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It must depend on the care with which works are revived. The original dancers (and later casts) of Jewels would have had Balanchine himself to work with. Nowadays, only Balanchine Trust members are around who are not Balanchine, and so they have their own ideas about how to stage his works, perhaps differing from Balanchine's own. Which may be why some of the POB's interpretations are now supposedly so far wide of the mark: to the stagers they may have been acceptable, or at least interesting yet convincing alternatives. Present-day dancers' connections to works are becoming increasingly tenuous, and the job of people like Farrell is to relay a certain emotion or frame of mind: how difficult to do effectively and accurately! Maybe Farrell is doing so well because she had such a connection herself with Balanchine. For the record, in general I did not find the POB's performance especially cold or disconnected. It may not have had the same sort of vitality/feeling as other performances, but different companies will bring different qualities to works: that is what makes ballet interesting, after all. Perhaps the POB style is more understated and polished, leading to a general lack of genuine, physical Excitement, but I liked the way that most of the dancers inhabited their roles, and to me they really did seem to be having a good time. Letestu may have been rather cold, and her interpretation not to all tastes, but at least we knew she was doing what she loved, from the quality and beauty of her movement. (Though I have to say, this is definitely a slow-burn performance which benefits from repeated viewing...first time round I had similar reactions to artist's)

I finally got this on Wednesday and watched it twice in a row on that evening. It's fantastic! The DVD: Occasionally the number of camera cuts was distracting, but generally the mime came across really well. The picture was a tiny, tiny split second behind the sound on my DVD, especially noticeably in the Reel. Generally very good. General stuff about the ballet: it's so compact and the storytelling is very clear. I hate to admit this, but sometimes partway through a Swan Lake or Sleeping Beauty I think something like, "Phew: only on Act II and about an hour to go....*sigh*" La Sylphide is small but perfectly formed, with no padding or extraneous 'business'. I've not really worked out the story fully. Why does the Sylph want James? Is James a strong or a weak character? What is Madge's motivation? How does the Gurn/Effy affair wind up so neatly and QUICKLY? But never mind all that! I found Lis Jeppesen to be a surprisingly 'modern' ballerina: strong balances en pointe, some high arabesques penchees. BUT it was all done with wonderful lightness, grace and variety: here, the arabesque was truly used as an expressive device rather than just another pretty pose. Her Sylph was much more innocent and simply played than I'd expected from various references that I'd read, and was completely involving and sympathetic, whatever her motives (her eyes! So beautiful). Her death scene was amazingly moving and delicate. (Btw, I am curious to know what the Sylph's mime in this scene means?) Nikolaj Hubbe was a very passionate James, and was very believable. His anguish at the Sylph's death was very affecting. I had the impression very occasionally that he was throwing himself around in his jumps (he certainly covers a lot of space), but overall his dancing was very exciting. Sorella Englund's Madge was indeed complex, with moments of wit contrasting with searing anger and bitterness. She was a glamorous witch, and this contributed to her awesome presence and power. Ann-Kristin Hauge was lovely as Effy, though I thought she could have been a bit more wildly desperate at her abandonment: in this period, this kind of thing would have ruined a girl's life, so perhaps it could have been more of a shrieking-madly-crisis than a simple weeping-crisis. Morten Munksdorf was likeable as Gurn, and I really wanted a happy ending for him and Effy. It's a pretty production and is one of the best ballets that I have seen. How lucky we are to have it on DVD!

I wonder: what can one do when faced with whirling waltzes and perky polkas while playing dead Indian temple dancers? At this point I find the Minkus music rather unhelpful.

Well I really I can't imagine them in Balanchine or Macmillan, but atm I'm really into them in the classics! (Footage of Fonteyn, Merle Park, Lucette Aldous et al) I don't know why, they just look more dignified. (bold type added by me, just because) Harsh words indeed! Well, that dates this article In fact, since this was written during Ross Stretton's brief stint as AD of the RB, Crisp's morose tone is (partially) explained: I didn't imagine him to be one to welcome Stretton with open arms. This is a fascinating interview, and I will probably post more comments after I have done my history homework.

