Mashinka

My favourite Swan Lake used to be the old Royal Ballet one where the lovers are seen gliding away into a better world, but yes the Kirov version is probably the best around. I've always assumed the Russian happy ending reflected the triumphal music at the ballet's end, but it could I suppose be interpreted as the triumph of death. I rarely bother with Swan Lake at all these days but decided to see Kondaurova and Osmolkina and admired both, the latter is an O/O of exceptional sensitivity.

Sorry about the behaviour of the audience around you in the amphitheatre, although far from being the most comfortable part of the house, behaviour up there is usually more civilized than in the lower levels. London ballet goers on the whole are not a well heeled bunch and many simply cannot afford the inflated prices we pay for the Russian seasons, so you get a rather different audience from the ballet going regulars. Hope it didn't detract from the overall experience.

According to the Royal Opera House's web site, Osmolkina replaces Skorik in Swan Lake tomorrow, Kim will be partnering her.

Skorik is currently 'off' with Tereshkina and Osmolkina covering her performances, not sure who will replace her in Bayadere, fingers crossed they may yet bring Novikova over, What is Pavlenko doing these days? She was a fabulous Nikiya.

I don't think Osmolkina's RB SL's were her debut, I think she had danced the role at least once before. For me they were the best performances in the RB's unlovely production I saw, all the more remarkable as she had to learn a new production in a short space of time as replacement for an injured dancer. Yes, you're right, she very much had the A team behind her yesterday.

It was a success, her Odette was sublime, so lovely it brought tears to my eyes. Wonderful support from the rest of the cast too. London is very, very lucky to have her this season, really looking forward to her Gamzatti, so sorry D.C. will miss out.

With that I totally agree, her line and musicality are second to none. She is the only dancer to be considered Fonteyn's successor.

That is very good news, here in Britain Abramovich is known for his ownership of Chelsea FC, didn't know he was involved in the cultural world too, but there is a persistent rumour he started his empire touting tickets outside the Bolshoi theatre.

I won't applaud a really poor leading dancer,and I know others that don't as well.

Without wishing to get too political, We've seen deeply disturbing footage in Britain regarding LGBT prejudice in Russia, tacitly approved of by the authorities and encouraged by the Russian orthodox church, I suppose with the persecution of journalists, artistic censorship shouldn't come as a shock.

Not quite, the RB always welcomed foreign guests and Russian Violetta Elvin danced as a company membery before Nureyev or Baryshnikov appeared on the scene, the strong links to the Commonwealth were broken on joining the EU, the company has been international for some time now. I too wish Golding well.

There is an unpleasant parochialism displayed by certain of the RB fans, Iana Salenko, a beautiful dancer, is another victim of undeserved vitriol, so too is Osipova to a lesser extent. They are guilty of coming from 'elsewhere', as was Golding..

Without doubt, the two most deserving of promotion along with the very unique Bennett Gartside. Keep an eye open for Anna Rose O'Sullivan, she's going to fly. There has been a very disturbing anti Matthew Golding faction in the UK, very much a minority, but as the saying goes, empty vessels make the most noise. Mr Golding had stated publically he had joined the company long term, I sincerely hope his detractors had no part in his decision to leave.

Off topic I know, but Kaptsova's demotion is disturbing. She was a constant delight when the company came to London last year, whereas others cast were most emphatically not.

That reminds me of the joke how many ballet dancers does it take to change a light bulb? 50. One to change the bulb and 49 to watch and complain they could have done it better.

Of course Acosta danced with the Bolshoi when the numbers of suitable dancers for Spartacus were down, it wouldn't surprise me if they invite Brooklyn Mack to fill the role in the future. Francesca Hayward is mixed race and therefore never stood out in the corps. Interestingly, she impresses those London fans whose interest is solely Bolshoi and Kirov, these are the ones who only go to the RB when the likes of Osipova and Muntagirov are dancing, but they've spotted Ms H and very much like what they see. ENB have darker complexioned Precious Adams in the corps, I've never heard anyone comment negatively on her presence there. ENB also invited over Michaela dePrince, a young lady of African birth to dance in Giselle, a bit puzzling as they have company members capable of Queen of the Wilis, I would much have preferred her to have danced it at the RB where the failure to produce an outstanding performance of that particular role (along with the Lilac Fairy) is an embarrassment. Pretty much all the British companies have black male dancers, the RB has several, the majority seem to thrive.

Would you care to name the writer please? Misty Copeland has no significance in Britain, I believe I saw her in a small role a few years back, after reading about her here I discovered you tube clips show a mediocre talent. .

But not audiences nationwide, standing ovations have been reported in all the provincial theatres the work played in before coming to London. The next run at Sadlers Wells sold out months ago, the minute the tickets went on sale. The UK classical choreographic scene leaves much to be desired with the best works being on the modern side, Khan is the finest choreographer in the country and his move into the classical milieu facilitated by Tamara Rojo is to be celebrated. His Giselle is a masterpiece and hopefully will get a wider audience when the promised DVD is made.

Ms Hayward has just extended her repertoire to include Titania, in my opinion she is the best British dancer to emerge since Bryony Brind. She is a ballerina to fall in love with. For those with an interest in dancers of colour, check out also her regular partner Marcelino Sambe http://www.roh.org.uk/people/marcelino-sambe, and, just emerging from the RB corps, gorgeous Joseph Sissens http://www.roh.org.uk/people/joseph-sissens

POB's early 19th century version by Albert was far closer to Byron with Conrad balancing on a burning beam, the audience loved it. No wonder those old theatres were always burning down.

I am currently purging my 'library' . One of the books earmarked for a new home is Russia 1904-1924 by Eric Baschet. A photo record of those years, many are too harrowing to look too closely at, The squalor and despair of Tsarist Russia gave way to the horrors of famine. Such pictures don't lie, they allow the viewer to come to their own conclusion.

Only his death is in the public domain, not the cause, but I understand it was natural causes rather than an accident.

Devastated to hear of the death of one of the greatest figures in the ballet world, this is a terrible loss.

My earliest memory was the TV series Ivanhoe. http://www.imdb.com/title/tt0051286/mediaviewer/rm839914496

Not just Manon, and for the record it's the scene of rape with the gaoler I see as violent, but that's nothing compared to the gang rape in Judas Tree about to be inflicted on us in yet another revival. MacMillan goes back to violence against women again and again, whether it's Stephanie's horrific wedding night in Mayerling or Rose being slapped around by a would-be suitor in Prince of the Pagodas, not to mention The Invitation, a ballet specifically about rape. I make that 5 - 1 against Ratmansky.