Nanarina

Thinking of Nikiya, I do not find her other than betrayed and forsaken, I understood it was the revenge of the Gods, who brought down the temple after Gamzetti and Solor are married. He pledged over the sacred fire his love for the Temple Dancer, and pays the

final price for his actions. He dreams of the Kingdom of Shades in a drug invoked state, that Nikiya has forgiven him, does he awake from his dream, or is the destruction of the temple a premanition of what is to come?

Are you referring to the coda of Nikiya's dance with the basket of flowers containing a snake? If so, in my opinion Asylmuratova. does the best coda No one else does it with such verve and speed. I saw the RB version before POB or La Scala and waited for that wonderful bit, but none lived up to Asylmuratova's.

I agree that Asylmuratova's is by far the best, she was an exquisite dancer , there is a recent clip on You Tube of Aurelie Dupont doing this variation, and she does not make too bad a job of it at all.

However, I have never really liked this variation, it does not seem to fit the character of Nikiya, she is sad and full of longing to start with, but when she thinks that the basket of flowers are from Solor it pleases her and she finds a littler happiness, hence the up tempo response, but she is soon betrayed.. I feel the choreography could portray her mood in a much better way. than it does.

Kirov or Bolshoi?????? I own a copy of the Bolshoi, with Taranda, who like others say is amazing, he is the essence of a Saracen warriior, proud dramtic and exellent in the role. But I do not like Bessmertova, she was well past her best, and I found her un inspiring, finding difficulty in many of her variations. Though saying that the production at the Bolshoi was better than the Kirov which seemed very dated. Kolpakova was lovely, but the staging seemed very old fashioned and the quality of the DVD (Rented from Lovefilm) was far below that of the Bolshoi.

I believe there is a DVD of the Paris Opera Ballet (Mezzo) with Marie Agnes Gilot., which is a Nureyev re-staging, in what seems to be based on the Kirov version, with of course his own idea's. Whether it is avauilable in general I do not know, but there are some clips on YouTube. I think it was released in the last few years, whereas the others are much older. I also think I saw a recent advert on Amazon for a production in the last few days, But I may be mistaken, and it was something else. Good luck in your choice

I saw him in La Source, he was excellent and worthy of the promotion.

Having been the Founde//Administrator of the Heritage Dance Foundation ( a rergistered charity ibased in, Norfolk, I regularly recieive enquiries from parents asking for help with funding for dance education.

As this is not part of our policy I am unable to help. The original plan of HDF was to set up a residential college, but due to the failure of a bid for Lottery Funds, despite having secured vast financial assistance from the European 5b Fund, we were unable to go ahead. resulting in the organisation being dormant for a number of years.

In early January this year, yet another letter arrived, this time from a student, seeking help, which made me wish I could assist her achieve her ambitions of attending further training which would give her the chance to become a professional dancer. About the same time there was considerable information on television and in the press about a new Government funded scheme for "Free Schools".

The young lady in question, was 16/17 years old, and had taaken her GCSE. exams., and ready to

embark on the next stage of her training.

After researching all I could, and speaking to the government office dealing with this new programme of schooling, I realised that therecould be an opportunity to establish a vocational 6th form centre for Dance under the new scheme. Further enquiries and discussions confirmed this,

and I received the application to apply for the said funding., which would be the first of it's kind under the facility.

This seems a very interesting prospect, and further research and the avilibility of suitable premises,

and a proposed curricuilum,, qualifications, which would include an "A" level in Dance, and other related subjects will shortly be addressed. This work will take up to 2 years to achieve, including modifications and any building renovation which may be required.

Help and support is needed to promote and establish the Centre which will be one of "par excellence" in it's field. It will not be a residential unit, but accommodation will be available near the building s for students from out of the area.

Anyone interested in/or with qualifications in the Performing Arts is welcome to help in this venture,

for which we would be very grateful. Please refer to The Heritage Dance Foundation, Norfolk, UK on FACEBOOK Thank you.