That's rather interesting: care to elaborate?

Yes! Last night I dreamed that I could do up to and beyond entrechats quarante-deux! :rolleyes: (I can't even manage six!)

I like Lepeshinskaya in this (rather cheesy) waltz pd2 as well. Very exciting! I've also seen clips of her in Coppelia and Walpurgisnacht, after having read this comment, and I tried to work out what leonid dislikes. In the former, I picked up sloppiness (she does triple pirouettes, but at what price?) and a rather exaggerated manner that seemed to fit rather well in the era that it was filmed in. In the latter she was all right if you hadn't seen Maximova in it. She seems to have a rather 'un-dancerlike' body type and rather 'unpolished' port de bras, but this is the Bolshoi in the '50s. Overall not bad! But is this what you meant, leonid?

What happened to the hands? They used to be held almost with all four fingers together, there was nearly no 'point-y' index finger. This gave the arm lines a lovely, unbroken, rounded, SOLID quality which I associate especially with Fonteyn. Watching the Sleeping Beauty Act III video with Fonteyn: wow, the speed! So perhaps not 'virtuosic' in the sense of billions of turns and space-age lines, but very exciting. I think that this sheer energy has been lost a bit to technical stuff and 'virtuosity'. IS there a Royal Ballet style nowadays? British company style seems to be less well-defined than, say, the Russians and the French, whose dancers are mostly home-schooled from the start and not simply 'finished off'.

I'm intrigued: what do you mean, artistically or, er, politically?

Hmm...either times have seriously changed since 2003 or a certain Ms Pepper didn't quite do her research....

The end of the Mad Scene in Giselle: Giselle circles the stage, like she recognises no one. The timpani roll begins and the cellos play a tense, uneasy figure. She is finally caught by Hilarion. The music crescendos, and at the massive climax Hilarion points 'There!' right down the diagonal of the stage towards Berthe, and Giselle just TEARS down the line of villagers into her arms. Ooh, getting a bit choked up just thinking about it. I always find her actual death a bit anti-climactic after that.

I don't think I've ever seen a really fantastic full-length Sleeping Beauty live, for whatever reason, dancing or production. I guess that it's to do with the over-hype in my mind, as in: 'I'm going to see The Sleeping Beauty!!!' When you know something's A Classic... Something that didn't quite make the impression I hoped it would was Ballet Imperial. I'd been DYING to see it for years, having adored the excerpt used in the Royal Opera House's re-opening gala in 1999. When I saw it recently (Royal Ballet), it was nice but it was over too quickly and afterwards it was like, 'What just happened? Oh well.' (Bussell was 1st ballerina, make of that what you will. ) I must say, though, it was a relief to find out that the 'flat-footed turns' that I'd read about were not as weird as I had pictured in my head!

I don't mean to generalise, but a more challenging question would be, 'Why does anybody like contemporary music?' Of course, some of it can be powerful and moving, but in my experience most of it is completely awful. Example: I turned on the radio (BBC Radio 3) the other day and heard about 10 seconds of string instruments playing random continuous glissandos, and turned it off again. Hmmm. In a music lesson at school the other day we listened to some Lutoslawski: again, horrible. The point is, the main point of classical music until sometime mid-20th century was to be 'nice' to listen to, and also to be creative, and perhaps demonstrate some degree of skill. Then, as Susanne said, it became about being 'new' and 'experimental'. It may be creative, but where is the skill? And don't get me STARTED on John Cage.

I would also like to know about changes in style since the 60s and 70s: from the Dance In America recordings I got the impression of definitely dancing big (which has apparently stayed), and also of great poise of the head and neck and almost exaggerated arm movements - very emphatic and punctuated indeed. There was a matter-of-factness, different from being aggressively stony-faced, but also different from simply being blank-faced: what do you think makes this difference? I have to say, the first time I saw this arm style (I have also never seen NYCB live) I thought it was really horrible. I've got used to it but I'm still not nuts about it. This does remind me of Soviet style, especially Natalia Bessmertnova. (Btw, artist, this post confirms your idea.)

