Nanarina

Malakhov versis Nureyev, ermm ??? A difficult one, to compare top male dncers these days to a legend, is hard. In his time Ruddi was exceptional to other male dancers in the west. But not so to his Russian compatriots, all of whom excelled like him. He brought the male dancer's place into the public eye, giving something for the boys in the 1960's and onwards to aim for. When you compare dancers nowadays one could even say they are better than Nureyev. Worldwide there are some fantastic artiste's out there., but they need to be judged in their own right. You just have to look around to note their qualities, Roberto Bolle, Manuel Legris, Herve Moreau, Jeremie Belingard, Ethan Stiefal, Jose Mar. Carr, Angel Correlli, Jonathon Cope, Frederico Bonelli, Johan Kobborg,Ivan Vasiev, Ruzimatov, the Zaklinsky's, in the past, Zolton Solymosi, Anthony Dowell, David Wall, past present and future the list is endless.There are new promising dancers appearing all the time whose talents could now surpass Ruddi.

[My first memories of being taken to the ballet date back to when I was five years old, my Mother took me to see Coppelia, at the Chiswick Empire, on the outskirts of London. The company was something to do with Mona Ingsby, and my Mum told me their costumes were all darned, as it was just after the 2nd World War. As soon as the London Festival Ballet was formed by Oleg Briansky, I was taken to see them. I was really hooked, I ate, slept and did Ballet. The first Dancer I can remember as being very speical was ANITA LANDA. I followed her in great detail going to see her whenever I could. She was lovely, very musical and lyrical with dark hair and expressive large brown eyes. She danced many different roles from classical , Character and modern. Mike Davis (Davies?) the photographer featured her a lot in his work.She was also featured a lot in the childrens ballet books, The Princess Books of Ballet. her associates at LFB were Marilyn Burr, John Gilpin, Michael Hogan(her husband) Louis Godfrey, Alicia Markove, Anton Dolin to name a few. She definatly was my first favourite dancer.

I liked Darcey Bussell, she always struck me as a lyrical dancer, and had a very good technique, with exceptional extension. This was helped by her height and length of leg, which being a tall dancer gave her an advantage over smaller girls. The fact that she trained in the Cechetti system which is much more expressive and lyrical, with more use of the head, and softer arm movementsl which certainly made a difference to the quality of her performances. This far excels .The Royal Academy of Dancing in the UK which seems to be preferred in the English Schools. In watching her dance there were elements of both the American style , in the sense of attack and virtuosity, plus the flexible use of the back, and fluid continuation of movements, similar to the Russian (Kirov/Mariinsky style. After retiring from The Royal Balet Darcey appeared with Catherine Jenkins the Singer,in their own show "Viva la Diva", where both Artists proved how versatile they were, by singing dancing and producing a very entertaining experience. Then Darcey went to live in Australia, with her husband Angus, and their two small daughters, to make a new life. Angus is Australian, and so is her Step Father. Viva la Diva is available on DVD, and is very good, so well worth buying.

It has been reported in the Australia press that Herve Moreau was badly injured when performing in La Bayadare on the last matinee. It appears that he landed badly and his knee twisted the wrong way. As he was uanble to get up, the curtains were closed, and they finished the last few minutes of the performnce. He was in a Brisbane hospital, and due to return to Paris where he was expected to undergo surgery for the injury. Let us hope he will soon recover, and be back on form.

I have just duscovered the link to the "Swan Lake" episode, and thought it was very funny, it really made me laugh. Bless you for cheering me up....

Poor Herve Moreau, he is such an excellent dancer, but seems to be plagued with injuries. He was off recently, and sadly when I went in 2008 to see Les dame aux Camellias, he was supposed to dance, but was injured. That time he was replaced by Stephane Bullion, another super dancer. One I am keeping my eye on, he was only a Sujet at the time, but has I believe been promoted since then. Back to Herve there was a very tongue in cheek article in a Sydney newspaper, about an accident with a pair of scissors and his costume. Seems he was sent to hospital last time POB were in Australia. He has been injured quite a lot recently it seems. Lets hope he will soon reover, but takes enough time off to give his injury time to heal properly.

:ermm Dancers are simply not really allowed to show any effort, they must hold their mouth in a slightly open smile, and breath through the gap, when they are out of breath. On many occasions after say the Bluebird Pas de deux from Sleeping Beauty, I have had to open the back of the male dancers costume, so they can breath. It is not unusual to find dancers laying flat on their backs in the wings to recover from an extra strenuious solo or vartiation. Without spoilling the illusion, of what you see from the audience, very often the dancers are running in persparation, their costumes covered in make up, and pretty near to exhausion. That is why the intervals are so necessary during a performance.