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If you are interested in Ballet and music, and have the capability to create new works, they can often be inspired by hearing just the smallist excerp from a piece of music. It takes a lot of work from the initial composition to research and find enough music by the same composer to create a full length ballet.

Since 2005 I have been doing just that, and have so far written six original new ballets, which have been seen by a number of well known //artistic Directors. I am currently working on another special ballet using music by Rachmaninov. It is not a case of my using an existing stiory, I have quite a vivid imagination, and my love of Ballet and experience of working in the genre has given me the enthuisisium and confidence in trying to get my idea's performed. My projects include Libretto, Scenery and Costume Desgn, and the music that I have found for the production. Sounds easy enough, but it is in fact many hours of hard work. But I love every minute of mt tume spent on it.

Seeing the one clip above (thanks, cinnamonswirl) I think that Ludmilla Pagliero is a sumptuous, mellifluous ballerina. I think the same about Myriam Ould-Braham. I can see how public opinion can fall into two camps. However, I challenge the age-old practice in ballet: why must one dancer be pitted against another as if there can only be one winner?

I totally agree, she has had to compete on the same level as all the other dancers at POB to achieve her status, and I hope they will promote her to Etoile, as she is really worthy of the title. Why should where a dancer comes from or was trained matter, surely it is their talent and qualities that matter. I think the POB should be pleased and proud to have her in the company, as she could have stayed at ABT, Being selfish I am glad she is in Paris, as it makes it feasible for me to see her live, rather than having to go to the USA.. I too like Myriam Ould Braham, but do not think she has as much lyrical expression or charm as Ludmilla Pagliero.

It brings to mind the case of Paloma Herrara of ABT whio is also from Argentina and equally a good dancer. I am slso very pleased to hear that she has been filmed for the DVD of La Source, it should be very good. Hopefully it will be out quickly.

Ludmilla actually mentioned on her internet site that she had been "working on" sleeping beauty with Aurtelie Dupont earlier

and I wondered if she meant they were both cast in it, or that Aurelie was coaching her. That would be a most interesting combination whatever the circumstanxces were. I still think Aurelie is brilliant, but she .has compatition with Ludmilla, who knows maybe she can fill her pointe shoes despite their different styles when Aurelie retires

I have just discovered Ludmilla Pagliero a Prtemier Dancer at the Paris Opera Ballet, and cannot really understand how I have not noticed her before. I came across a YouTube video clip of herf in La Source as Naila. She is a really talented dancer, lyrical, musical and very expressive in her performances it would seem. She is Argentinian by birth, and has dqanced in her native country as well as with ABT before coming to Paris. Another dancer to add to my favourites list!!! Hopefully I will be able to see her dance when I go to Paris again next year.

Thank you all for the information.

Nanarina - You might have confused Johann Kobborg with Sebastian Kloborg who is a soloist with the Royal Danish Ballet. Sebastian is the only child of Eva Kloborg (a Character Dancer with the company) and Frank Andersen (former AD of the company). Sebastian joined the company in 2005 and was promoted to soloist in 2009.

Thank you, to confuse things even more there is a video clip of Johann Kobborg dancing in La Sylphide I think at the Bolshoi, I have also seen a very recent video of a dark haired dancer given this name of "The Royal Danish Ballet". !!!

What a waster of their TALENT I think not, but a chance to see them in a differtent light, soft, amusing, and far distant from their usual virtuiosity at the Bolshoi.. This is very charming, but equally impresive choreography actually that suits them as a couple both in life and on stage. I loved it, however tthe music conflicts with its place in the version of La Fille mal Gardee that I know created by Sir Fred Ashton. for the Royal Ballet. Part of the score is from the Pas de dceux and also the clog dance, a very funny routine danced by Widow Simmone Lise's domanering mother which is usually danced like a pantomine dame. I cant help tjhinking back to the latter when watching this Pas de deux.. All the same I loved this Pas de deux danced by the spectaculat artists.