Does anyone know of this dancer? She is featured in the Birmingham Royal Ballet's programme in photos of Symphony in Three Movements (with no date, but assumed several years ago with a young-looking Joseph Cipolla). I was intrigued because I was not familiar with her name at all. In the photos she looks like a lovely, vivacious dancer. On the internet I can find references to her in a 1978 filmed version of Roland Petit's Cyrano (featuring Denis Ganio and Evelyn Desutter), London Festival Ballet's Nutcracker in 1986 and Northern Ballet Theatre's Swan Lake in 1988.

Yay, that makes two of us!

Yeah, sorry, I'm always WAY over-critical about balances. I agree that on the 20th the character of the Bransle Gay (I think that's the one you mean?) was a bit lacking. But I thought that in the first pd3 there was a wry quality that suited it very well, especially all the arm-fiddling at the end of the two ladies' variation. Out of interest, where were you sitting in the (wonderfully purple!) theatre? A question: one of Balanchine's most-quoted sayings is (something like) 'don't think dear, just do'. How often is this applicable to these ballets? The thing is, with so many potentially symbolic movements (like helicopters in Symphony in Three Movements) and possible scenarios (like the pd2 in Agon), to what extent should a dancer not 'think'?

Round 2... STRAVINSKY! A CELEBRATION; 21st Feb 07; The Lowry; Birmingham Royal Ballet Agon 1st pd3: Alexander Campbell, Momoko Hirata, Laura Purkiss This had a rather different, more lyrical character than the first cast, but with no less wit (to match the coda's music: fantastic!). 2nd pd3: Lei Zhao, Rory Mackay, Steven Monteith I preferred this one to yesterday's: the two men had a more serious, focused manner and there was a sense of tension which I enjoyed. Zhao danced the Sarabande with a sultry feeling that I found very effective. Pd2: Elisha Willis, Iain Mackay Both were better cast in this than Violin Concerto. Willis' line was absolutely beautiful and her control was amazing (although there was a very hairy moment during the slow penchee supported by the slowly reclining man: I thought she was going to keel right over). Rather than a feeling of the woman's power, there was a more uneasy uncertainty in Willis: she had less 'patrician manner' and much more vulnerability. Mackay appeared more in control and more of a calming influence on Willis. Over the whole pd2 there hung a sense of impending doom, something huge but which neither was willing to face. Pretty powerful stuff! Stravinsky Violin Concerto Aria I: Victoria Marr, Dominic Antonucci Aria II: Ambra Vallo, Chi Cao Marr was more appropriate than Willis: she was livelier and appeared more of a match for her partner. She had trouble with the horrible part in the Aria where she has to bend right over backwards into a bridge, which made me realise just how extreme that part is! (Also, doesn't Aroldingen manage to stand back up without support? Wow!) Great energy and very engaging. Her galloping entrance was fantastic! Antonucci was OK, but he has an awkward carriage to his head, it always looks a bit too forward. He also appeared cautious compared with Robert Parker. Having said that, he caught the spirit of each movement very well. Vallo was in general quicker than Sakuma yesterday, and also 'showed' certain poses which was nice. She looked a bit self-conscious in the finale, which is so bouncy and childlike (the corps link arms and windmill them, like a children's game). Cao was...interesting. To be perfectly honest, I didn't like him in this at all. His general demeanour in the 1st movement was WAY too intense: Mackay was serious, but Cao was positively LIVID, face like thunder all the way through. Symphony in Three Movements Lei Zhao, Dominic Antonucci Nao Sakuma, Jamie Bond Laetitia Lo Sardo (I don't think it was actually, but am not sure), Joseph Caley Carbro, I took your advice and stayed in the Upper Circle, and I thank you: this ballet looked SO much better from up high. What looked confused yesterday made a lot of sense and the formations were clearer. The reviews that you pointed me to were also interesting (just read them), and it's good to see that other people make similar associations with war etc. Yesterday the ballet did strike me as being very punchy and martial in its movement. Today I picked up on the marching en pointe. I'd be interested to know what people think is 'going on' in the pd2 (I will do some searching as well). It's been described as the 'helicopter' and 'Oriental' pd2. I saw it as yet another variety of relationship, tentative and delicate. The raised hand gesture (like 'hands up!') was reminiscent of Oriental dance, but also a gesture of submission. I'd like to see it again, with different dancers, just to get another perspective on it. So, I think that's all the Balanchine I'll be getting for a while. But this was such a great programme, and it was really exciting to see two completely new works to me. So,

