-min Hall, Yokohama 27 Nov "R & J" at Ken-min Hall, Yokohama 3 Dec "Cinderella" at Tokyo Bunka Kaikan 6 Dec "R & J" at Tokyo Bunka Kaikan 8 Dec "Swan Lake" at Tokyo Bunka Kaikan 9 Dec "Swan Lake" at Tokyo Bunka Kaikan ...I should think after Tokyo they may tour around the country? (Their tour schedule continues well into 20 Dec). Also a special mention - It's been advertised that in the 27th's R&J Gergiev is scheduled to conduct. Now the info. on the dancers scheduled to join: Lopatkina, Vishneva, Zakharova, Dumchenko, Part (!), Ruzimatov, Zelensky, Kolb, Korsuntsev ...well, though they warn that it's 'all subject to change', I still wonder if it's appropriate for them to include Lopatkina's name when no sign of her immediate return has been noted? In the recent St. P times, M. Vaziev was quoted to say that he could not comment on when she would ever be able to come back. (The article was found in your "Link" section for Friday the 21 Feb. - thanks!) Here's the link to the website - unfortunately it's in Japanese only, but on this page at least you can view the photo image of the ad/poster! www.japanarts.co.jp/index2.html Oh and I also heard a good news from Japan - Igor Zelensky was reported to return from a rather long absence and guested at New National Theatre Ballet in their version of 'La Bayadere' - with Zakharova.

Thanks Roma, for sharing your experiences and joy with us. Your vivid account on Pavlenko's Odette/Odile was so very powerful that I have a feeling I will be haunted by that until I actually saw her in the role with my own eyes! On Pavlenko I have had this impressions on her that she's very intelligent and strongly individual character ever since I read her interview in a Japanese dance magazine a few years ago. Interestingly in the interview she commented something like (asked by the interviewer which one you feel more closer to yourself, Odette/Odile?): Most of the time it's easier to create the role of Odile as, put it bluntly, it's a role of a vamp! Odette, on the other hand, is more difficult to tuckle - it's delicate, feminine, romantic and more complex.... She also commented that she did dance in Swan Lake about six times by then - it was September 2000 issue of the magazine. That makes me wonder why her appearance in the ballet escaped London audience in Kirov's 2000/2001 visit?? Well maybe next time....

Thanks Cygnetblanc and Estelle for your thoughts! Hmm...so he has spent more and more of his time on coaching these days... but surely he'll have a few years left before he reaches the age for a formal retirement? Let's hope we'll be given more opportunities to see him on stage. (IMO he's by far the best Albrecht of our times!) Sorry not to have mentioned in the first thread (I thought you knew about this all along), but it seems that Hilaire will dance in Manon at POB in June with Guillem - that's what I heard from him. Good news, hopefully, more to come....

In the last 2 weeks London ballet fans had an unexpected and a delightful gift of having had Laurent Hilaire as De Grieux in Manon, replacing injured Jonathan Cope. (His Manon of course was Sylvie Guillem) After rather anticlimactical first night, two dancers quickly regained usual selves and a great partnership on the second night - without doubt one of the most aesthetically gifted pairs in the ballet world, together they created a beautiful picture (too pretty perhaps for the nature of the story? But then to me it worked...). Hilaire was a true chevalier, a reliable partner and gave Guillem a much-needed (so I suppose) freedom... At the end of the performance I was so saddened to realise that it was the last one for Hilaire for this run of Manon. So after the show I asked him about his schedule for the coming months at POB. Well it seemed that we don't stand a good chance.... endorsing my impressions that his appereance at POB has become less and less frequent these days (last season I managed to see him just once!), the next one he's due to appear in would be Bejart mix pro, he said. To my great dissapointment it looks almost certain that he would not dance in Giselle in July. (I had thought this could be possible as he's due to dance Albrecht in Tokyo in July; two performances are scheduled to be given as a part of Nureyev Celebration pro. And guess who'll be his Giselle - Svetlana Zakharova, now a regular guest to POB.... Why only in Japan?) Anyway I've determined to go to Paris to catch him in Bejart pro. According to POB site works to be presented this time are: L'Oiseau de feu; Webern, opus V; Le Mandarin merveilleux and 'Création mondiale'. I wonder in which of these Hilaire is most likely to appear? Also is it possible he would take part in the entire run (Bejart pro will last one month from mid May)? Would any one kindly advise me on these please - any info./comments gratefully received!