These comments are typical of someone who has no idea of what being a Dancer requires. They are not only blinkered but insulting. It is a great pity how biased people can be about the art. But can be refrershing when a lay person who has not much knowledge of The Arts,finds to their surprise, what it entails, aned comes to appreciate the enjoyment of seeing a live performance. Returning to the question of sport versis dance, one should consider the beauty and vertiuosity of some of the Athletes, especially Gymnasts who participate in floor excercises to music and tumbling. Who possibly have taken Ballet classes to perfect their performances. It makes me wonder what has happened to fair play, sportmanship, and winning without resorting to foulling the opponent. It not only happens in Rugby but also in Football at the highest level. In one sense it would do these people good to experience the disapline and routine a ballet class would give them. And how then to a Dancer's response to this kind of ignorance, challenge them to do 32 turns, just laugh at them, or simply treat them with contempt, as they more than anyone know the phySical and artistic demands they have to endure.

Returning to Michael Jackson, I cannot help wondering what the result would have been if his dance skills had been channeled into a different area. Supposing he had received classical ballet training? He was definitely a very musical person and moved with remarkable flexibility. He was almost sensual in some aspects, plus he had a very slim physique. Perhaps his life would not have had such bizarre elements. Though during the time this could have happened, it would have proven very difficult for a coloured young man to be accepted in the world of classical Ballet. When you consider Carlos Acosta. having made it, Michael Jackson, could well have succeeded had he been given the opportunity. Though in these circumstances he would have not been known for his songs.

Michael Jackson, his magic and talent stretched accross the generations, putting aside his strange ways and lifestyle, the wonder of his performances still shone through. He has now joined the select few we will always remember, Elvis Presley, Judy Garland, Marilyn Monroe, Princess Diana, Frank Sinartra. Charlie Chaplin, Anna Pavlova, Nijinsky, Ruddi Nureyev. Margot Fonteyn. May he rest in peace on heavens stage in the sky.

Thanks Bart. I think that David Bintley is a great supporter of Sir Fred's work. And it is thanks to him and Monica Mason that some of these Ballets are now beginning to come back. Daphnis & Chloe, Ondine and the recent large production of Sylvia. We can see Fille mal Gardee and other productions creeping into other companies repertoire's. The Australian Ballet,and now Paris Opera. You can see the former on DVD, and it is verry true to the original style. However, I have not seen POB, and would love to do so, Perhaps one for a future visit.

Hello JMcN I am so glad you enjoyed the programe, it was lovely, was'nt it? Must admit it made me cry as well, I am afraid even all those years ago when I worked with the Royal Ballet, it had the same effect!!!

Mozaartiana and The Two Pigeons. I was able to book seats for this performance over a year ago, so had plenty of time to look forward to my trip. Mozartiana, was the last ballet choreographed by Balanchine 2 years before his death. He had previously produced a similar work, but this was a revised version created in the 1980's. The music was Tchaikovskys arrangement of Mozart, and benefitted from the Russian composers wonderful orchestral arrangement that is known and loved. It is a short work, using a small corp de ballet and Soloists. Nao Sakuma, Jospeh Caley And Chi Cau. It was well performed, and reflected very strongly the style of typical Balanchine choreography. The carefully structured groups of dancers, the steps and movements we remember him for. The costumes designed by Rubin Ter-Artunian were simple, the Corp dancers wearing black dresses, with full skirts and white collars and sleeves, while the Principle girl was in a similar codtume in deep bright blue. The two male soloists wore Black/White tights with a matching tunic. An entoyable beggining to the performance. The Two Pigeons Music Andre Messenger, Choreography by Sir Fred. Ashton, Design by Jacques Dupont. This was the pinnacle of the evening a colourful vibrant work by one of the favourite British choreographers. First performed in early 1960s,a very old French ballet, revived by Ashton with Christopher Gable, Lynn Seymour in the leading roleThis ballet, has been aclaimed all over the UK, it was very often sold out, and the evening of the 19th was no exception. , The story line is really charming and tells of the love of an artist and his fidgetty sweetheart, who will not sit still while he is painting her. Tired of her antics, he is soon captivated by a visiting Gypsy girl and leaves to follow her. I knew it very well from when I worked with The Royal Ballet. It was very pleasing to see that the original costume designs were still in use. The designs in the first act, for the girls friends reflect the colours of ring doves, each cotume is different, coloured, and has feathers on the bodice, and a bow on the back which is like a birds tail. The leading girl is dressed in white, she is a Dove. rather than a Pigeon. In the second act the Gypsy costumes are very attractive, using bright jewel colours for both the girls and boys. It was just as I remembered it, lively, colourful and full of woderful music and dancing. But most important of all, are the beautiful white doves that feature in the opeformance, that fly on stage, landing on chairs and the dancers themselves. Sadly I do not think it was ever filmed, which is such a pity, as it would be wonderful to be able to purchase a DVD.

