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The Lander affair which haunted the RBD from 1951 almost to this day will now be covered by Aschengrens new book Mester. I have not read the book yet, but press coverage show that Aschengren is in line with the old guard of critics in their view of Lander as the mistreated genius. Apperantly they place little relevance of the fact that leading dancers like Kronstam and Bruhn were anti-Lander. The late great critic Henrik Lundgreen once stated, that when everything was said and done, Lander epitaph would be as the man who ruined the Bournonville legacy. Apperantly this is not the book that present this view. But you should not judge a book by its cover, so I will read it and return vith a review

We have now had the "pleasure" of seing the first part of the performance in Tv, or rather a television presentation in line with a sport event. Snippets with the athlets, sorry dancers, ongoing comentating during the play, sorry performance and much of the camera movement focusing on the audience rather than the performance. And yet I chose to be happy, we have had so little tv-coverage of the RDBthe last ten years that you treassure every snippet, no matter how badly edited it is

Sorry for a very late entry. Morten Munkdorf chosed to leave RDB a few years back when he reach the pension age a a great loss in mime and character parts. He enjoys a happy family life with his vife Ballerina Christina Olsson and two kids.

On Sunday you can see the first of two programmes from RDB summer galla at Kastellet. The programme consists mostly of snippets from the repetoire.

i understand that Swan Lake are not planned for the forseeable future. Pity because I thought it would be best ballet for the new Opera stage, where RDB will perform one third of the performances. But what do you think they should perform on the bigger stage: Here are a few of my recommandations Tetleys Sacre and Firefird La Bayadere Manon Jewells Symphony in C

I finally managed to see the second case, better dancing but the three chosen dancer are a bit too close in type. In the firt cast Massot is clearly older and more streetwise - and crueller - than the other two. Ringdal in the other case is equally young and innocent like the two others

I just read the review in Berlingske Tidende. Erik Aschengreen is pleased about the larger stage and ads that as Kenneth Greve can look a bit too tall on the old stage, the new Opera house is a welcome addition. (only a 4. billion DKK investment) This is not the first time Aschengreen had comments about Greve looks. He once wrote that his eyes was too deeply set. As Kenneth Greve is one of the most handsome guys you can find on any stage and a brilliant dancer as well, this seem petty and unintentianaly funny

Well we now oficially have a big new opera house in Copenhagen and I am pleased to tell that the ballet performed beutifully in an otherwise not totally satifactory evening. The ballet portions were a new Martins pas de deux for Schandorff and Hubbe, a piece de occation to Jakob Gades welknown Tango Jalousi. Well danced by Schandorff, wellacted by Hubbe (who has aged considerably in body and movement range since last seen in copenhagen) and badly chrorographed by Peter Martins. Judge by thin non-ballet it look like he had learned absolutely nothing from working 20 yeras with Balanchine. It would definately have prefered Dou Consortante, which I have seen stunningly perform by the couple a few years back. Nex out was 4/5 of Etudes, the opening trio and a few other bits missing. The plan to present a numbe of principals in this ballet had backfired, and only the two ballerina approach with a stunning Gitte Lindstrøm in the Sylph and tour de manege and Cavallo in the solo (her fouettes was not up to her usual standard) surviewed the double cadting. On the male it was the Kenneth Greve show, save one solo danced by Tim Matikias and parallel dancing by andrew Bowman, he danced every pas de deux and solo in the ballet with great style, technique and panache. he is so good when he is on. the corps was outstanding and I am pleased to have the television documenation of this fine performance. After the break, Thomas Lund and Gudrun Bojesen danced Genzano pas de deux followed by Gudrun playing a saxophone solo . Finally we got the Rooster dance from Maskerade, the Cullberg version with Morten Eggert, and a corps of female chicken. This awfull has over the years reach a cult status and is often performed at charity galas and so on. Unfortunately the television covered the event like it was a sporting event with Kølpin revieng the ballet, during the dancing, interviews with opera singers during thebstart of the Martins ballet and odd camera shoots. One would not have been surprices itthey had include slow motion retakes and an scoreboard