Coincidentally, just spotted this thread. For any Tewsley-spotters, he is currently guesting with BRB in their Stravinsky triple bill which I just saw. No indication in his bio of future plans, but a rather unfortunate typo: apparently, he did 'a pas de deux with Marcia Haydee, by Spunck'. Sorry about that: someone raise the tone, quick!

I'm sure that in the film of the Bolshoi's Raymonda with Bessmertnova, one of the Act III pd2 corps dancers' tiaras falls off. Filmed, and released, for posterity, at the Bolshoi, no less.

Carbro, thankyou so much for that thread: I somehow managed not to find it while doing my research. Also for your advice about seats. Though I am glad that I saw everything 'up close' at least once: I think it was helpful to see in detail the dynamics of each section for a first-timer like me. (It's so great having such a large pool of knowledge to draw upon here! I would just have moved right on downstairs otherwise. Sorry, raving over. :blush: ) Leigh, on the whole there wasn't much wrongness (ummm..... though..... was Sakuma wearing glitter on her eyelashes???). I got the feeling that in the Agon pd2, Roberts was kind of glaring out at the audience with a bit of an 'ice-queen' expression rather than simply dancing. But she did capture what's referred to in the Agon thread as Adams' 'patrician manner' (your words, in fact!). It's true that watching last night was very instinctive. After reading about Balanchine on this board for years, to finally see these great works for myself was rather daunting because I was afraid that I wasn't going to 'get it'. But yes, I think (hope, after having posted my thoughts) that I could see what was right and wrong. What was also interesting was to see various choreographic motifs being used in different ways in the three ballets, like that supported walking the women do, reclined right back. It's great to see a different vocabulary being consistently used (another example: promenades linked at the elbow).