I have this DVD, it is filmed on a set, and in one sense is a little dated. The action, moves in and out as a memory, and the choreography is very similar. The costumes for the Paris production had also been improved, but still could be seen to represent the original designs. The new production in Paris, was equally as good if not better. The first cast were Aurelie Dupont, and Manuel Legris, and they were fantastic. You can see some excerps on YouTube. The costumes had been much improved, but still represented the original designs. The whole production was much more glamerous than the original comparing it with the Haydee DVD,. I think also that Aurelie Dupont gave an equally dramantic and well acted version. However, she was on Maternity leave when it was filmed the following year, with Agnes Letestu and Stephane Bullion (replacing Herve Moreau) who were I think the original 2 nd cast. Stephane Bullion also partnered Isabelle Clairavola during the same run, but actually seemed far less passionate than with Agnes Letestu, I loved his portrayal of the role, which I saw on the date it was actually filmed. At the Opera Garnier, for their version, two platforms were placed each end of the orchestra pit, and the dancers came out of the stage side boxes, with some action happening right in front of the audience, if you reached out out your hand you could have touched them. You felt as though you were in the middle of the action. However, I do have a criticsium of the stage lighting at the Paris Opera in general, as I have personally found, the lighting to be far too dark. It is fine to have visual effect and ambeance, but when you simply cannot see, the lighting design is at fault. This would in no way help in a film. Perhaps a word in the direction of the Chief Lighting Engineer is needed.

I felt I really must join the rest of you to comment on this wonderful Artist, I think he was fantastic in Raymonda, talk about putting Nureyevs production, with the same character to shame. He was every inch, the Saracen Warrior he was meant to be. I think I also have seen him in Spartacus, with Irek Muk. as the slave he had to fight with unto death. It would be really marvelous if he brought his company to London, who knows perhaps the Coliseumi n St Martins Lane, wouldi nvite them. That is the home of The English National Ballet and Opera Co's.and they do have visiting companies. I have seen the Bolshoi, (Raymonda), ABT, NYCB there. Thank you for all the information, he has been a truly wonderful Star.

I have posted a message on Recent Performances, but thank you all for your suggestions. I did manage to get a seat for Aurelie dancing on the last night of Oneguine (we call it Onegin in the UK). You may wonder how ? By slimply being a pest.. telephoning the booking centre every day for about 2 weeks after reservations opened. In the end they told me as soon as they had the Distribution before it was published on the Internet. I got a super seat in the middle of the front row. I cannot see from anywhere else. Which as I am paying to travell from the UK and stay overnight, it was worth spending my pension on. Bread and Jam for the rest of the week!!! It was fantastic, I loved the Ballet and Aurelie was back to her usual form (Reviews since her babies birth, on earlier performance had been rather unkind). Now I have to save up for Varna Ballet Festival and a holiday with my daughter who lives in Bulgaria. As I have to cross the channel anyway, I may go via Paris, and see Patrice Bart's Ballet based on Degas paintings.

Thank uyou all for your posts, I was very keen to find out more about this matter, so contacted Freeds. On the POB La Sylphide DVD , there is a documentary about Taglioni, and how she improved her shoes to be able to dance on pointe. Pierre Lacotte, found the original costume lists, and for her, added was so many ppieces of cardboard. I t appears she strengthened the shoes, by using the cardboard and paint. I wonder if she was one of the first Dancers to do this? Back to more recent times, certainly in the 60/70's girls were breaking in their shoes, like already mentioned, shutting them in doors, hitting them on concrete (The Opera House stairs were a favourite spot) cutting off the satin from the end of the block, and darning them. Some people removed all or part of the inner sole, or bent the metal strip underneath it. The outside would atill look new and clean, but the actual shoes were made much softer. I really dislike the sound of noisy shoes, it really spoils the illusion fopr me. It is very off putting to hear a loud thud when the otherwise graceful Dancer lands. You sometimes even get Men landing badly, with a loud thump, but their shoes cannot really be blamed for it, maybe it is the floor, or simply they do not bother to mute their landings. I must say with ABT at the Coliseum in Le Corsaire, they were not noisy, neither was Onegin at the Palais Garnier. Which delighted me, as sometimes on DVD I have noticed certain members of the cast can sound noisy. The Ballerina's shoes nowadays often look so prestine, it makes you wonder what they have done to their shoes.