Many clips (30 and counting) of the October 25 performance have now made it onto YouTube. That performance's cast:

Naïla (white woman): Myriam Ould Braham

Djémil (green shirt): Josua Hoffalt

Nouredda (purple and blue woman): Muriel Zusperreguy

Zaël (green man, like Puck): Alessio Carbone

Mozdock (character dance): Christophe Duquenne

Dadjé (favorite's Khan): Charline Giezendanner

Here is one, with a solo by Alessio Carbone as the puck-like character, Zael:

A female group dance + solo for the character Nouredda (Zusperreguy):

From the look of these costumes & those of the male group dance also on YouTube, it appears that J-G Bart has shifted the location of the ballet from India to the Caucasus (e.g., Georgia).

I think the idea was that the Caucasians and Nouredda were on a journey, hence the flambyant carriage. I still feel as in my original post that something is lacking in this work. the ballet element is fine, but the character dance ensembles, just seem too boring without much style, yes it is quiet and simplle, with considerable port de brae, but it just does not create an impression for me of Caucausions, they are hot blooded, exciting people, it is all too "nice" and feeble. As far as the costumes, it seems like they have been made out of curtain material. far too fussy, and what have they (the girls) got on their feet, it gives the look of very high heels.

Still cannot make up my mind, if I really liked it or not. Maybe it will be released on DVD , I hope so.

I have recently been looking up different dancers and have come accross two Johan Kobborg's, or so I think.

I know the one who dances with the Royal Ballet, and also guests around the world. Originally from the Royal Danish Ballet. He is fair haired and easily recognisable.

However, I have receently noticed a dark haired dancer with the Royal Danish Ballet quoted as being Johnan Kobborg cast on their latest programme calender. I do not think it is our Johan guesting there.

as he looks different in the video clips. Is it a common name in Denmark. Can anyone answer my query please? Thank you.

First of all I must say how much I was impressed by the new packaging on this DVD. It comes in a printed book bound in dark blue, with good quality paper and comprensive text and photographs. I t is a good addition to ones collection, a great improvement on the original plastic case and loose leaflet. Something different to watch at home.

I found the programme as interesting and enjoiyable as I did when I attended a live performance during it's run in Paris. The quality of the filming is resonable, but it would have been better with more close-ups, as the action is often taken from too far away. Another subject I find that could be improved is the lighting on stage, itt is so often too dark, making the performance difficult to see. At times during the performances at the Pairis Opera the spots are far too low. I often wonder howe the dancers do actually manage to see on stage. I do not think the lightening design equals that of other major houses.

Beacause of this, very often DVD's are also rather dark. Atmospherics are very well, but there is a fine line between lighting below what is required to take into account of the different sight requirements of an audience.

En Sol, danced by Marie Agnes Gillot and Florian Magnenet, this was superb, the up amd coming F. Magnenet parners the ever brilliant M.A. Gillot, who we have seen excell in a varied number of roles.

He is very tall, elegant and makes an impressive figure on stage. His height makes him a very worthy partner for Marie Agnes, and they are very well balanced and in unison as partners. Supported by the corp de ballet, it was well rehearsed, and most enjoyable. The blue and white costumes are very attractive.but do not blend in and disappear into the back cloth. They stand out clearly, with in this case appropriate lighting.

Triade, by B Millipied, most certainly one of my less preferred choreographers in line with Wayne Macgrtegor. I do not find his work appeals to me at all, his choice of music, and lack of costumes

which convey no more than people in their pyjamas or a vest and trousers. However, I do not fault the dancers, they were very accomplished in the sometimes weird choreography they are asked to perfoerm. One moment it appears to include normal element s the next it is making strange looking shacking movement which does not make sense..