Well, here it is then.... (I've kept in this thread as the review sort of relates to the thread, but feel free to move it) STRAVINSKY STAGED; 20th Feb 07; The Lowry; Birmingham Royal Ballet Agon Absolutely LOVED it, especially the single finger click. Certainly a contest-like atmosphere, with much of the first part reminding me of limbering up, and also with everyone performing identical moves. Courtly manners evident in the way each dancer acknowledged one another as they entered. The little interludes were just perfect! I loved Agon for its wit and style. First pd3: Robert Parker, Laetitia Lo Sardo, Arancha Baselga Parker had loads of energy and was probably the most Balanchinean dancer in the evening. The two women were very crisp, Lo Sardo with great sassy attitude (whether appropriate or not). Second pd3: Virginia de Gersigny, Jamie Bond, Joseph Caley Overall, this made less of an impression. There is a fine line to tread between simply being blank-faced and being blank-faced and knowing why. I think that these three fell into the former category. Slightly fumbly with what must be a really difficult balance at the beginning. In general this trio is made up of less experienced dancers, so hey. Pd2: Jenna Roberts, Tyrone Singleton While being passive and manipulated, Roberts' expression and poise (poise! Something kind of lacking in the rest of the dancers - I think the ballet needs it. What do you think?) suggested that she knew what she was doing, she was simply allowing Singleton to use her body to do what he wished. She had the power on that stage. No one mentioned whether this pd2 should have an erotic quality: it did (without being crude). Finale It was like a tournament, with each couple with some sort of 'attendant' corps member. Love the final image identical to the opening. Stravinsky Violin Concerto This is the one ballet that I have seen before, on the Nonesuch recording, no less! Aria I: Elisha Willis, Robert Parker Aria II: Nao Sakuma, Iain Mackay Willis had lovely line and quality of movement. However, is that what this role needs? Aroldingen had great Presence, and I think that is what Willis didn't quite have. She has the most fantastic first entrance, galloping with the trumpets, but it was more of a skip than a full-on charge. She seemed overly classical in the use of her arms and I suppose generally wasn't relaxed and natural enough. Lovely to watch, though. Parker had the same energy as in Agon which I think was a bit much at times. There is a repeated jump in the first movement which is like a bit like a fall travelling upstage (do you know what I mean?). Bart Cook on Nonesuch reminded me of a Broadway musical (don't laugh). Parker made it look like a karate chop. I think that this role needs a lighter touch, an even more tongue-in-cheek feel. But his abandon was exciting. Sakuma I think was the best overall. Vibrant and with 'attack'. In the second Aria, she did not seem as submissive as Mazzo, but it worked anyway. I would have put her in the first Aria, because she had sharper and more powerful movement than Willis. Mackay (BRB's resident super-hunk) didn't make that much of an impression. In the second (for me, rather uneasy) Aria, at times he looked like a violent threat to Sakuma, advancing on her, at others more tender. This gave the Aria a precarious feeling, like Sakuma dealing with her drunkard boyfriend (hmm, great analogy, genius. It's late). I'm not sure that I liked it. Strong dancing, of course. Dale mentioned acting in the last movement. You know that corny laugh they do in operas? I thought the leads were going to break into that, they had such happy-happy expressions. But I loved it because, like Pujol in Jewels, it was really genuine. Willis gained speed, Mackay gained a sense of fun. I feared that they wouldn't reach the final pose, but they did and it was all terribly exhilarating. Hurrah! Symphony in Three Movements (In order of appearance (!)) Lei Zhao, Dominic Antonucci Nao Sakuma, Robert Tewsley Ambra Vallo, Chi Cao First movement The diagonal line!!!! Sorry, but I nearly yelped with joy. When the curtain went up, there was as close to a gasp as one will get from a British audience. Enough said. Flying entrances all round, very exciting. The third couple to enter have a different character to the other two, and I think it's a pity that this wasn't developed since they disappear until the third movement. As, of course, does everyone except the second couple to enter. Overall, the amount of movement onstage is amazing, everyone is doing something, like the corps doing windscreen wiper movements with their arms. Energy! Random thought for the day: Leotards can be so-o-o unflattering. Second movement The slightly ironic music was interesting, it gave the pd2 a rather cheeky feel. There was humour here, but this pd2 did not to me have the same amount of character as the others in the evening, whether because of the dancing or the choreography. Third movement Movement being the operative word here. Constant energy, it did give me a rush. But so much movement, it felt like too much to be honest. I think it looked a bit cramped (when the corps lines each side of the stage facing the front, one poor girl ended up in the wings, with her nose pressed right up against the cloth) and as a result, I just got the impression of general movement. Overall, Symphony in Three Movements was the work that failed to gel for me. So, there you are. Overall it was a fan-tastic evening. I suddenly realised before the show that I had stupidly only booked for one performance, and so I asked my parents to book for tomorrow evening and I'm going again! (Very convoluted) Question: I was in the centre of the front row of the circle today (first level above ground level) so I was close to the stage which was practically at eye-level. There were many, many empty seats (:blush: come on people, try something new!!!). Tomorrow my seat is at the back of the upper circle (level above). There will very probably be many, many empty seats at circle level. Is this programme one that would benefit being seen from a higher angle, or shall I try to sneak downstairs into the circle? Phew, what an essay! I'll try to be briefer tomorrow....

Speaking of diamonds, this position is used in the Diamonds pd2 isn't it? Definitely a 'reaching' moment there. In some contexts, for me crossed wrists are the most perfect expression of refinement, which may be relevant in Raymonda.

She was a bit speedy, wasn't she? I managed to catch her describing Neumeier's La Dame aux Camelias as a classical ballet. Well, I guess it is compared to some of the stuff POB is doing atm. This sounds very silly, but I'm always slightly surprised when classical ballet dancers admire/want to work with modern choreographers (I think in this case Dupont and Pina Bausch, and also Sylvie Guillem and Russell Maliphant). I may have very negative experiences of modern dance (though I like Neumeier's Sylvia - which is relatively pretty conservative stuff) but I don't really get it at all.

Well, I dunno.... Depends what you like.