Dancing is usually good to terrific. Castings and choice of ballet less so. A dancer like Kenneth Greve has really grown in to a complete dancer/actor and his parthership with Silja Schandorff is extra ordinary. I caught them last nigth in In the Night and they were formidable. together with Thomas Lund, Gudrun Bojesen, Mads Blangstrup, Gitte Lindström, Marie Pierre Greve and veterans Christina Olsson and Rose Gad (both on maternaty leavy at present) we have a very fine linup of principals. But many roles are given to imported principals Caroline Cavallo, Andrew Bowman and Jean Luc Massot, who are not in my view au pair with the others. Tina Højlund, Diana Cuni, Morten Eggert are also great dancers although in more limited repetoire. unfortunately there are at present few younger talentsm which may be a problem in a few your when the current linup approached the pension age (40)

Yes Swan Lake would be the great and right ballet to perform on the new larger stage. We have great dancers who can shine in the piece. I would also love Manon to make a reapperence, but did time please ad Lindström and Bojesen to the cast. By choosing the right ballets and the right casts RDB can really use it strenghs instead of demonstating weaknesses. We have to many examples of the later strategy (not least in the Schaufuss Annus Horribules). When you have a Giselle , do Giselle (Schandorff/Bojesen), when you have the cast for a Midsummer Nights dream, do not do Romeo & Juliet. etc. with Schandorff, Lindström, Bojesen, Greve, Greve, Blangstrup, Cavallo and Bowman you have dancers whose strenght are Russian classical ballet, so use it. With Thomas Lund you have a great dancer with special needs and distinct talent. Perhabs it would be great to show him and Bojesen in La Fille Mal Gardee. Bojesen would also be a great Cinderella. Maybee they should guest to in London

and some qoutes: Dancers: Greve, Yanowsky "Greve clearly loved dancing with Yanowsky, and he was her charismatic equal. With his perfect manners, deft jumps and guilelessly open torso he was a textbook Prince...Not only will Yanowsky fight to have Greve back in London, so should everyone watching them." Swan Lake 31/12/04 Royal Ballet (RB) UK, London, Covent Garden Reviewer: Martha Ballet.co Postings Review Homepage Dancers: Greve, Yanowsky "Kenneth Greve - what a Prince! Like his fellow Dane Johan Kobborg, he seemed to invest every gesture with purpose and meaning and I liked his interactions with all the dancers onstage."

Here are pictures of Kenneth Greve at Royal Ballet. Though the same homepage you can find a very positive review from Guardian http://www.ballet.co.uk/gallery/jr_rb_swanlake_1204

On January 15

On January 15

The New opera will open with a televised galla. The ballet will perform: Childrens dance from Elverhøj, Flower Festival in Genzano (Bojesen, Lund), New Peter Martins Pas de deux (Schandorff and Hübbe), Etudes (Cavallo Lindstrøm, K. Greve, Blangstrup, Bowman and Massot) each doing fragments of the ballet. The galla will be televised live on DR 1

I will agree with Fan, that it is important to see new casts, and I do. But it is often quite difficult to catch new casts as cast list are not changed when an injury or other matter make a change necessary. I have tried three times to catch the second cast in Fancy Free, but each time, even though I bought ticket on the day of the performance still got first cast.

Sorry for a late entry. I have been abroad. My recommandations are: 5 La Sylphide In my view Schandorff and Blangstrup is the cast to go for. A true gem. Bojesen/Lund highly watchable also. 4 Napoli 4 Far from Denmark A charming production of one of Bournonvilles lesser work with strong dance acting from Blangstrup and Marie Pierre Greve and Gitte Lindstrøm in the second cast 4 Abdallah, beautifull scenery and a wonderful Irma in Gudrun Bojesen 3 Lifeguards of Amager improved with more performances. Go for Schandorff or Lindstrøm 1 A Folk Tales, Bournonvilles masterpece killed by a Royal and a Royal ballet master. Even thought it is cast with great dancers the ballet is killed by bad direction and scenery I will grade the rest of the productions when they are in repetoire