Not too sure if it's really worthwhile to give this to you, but as the Discussion Leader has recommended.... here's the URL for the Japanese Impresario's (company name: Koransha) website: http://www.koransha.com/muse2003/musenew.htm Warning: As far as I could see it's in Japanese only....

I wish I were in Tokyo at the moment...(sigh) RE: Le Corsaire featuring Ruzimatov If anyone's ever interested, I learnt from the official site of the impresario that Diana Vishneva will dance as Medora on the 12th February. Wow!

Jeannie & Mark - thanks for pointing out about Lopatkina's appearances in some of the videos. How could I be so blind.... Tough I've been a *mad* fan of Lopatkina for a long time, I must admit these are absolutely new to me - what a terrific news - thank you!!

Thanks for the report, Mark. I really envy you as Baden-Baden is the place I have always wanted to catch Kirov in, but it never materialised... So glad to hear that the corps was in a good form - at the New Year Concert was it not the graceful waltz by the corps which was most memorable... Trust everybody enjoyed it.

A Happy New Year to you all! During my recent trip to Japan I managed to obtain a copy of the delightful DVD featuring the current Kirov Stars. The DVD is called "Ballet Dictionary for Children", a part of the lesson video/DVD series called "All About Vaganova Ballet Academy" (I'm afraid it's published and available only in Japan). I may be wrong, but perhaps it's Vaganova school that is the most prevailed and influential method in the country - that's why the demands for this type of products are there. Contents are of a dictionary, literally - school pupils demonstrate essential pas guided by Ms. Marina Vassilieva. It's in the 'Adagio' sections you can see short excerpts of the classical works danced by the current front women of the Kirov. They are: * Uliana Lopatkina in Swan Lake * Diana Vishneva & Farukh Ruzimatov in Don Q * Svetlana Zakharova in Giselle & La Bayadere Although each part is less than two minutes it's well worth an investment I reckon..... 'cos as far as I'm aware there's no video/DVD available on the market which features these dancers... or am I wrong??

Thanks Kevin for info. I just hope Lopatkina's name is not used merely for crowd puller... is it not bizzare her name appears only in a special gala? Anyway if she's to appear I'll be there. Please, keep us updated on the event should you know of any development....

Thanks No.7 for info. - I've heard the similar rumours in the past months and only hope it will turn just rumours.... Perhaps I should start campaigning to ask for her early return! Honestly without her the future of classical ballet looks grimmer than ever...

Thanks every one for sharing the Paris experiences with us. Now I know who to look out for as Nikiya when they bring the production to U.K. next year - provided of course the would-have-been first cast for the role, Uliana Lopatkina, would still not be available by then. Roma wrote: >>One of the many reasons I loved Pavlenko's portrayal so much when she danced the role in New York was how well she was able to articulate that Nykia is really a Chosen one. There was something deeply spiritual and dignified about her... Because if Nykia is just another vamp (which is the way Vishneva did it, “modulating” a Kitriesque interpretation with a “sad face” now and again), then the “Shades” act, which can and should be danced on a fairly high spiritual plateau, doesn’t really work as well. Cannot agree with you more about the qualities desired for the role of Nikiya! Yes, indeed if a ballerina were rather down-to-earth and failed to bring a deep spirituality to the role (ideally take us to the other world) this ballet would fail altogether. I can well imagine Pavlenko succeeded in this - but then among the current Kirov troop who could bring these qualities best - who could be just rightly described as "Chosen One"; "Spiritual and Dignified"? In my mind it's no doubt Lopatkina. (Perhaps I'm not the only one who was disappointedly put off by her absence for this run - no single London critic dared to cross the chunnel to see the production? I may have overlooked it but have not noticed any review at all here...) So as far as Kirov's New/Old Bayadere is concerned can I declare (in a whisper) that Paris audience, for that matter New York or even St. P, yet to see the best of them?

Thanks very very much for the info. Kevin. Now I can deterrmine not to go to Paris this time - it was totally up to the casting for the new/old Bayadere; unless Lopatkina would able to make it personally I can't see much point going. I'd rather wait until next year when they bring the production to the UK!