In the Night I have always liked this ballet, three different couples that each tell their own story, I love lthe costumes and choreography. the first Blue Couple, lyrical, gentle and loving, the second, in unison, strictly controlled and very together, and the final pair, passionate, abandoned, parted and forgiven, the girl submitting to her partner, and falling at his feet. Really beautifully danced by all the cast to Chopins music.

Finally The Concert, this delicious piece of whimsical fun, never fails to amuse me. and you leave the theatre feeling happy and light hearted. The choreography is brilliant, it is much harder to do tujhgs wrong, and not to over act. The cast of Dorothee Gilbert, Alessio Carbone etc have got it just right, they are very funny.

The way it is choreographe ihas not dated at all, and the whole thing just lives ion to enjoy into the 21st century.

Anna Karenina Tuesday 3rd and Wednesday 4th April 2012 (2 performances)

Onegin Friday 5th and Saturday 6th April. (2 performances)

Further news regarding ENB Spring 2012.

Programme 1. L'apres midi un faune, Firebird, and The Rite of Spri Wed. 28th March - Sun 1st April.ng Thurs 22nd - Tues 27th March. Prog.2. World Premier of a new Toer van Schayk Ballet, Apollo (Balanchine) Suite en Blanc

I was looking at the BRB's 2011-12 season and -- wow -- they sure perform a lot of Ashton. Symphonic Variations (October), Daphnis and Chloe (February-March), The Two Pigeons (February-March) and The Dream (June) -- has BRB become the true home of Ashton in this world???

The programme for BRB at the London Coliseum "Spring Passions" iis 13th & 14th March 2012 (3 performances only) will

be Daphnis and Chloe and Le Deux Pigeons.

Thursday 15th to Sunday 18th March Coppelia (5 performances only.)

I was most interested to see this programme advertised in my Access Club literature received today the company are producing a mixed bill next spring of a new ballet, Apollo (Balanchine) Suite en blanc (Lifar). I am really delighted as I was under the impression I would have to go to Paris to see it.

It is super that we will be able to see it in London. Cannot help wondering if they will take it on tour as well.

Look up Dance Europe for October 2011 1st Ivan Vasiev 2. Natalia Osipova. My favourite Ballerina Aurelie Dupont is 9th. Why dont you check up where your favourite is?

I went to see this Ballet, after month's looking forward to the event. I c annot say I disliked it,

but came away slightly unsure of how I felt. I was feeling a little disapointed. Not with the dancers, it was the first night of the second cast. Myriam Ould Braham, (Naila) Josua Hoffalt

(Djeemil), Muriel Zusperreguy (Nouredda), Allessio Carbone (Zael), Christophe Duquenne (Mazdock Nouredda'a brother) Alexis Renaud (The Khan) They all performed well and took their parts as expected. MOB was charming as Naila, she was lyrical, musical and suited the role.

MZ danced the stronger role of Nouredda with conviction and contrasted well against the softer more delicate performance of Naila. The first scene seemed to take time in getting started, but things moved on more quickly with the appearance of the Caucausians. This

was where my doubts crept in, "Character Dance", which really did little to impress me. The overall choreography at this point was not very exciting, rather repetative and not danced with the flourish and style we can expect from the Bolshoi or Kirov. In fact it was quite painstaking

I honestly felt that the solo for Nouredda should have been danced in character shoes, and would have been more effective. Danced in the middle of the character steps, it did not seem to fit in.

The Corp de Ballet at times in the Nymphs variation, were out of line, on both sides, which is almost unheard of for the Paris Opera. It stood out quite a lot and distracted from the scene.

The scenery was non existant, staged in a black box, with side flats and rear , it consisted of a number of knotted ropes hanging down from the flys, with pieces of cloth knotted and

hanging above the stage. There was very little colour, or real scenery. At times the dancers climbed the ropes, or they were raised or lowered. I simply wondered what they were meant

to represent, maybe the mountain side? Across the front of the stage was a rope fringe.