I have reseen the program, and second time around the man-handling did not apear as brutal, just stupid. I cannot speak for the whole audience, and some mayn really enjoy Fancy Free. It is not a bad ballet, but it does not really take flight. One reason could be the material,another that allthough the cast I saw was adequate, they were not strong enough dancers to be total virtouso. You never caught uourselves wandering, how did they do that? The same goes for parts of In the night, especially the thrid Pas De Deux. Peter Bo Bendixen is not on top of his game (some might say he never were) and can therefore not conceal his efforts. Instead of being surpised you see to clearly the working mechanics of a lifting man. In the night has won the finest review. I agree with Jörgen about the superb dancing of Blangstrup and MP Greve (have not seen Gotte Lindstrøm yet in either ballets). But in my eyes there are superb in both ballets. As a matter of fact it is ther versatality that I admire most. Blangstrup has wonderful qualities as an actor/dancer. He can perform ambigurity, which is so focal for Vilhelm (and James). He may not be the strongest virtouso in the company but as an artist we currently pocess few male dancers at his level.

I attended the premiere and had also decided to go for second night, but ended up not going. Well that sort of sums up my experience of a programme with fine qualities but quite boring. I cannot say that the dancers were not up to the task, because they were, but the combination of ballets did really nothing for each other and I recalled that I have sometimes been very bored at certain Robbins ballets. Fancy Free is simply too much of the same thing. Yes we can enjoy three lively sailors, but the are too much repetition in drama and movement and the (man)handling of the first women is simply not-pc. In the Night missed announcd star couple Silja Schandorff and Kenneth Greve (replaced by Amy Watson and Andrew Bowman) but I even doubt that they could have saved the piece. I miss some substantial choreography for the male dancers in this piece. And Peter Bo Bendixen was past the form, that was needed for the third dramatic pas de deux. Far from Denmark and Life Guards are to similar to bring full enjoyment so soon after one another. Mads Blangstrup did a great job as Vilhelm, he can really body act, where to many of the others mimed rather than acted their part. Unlike Life Guards Far from Denmark has not been cursed with a new decor, but the costumes and wigs for the two cadets, played by female dancers, do not help them achieve the illusion of beeing men. On the contrary the uniforms and the chinese costumes in particular emphasized the female figure. It is has been custom that the main Cadet Poul is played with a blond wig, which looked odd on dark haired dancers like Diana Cuni and previous Petruskja Broholm (whose blond cadet partner Henriette Muus looked equally odd wih a dark wig). So instead of seeing a good boy imitator, you get an odd looking women in pants. Marie Pierre Greve was a lovely but frail Rosita. She and Blangstrup are becoming a very strong combination, also in In the Night. but we need more dancers to follow their example of strong dancing/strong acting. On another note last month Kristoffer Sakurai was pushed forward as Gennaro and a soloist in Etudes. In this programme he is relegated to the minor semirole as Boatsman. It shows an inconsistancy of casting. Surely if he is good enough to be Gennaro and in Etudes, he should also trusted with a more substancial role in Far from Denmark. Likewise since he's been made a soloist, Nikolai Hansen has danced next to nothing. In this production he is one of four cavaliers in the Spanish number. Is he or is he not soloist material and a gifted Bournonville dancer? One would think by making him a soloist Frank Andersen beleived so. Why does he then have nothing to do in either Lifeguard or Far from Denmark? Instead we see young (foreign schooled dancers) struggling with the soloes. I cannot see talent management being used here.

I certainly wont argue with that casting. I am really looking forward to all three ballets. I was fearing that Fjernt might have been "undercasted" it being considered the lesser Bournonville ballet, allthough Frank Andersen declared it a special favorate of his. Lifeguard is undercasted especially regardung the younger farmers

The opera has been succesful in creating a forum for young fans, now the ballet is trying. With the help of an adterticing agency a website is in place, but you do have to look very deep to find anything relating to ballet. A day with Thomas Lund focus more on shopping in paris than performing Tarantella. visit www.ungballet.dk and tell me what you think

The intro matinee on sunday included a lot of talk, primarily by Frank Andersen and a few snippets. Marie Pierre Greve and Mads Blangstrup dancing the 2? pas de deux from in the night and the intro from Fancy free with three foreing dancers Jean Lucien Massot (probably the role Robbins did himselself), David Kupinsky and the new soloist Tim Matiakis. They all performed well, but I had expected Thomas Lund and Morten Eggert as the sailors. Ifthey should not dance that, what should they dance? But Thomas Lund may be part of Fjernt. (That can be the flipside of being the bournonville specialist. That you have to dance all Bournonville performances)

Matthiau Ganio of the Paris Opera Ballet was guest star in Etudes for two performances, filling out for Sakurai (but doing the whole solo (as Sakurai also did on his first appeance (I have been told)). He is a light and pleasing dancer but he finest contribution was really to get Kenneth Greve up to the mark and show how well he can dance when motivated.