I was very lucky to be able to go and see the last evening's performance on Wednesday 20th May 2009. The cast were, Eugene Oneguine (Nicholas Le Riche) Tatiana (Aurelie Dupont) Lenski (Mathias Heymann ) Olga her Sister (Mathilder Froustey) Prince Gremin (Karl Pquette) Madame Larina Vanessa Legassy The Wet Nurse (Ghysiaiine Reichert). The main cast were supported by a small Corp de ballet, of 24 dancers, 12 femail and 12 male.The original costumes by Jurgan Rose, were brought up to date by the Paris Opera workshops, and although basically the same designs, the costumes for this production looked superior to the former ones, as seen on DVD or video. The cast were well matched, Mathias Heymann and Mathilder Froustey produced some very good work in their Pas de deux, as the younger more boisterous couple. Whilst Nicholas Le Riche and Aurelie Dupont, were exquisit in their own ways. Aurelie stepped completely into the role of Tatiana and was very convincing. From the start. The Pas de deux in the dream sequence was really beautiful, and danced with grace and emotion. It features some amazing lifts, which both dancers completed without any obvious effort, which made it very special. It can be said they were both on form. In Tatiana's Pas de deux with her husband the Prince, Karl Paquette and Aurelie Dupont formed another very impressive partnership. The mood this time being gentle and calm, and showed their devotion. All too soon the last Act approached, when Oneguine, returns to Tatiana's room, realising his mistake of rejecting her earlier, and hoping to rekindle her affection. The following Pas de deux is full of struggle as she tries to break free from his advances. Gradually her feelings increase as he holds her closer, for a moment in time she allows herself to be drawn into his spell. Until she remembers her status, and finally dismisses him. Briefly she runs after him, but he has left. Leaving her standing on her own, at the front of the stage, full of anguish and despare, The evotive Tchaikovsky music really tugs at your heart strings. This is a really wonderful Ballet, and I hope that POB will release it on DVD. Ideally with Aurelie Dupont in the role of Tatiana as with her musicality, technique and acting skills she is remarkably good in the role.

Following my earlier post on this, I decided recently to find out more about this subject, As one of Freed's factories is at Norwich, near where I live, I telephoned their Assistant Manager, and had a very interesting conversation with her. She told me that the process of manufacturing where they are concerned has not changed over hundreds of years. Each shoe is handmade to the Dancers pattern and requirements. which can mean a different end to the toe area, more or less paste, all adding to the effeciancy in peformance. She agreed that shoes sometimes are more noisy than others, and suggested it could be down to more than one reason. That the shoes had not been broken in properly, to the fact dance mats are used on stages, that the shoes are made harder at the Dancers request, thus making them more noisy. So it would seem as far as Freeds are concerned the same materials are still used, and they are not looking to change things.

Thank you so much for this fascinating insight into the world of Ballet History. I like Lifar's choreography very much especially Scene en Blanc. I have the Ballet Russes DVD which is most interesting.

[Paris Opera Ballet: Stephane Buillion and Agnes Letestu ( Already cast in Les dame aux Camellias) (Bala ManonHerve Moreau and Aurelie Dupont ( S. Waltz Romeo & Juliet) Solymosi (1)or IgorZaklinsky (2)and Darcey Bussell. 1. Tch. Pas de deux 2. Manon

Difficult one this, I do fit into the stated catergories of a Balletomaine, but really consider myself to be a Ex professional member of staff in a ballet company. Sometimes members of the public who were "besotted by Ballet" could be an embarresment and nuisance at the stage door etc, to Dancers and Staff alike. This may sound a little harsh, but some people could be way over the top, chasing people . I suppose it was a form of hero worship. The view from the inside is very different from the audience.

[ There is a tour of the front of house, you can join a conducted tour with a guide, in either french or english, or as an alternative you can go around on your own. This also includes any exhibition on at the time. this costs 7 or 8 euro's. However the interior is extremely dark, so you need good eyesight. It would be wonderful to be able to see backstage, and I would love to see an Etoile's class.

Thank you again for all this, I am really looking forward to going to see Aurelie Dupont in Oneguin, it looks brilliant from the very small snippets from the series.

:unsure Am I going off topic? if so, still talking of Diane/Dianna, in connection with Sylvia, Sir Fred Ashton's version, taken from the original, was Endymon the lover in the vision Act 3. As in the modern Sylvia (John Nei.) So is it the same Diana in the PDD, and who is Acteon. ?? Sorry if I am being thick!!!