Mashinka

And here is yet more of the same from today's Telegraph: http://www.telegraph.co.uk/culture/theatre/dance/9835340/Anatoly-Iksanov-interview-Evil-has-entered-the-Bolshoi.html Rubbish background reporting on the part of the journalist as it has been many years since Sergei Filin was married to Inna Petrova, if he had been reading other more reliable reports he would have known that. What is so shocking about this is that Iksanov seems to be settling old scores here and is gleefully attacking Tsiskaridze for his outspokenness. I can't imagine the general administrator of any other arts organization giving an interview of this nature, even to a more reliable member of the press than this one.

The sensationalist interest in Tsiskaridze in the Russian press is, as Helene has noted, largely down to his high profile as a TV personality and I doubt if the name of any other dancer in Russia is anywhere near as well known. It is therefore not to be wondered at that he is attracting so much attention in Russia. However the UK press is something else and largely not to be trusted. I appreciate that this is an international forum and therefore the press scandals that have dominated the UK news for most of last year aren’t that widely known abroad, but for those who might be interested in furthering their knowledge of the innate corruption within the British press the Leveson Inquiry is a good place to start. http://www.levesoninquiry.org.uk/ There is a malicious undertone to much of what has been written regarding Tsiskaridze in Britain in the past week and it has certainly disturbed members of the ballet going public that have read some very biased reporting. There is an organization called the Press Complaints Commission based in London but I don’t know if its jurisdiction stretches to complainants in other countries. The nature of the attack against Filin is such that it doesn’t fit the usual criminal attacks profile where guns/knives/baseball bats are generally involved, so it is understandable that the police are looking for more personal grudges. Unpleasant as it is to say this, I can’t help thinking that if a professional hit man had been involved Filin’s injuries would have been far more serious. I’m reminded of the mad fan that stabbed a tennis player some years ago. I believe that particular lunatic acted unilaterally and I’ve a horrible feeling something like this may prove to be the motive behind this attack too.

Natalia, it seems to me that Tsiskaridze is paying a very high price for his previous outspokeness, with the media all but identifying him as prime suspect, whereas anyone with even a superficial knowledge of the Russian ballet scene would be aware there are far more 'interesting' avenues to explore.

Some years ago Tsiskaridze faced up to a devastating injury with amazing stoicism and fortitude, so no, I don't think he would have 'collapsed'. And as for 'playing dirty', this is the world of Russian ballet we're talking about. They all play dirty.

No Mme. Hermine, you're not being mean at all - just honest.

Wonderful dancers and really nice people, I'm very happy for them.

It may be a little off topic but I'm curious about the financing of new plans. The POB has two major houses to support and up to now the arts budget has been bountiful. France isn't in the same situation as the PIIGS (yet), but the national credit rating was recently downgraded and France has just embarked on what will be a lengthy and extremely costly war. Taxing high earners at 75% appears to be backfiring what with Depardieu decamping to Russia and the Sarkozys rumoured to be moving to London, so Hollande with soon have to start looking elsewhere to make cuts, and if it's the arts budget.............oh dear.

Indeed: that statement reveals a worrying ignorance of bothe the company and the repertoire.

'Aritistic genocide' The perfect way of describing the current Kirov policies. Well said.

They are also civil servants, with long-term contracts that run until their mandatory retirement, with pension, at 42. And with the notable exception of Ms. Lefèvre, directors tend to drop like flies at the Paris Opera. Even Rudolf Nureyev lasted only six stormy, if productive, years in the 1980s, while directors like John Taras and Violette Verdy managed just a few seasons. Didn't Nureyev step down due to ill health? And how many years was Lifar in charge? 35 seems young to be directing a company but I've noticed directors are getting younger and younger, perhaps before long they will simply recruit from the school.

Natalia, I’m not sure whether Stepanenko is still dancing or not, but I know that the older dancers have been sidelined at the Bolshoi for some time now. Gracheva was treated the same way I believe and the two are of a similar age. Mentioning the two together always recalls to mind something I witnessed at the Albert Hall in London. During an evening rehearsal prior to a short Bolshoi season in the winter of 1993, I watched both Semenova and Ulanova instructing their pupils, Stepanenko and Gracheva, at the opposite corners of that vast stage. The two great names, both very elderly women then, still kept up the feud that had existed between them for decades and totally ignored one another throughout the evening.

A mere 46 years old, Fonteyn was dancing Bayadere at that age why shouldn't Stepanenko? In my book the older the ballerina the better.

I'm hoping Stepanenko will take this opportunity to dance with the company when they come to London this summer. As she has been omitted from tours for years perhaps she can nominate herself to dance here. Here's what her Nikiya looks like:

A crack team of Russian orthodox priests trained to track down people that sin I think you'll find.

New York Times coverage is very interesting, particularly the comments by Ratmansky who faced difficulties himself when he was Bolshoi director: http://www.nytimes.com/2013/01/19/world/europe/sergei-filin-bolshoi-ballet-director-is-victim-of-acid-attack.html?partner=rss&emc=rss&_r=0 The mad fan theory may yet prove the correct one.

S/P: Elena Glurjidze. Katya Osmolkina, Myriam Ould-Braham Prince: Nikolai Tsiskaridze

Irina Kolesnikova, Katya Osmolkina

Giselle: Alina Cojocaru, Irina Kolesnikova, Natalia Osipova Albrecht: Denis Matvienko, Nikolai Tsiskaridze Myrtha: Maria Alexandrova

Kitri: Maria Alexandrova and Natalia Osipova Basilio: Carlos Acosta, Denis Matvienko, Emmanuel Thibault

Having seen Osmolkina dance O/O at Covent Garden, I really feel her uniquely soulful and deeply moving interpretation of the role should be available to eveyone but I fear Natalia's gloomy casting prediction will prove correct.

Yes, he really is wonderful and with no competition from the classical side I can comfirm he is the finest dancer the UK currently has to offer. Really pleased you enjoyed his performance so much and by the way, if you get the chance to see him dance in traditional Indian style you will enjoy it just as much.

London Ballet scene hasn´t had a good year, but Kevin O´Hare may yet prove to be the new lease of life the RB so desperately needs. No touring companies of note because of the wretched Olympics. The sacking of Wayne Eagling was a disgrace and those involved should hang their heads in shame.

It didn't look like one room in the picture I saw and he referred to a maid.

I think Tsiskaridze lives there for sentimental reasons as it is the home he shared with his late mother (she died when he was 18). I remember reading an article about Baryshnikov before he defected and he had a very grand place complete with a maid! And that was in the communist era.

Another Legris vote here, Parisians I've spoken to believe he would steer the company back in in the direction of classicism. Surprised Kadar Balarbi's name isn't listed though.