Monna Dittmer and Majbrit Hjelmsbo was less than entuiastic about the performance. They note the fine dancing in Etudes and ask for more work on the miming section. They praised individual dancers. I must say that by second viewing much more was in place in Lifeguards. The young dancers are growing into their roles and started performing. Dramatically Gitte Lindstrøm (I have not seen Silja yet save a few bits on the intro matinee) was a great bonus for the performance, Dancing and acting likewise. When she makes the entrance with the two friends she stays the focal point and the difference between the young married woman and the two unmarried is clear, Wheresas Cavallo did not command the stage, nor is visible when dancing with thee other girls, all wearing same costumes and masks. In Etudes I saw Sakurai dancing not one of the male soloist but part of the soloist role (Mads Blangstrup filled out the remaining entrees as well as being the prince in the Sylph interlude). I have seen Etudes done in various different combinations, sometimes with a prince, sometimes with one of the soloists doing the Sylph pas de deux. I have seen the solos shared in different combinations. I have even seen the ballerina do the fouttes section (Mette Hønningen) I have seen several lopsided performances. When Arne Villumsen danced the mazurka, the Sylph pas de deux and most of the difficult pieces, little was left to the other soloist, but I have never seen a solost doing as little as Sakurai. I do not know whether that was also the case in his first performance. And a personal note. I think Etudes look bests if the two soloist is comparatively the same size. Sakurai is not on the same scale as Kenneth Greve (few are). I remember once the trio was, Greve, Schandorff and Kobborg and it looked so odd that my sister asked: Why did not kiss the other frog as well?

An odd choice. If I should sum up the new production of Lifeguards.. it would call it an odd choice. Odd choice of director, designer, musical director, interpolations and ballerina. Firstly Wessel is as mentieoned before not enchanted by the ballet. She considers it dull and in need of a lift up. This she tries to achiwe by giving it the usual Wessel treatment Waving and chldren cinstantly imitating the grown ups. unlike Brenaa she cannot time the actions and maximize effect. Brenaa did ofter cast and direct the twosets of city girls, farmer girls and farmer boys as opposites. One girl would be forceful - the other timid. creating a dynamic in the pair. Wessels lacks the flair and it look like the city girls and farmerer girls could easily change parts. In order to jazz up the performance she had made some new dances including a long dreamy sequence for Eduard with four girls. What is the point of showing that Eduard is a Don Juan, just before a scene showing him as a Don Juan (actually nothing in the ballet presents him as anything other than a Don Juan) . The interpolation is therefore totally uncalled for. Lifeguard is a charming pastice with an interessting mature first couple (the plot is almost the same as the Fledermaus, but a few years earlier). It is a true gem, with a lovely pas de trois and great folk dances. I love the Tøndebåndsdance (three generations dance). Because it is a pastice it is necessary that the decor and costumes set the tone, and karin Betz a fine designer with a long track record in drama is not the right choice. The audience had grown tired of the old Winnblad decor, but it did pocess some qoualities in mixing the indoor and outdoor very well and some awfull costumes. But Betz goes oversize and grotesque which almost killed the ballet. Finally casting Caroline Cavallo in a part with little dancing and where much of the acting is done behind a mask is not using her strenghs well. THe trio in suprisingly spanish costumes was led by a hardworking Thomas Lund. Much of the solo depends on pirouettes, which is not his strongest fat and Amy Watson and Susanne Grinder, The latter more elegant and controlled than the first. Lifeguards was followed by Etudes, finally presenting Gitte Lindstrøm as the ballerina (fine except a major fall out in the solo), Kenneth Greve (strong but a bit saggy in the landings), Massot (dull) and Blangstrup in the part that suits him best the cavalier. The corps was better thanoften (Greve and the six girls in perfect sync in the fouettes) and reserver a large applause. But the applause was driven by a group of darcers in the crowd who functions as a claque. I wish they would stop that practise. Bournonville hated it and so do I. They may follow the applause but they should not lead it.