Would any one having an access to the casting info. for their Paris Tour kindly share it with us? I've been asking the Theatre about it but so far no news has been heard. (My guess is it's not that they are negligent but actually have NO info. to spare!) They will open internet booking tomorrow and naturally I'd like to know at least who will be joining the tour before booking tickets.... RE: Kirov's Japan Tour 2003 Their Japanese impresario recently released a bit of info. - tentative dates for their next Japan tour are 20 November through 20 December 2003. Works they plan to bring include: Cinderella; R&J; Swan Lake; Nutcracker. (Of course all subject to change!) Why no 'Jewels' yet again is beyond me - many a ballet-goers out there must have been greatly dissapointed at the news. I sincerely, absolutely wish they (either the company or the impresario, or both) would change their mind and bring this masterpiece to the country.... IMO it's by far the best work the current Kirov troop could offer... Lucky Beijing, I must say Kevin!

Thanks Mark & Estelle for the info.! Can't wait to see the new Nut & Bayadere - my wishful thinking is that Lopatkina will be able to join the tour returning from 'maternity leave' (the info. I spotted in Jeannie's posting somewhere else)! Estelle, Does Bordeaux Ballet frequent to Paris (like at least once a year)? That's one of the French companies I've wanted to see, but for this occasion it's very unlikely I'll be able to attend. I'd really love to see them before Jude completely retires as a dancer...

Recently it appears British press has forcused more and more on the 'substitute war' between the two giant impresarios - rather than artistic debates. I personally do not take this, let alone useless comparison between the two companies, seriously (though I must admit it can be fun - just for a light reading!) Having seen the first night of 'Stars of Bolshoi', all I could think of was how lucky we were to have a chance to see this outstanding company in such a great form. Already by the end of the opening piece (Act II of 'Swan Lake') all the off-stage noise evaporated - Exquisite line of the Corps simply made me sigh; sincere acting and secure dancing by Antonicheva and Filin impressed (especially Filin; he was great in Giselle pdd too). As the evening proceeded, I found myself in an utter joy - convinced that what we were seeing was a bunch of the exceptionally talented dancers truly devoted to their art. For this very reason I found the programme rather weak and frustrating. I mean, after having seen what Lunkina did to Giselle pdd, is it a crime to ask for more - wish to see the entire production? Another disadvantage may be the fact that in general the same dancers are supposed to appear in the same piece every day for a 7 consecutive days (OK Sunday is off!). Repetition can kill the artistry - I won't be surprised if opinions/impressions for Lunkina will differ between myself and someone who will have seen her on the 5th/6th/7th night. I may be a bit too greedy, but cannot help but wish if they could bring one/two full length ballet... Anyway this is unmissable; what struck me on that evening was the fact that whatever the chaos/ordeals they have gone through, their artistry has survived; intact. I'd say this is a truly amazing achievement. What a paradox this is, but this experience endorsed unpublished views of mine - that chaos and hardship may be the ingredient absolutely necessary to keep this particular form of art alive...! I'm not being ironical, no way political, but just feel the general fact that the companies/dancers from economy-stricken countries do much more to me than their affluent counterparts must dictate something. (You may call it a simple difference in taste. Maybe true - I still to find an answer myself.)

Kevin, I did notice Dumchenko danced leading roles in the two productions - but as far as I can remember at least for SB she was a replacement for someone - not originally casted for the role. In Nov-Dec last year when they were in Japan the only leading role she got was Masha in the Nutcracker. Even though there were usual cast changes, which would have given her fairly good chance, dissapointingly younger dancers were given roles to replace the absent 'stars' - to this some of balletgoers, including myself, responded in a puzzlement: 'Where's Dumchenko?' (She has been a frequent visitor to Japan - obviously not a glittering star as Asylmuratova or Vishneva, but certainly one of the favourite principals of Japanese balletgoers.) And again this summer to my eyes she was not given 'substantial' roles - which is a shame!

Marc, you really were lucky to see Zhelonkina's Giselle. In the past years I too always felt frustrated that such a refined dancer as her - a true classicist - had not been given leading roles. (Felt the same for Dumchenko too!) When they come back in town (London) in June, I'd more than welcome a cast change or two - again Zhelonkina is not casted for any of the leading roles! (Her Aurore must be a delight to watch!)