Costumes were quite pretty with jewels and light tule skirts, the Caucasians had Armenian style long coats,and trousers worn with boots. The fabrics were very rich, trimmed with fur, in a variety of colours.

I am still un-decided just what to think of the Ballet, it did not "Rock my Boat" , but all the same from his first attempt at choreography in mounting La Source I could imagine the re-action and excitement it may have caused when originally produced.

After the performance I had the chance to speak to Jean G. Bart, who told me, he had the idea to produce this for a very long time, his idea for the choreography, costumes and music. I could not help thinking how good it would have been if he could have had the benefit of imput from one of the Professors from the Bolshoi or Marinksky to help with the Character Dance, as it would have made such a difference to the production.

Perhaps I am too critical in comparing Ballet Dancers doing Character Dance, with the specially trained Russian's. Maybe I should just watch it and try to appreciate their efforts.

But it is like having a top of the range Hi Fi with a wonderful tone, and music played by a top orchestra. Then buying and listening to a lower quality unit, that does not sound so good.

You will always appreciate the the better system, likewise with Dancers,.

Oh well that makes me boring too!!!! But it does not change my opinion.

I’m shared. Up to me, choreography lacks originality and the magical world supposed to be at the chore of the work is ruined by some impossible costumes. Bullion and Dupont saved the ballet with their presence and skills on the Premiere trying to throw us in a different world but with Osta/Pech and Ganio/Gilbert down to earth dancing, it turns to be really boring.

BORING ?????

I went to see Aurelie Dupont's last performance in the run on 29th September. And really enjoyed it. It is good to see some maghical scenery,

full of colour and with many attractive features. It remined me of an old fashioned work, it may have appeared over the top to some people, but it was in the theme of the story, which after all is myth and legend. It was pleasant and easy to watch. If the choreography was simple it did not conflict with the over fancy scenery or costumes. In parts it was quite beaurtiful, the Pas de deux with Psyche and Eros, was very touching with moments of tenderness, and if the steps were simple and not in the form of bravdo or tricks, it was wonderfulluy danced, by Stephane Buillon and Aurelie Dupont. But was quite long, with every movement holding ones attention. Aurelie, was at her best, you would never had thought she had a few months ago had her second child. Her portayel of the role was just right, gentle, shy but with a little mischief in her soul. Stephane was a capabile partner, and danced well. However, I was surprised to see him cast with Aurelie, due to his height and physique. He was replacing Herve Moreau who did not make it in the end. This was a pity As he and Aurelie have a good repore like dancing together, so make a special partnership.

All in all I loved the ballet, and was very pleased with what I saw, which made the expense and travel worth while. There are two video to see, the Interview with Alexei Ratmansky and the one with Aurelie Dupont. Enjoy.

http://www.operadeparis.fr/cns11/live/onp/actualites/index.php?lang=en#news4373

http://www.operadeparis.fr/cns11/live/onp/actualites/index.php?lang=en#news4393

Please copy and link to web page.

I loved Asylmuratova as an artist, and saw her dance a number of times live, in London, once in La Bayadere, La Corsair, and Swan Lake, she was an exquisit beautiful lyrical dancer, trained in the Vaganova style.

Although I owned a number of video's produced by Kultur, I never had one as you suggested, what I did have was one they released (possibly filmed in Canada) with Ruzimatov and Larissa Lezhnina in Sleeping Beauty. With the other people you mentioned as the Fairies etc.

RE Thomas Lund. Here's a set of brief clips from a number of ballets. (Warning: the clips sometimes cut off feet and even head.)

Re: Emmanuel Thibault, here he is as the Golden Idol ...

... and in the Bluebird pdd:

I forgot Emmanual when mentioning the other POB guys. He is a spectacular artist, I have seen him live and on DVD. However when comparing him to Thomas Lund. I think he comes out on top, he has much more style and elevation than the latter to me. But perhaps he does not give the aura of a Prince, but then he probably has not been given the chance to prove himself.