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I'm sorry to see it's all program-length works (a mixed bill in amongst all the others would have been fascinating) but we do see their new-ish Taming of the Shrew, and their production of Neumeier's Lady of the Camelias. I suppose we're not going to get any more of the Ratmansky productions...

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Here is the official release:

Pathé Live and BY Experience Announce the 2015-16 Bolshoi Ballet Cinema Season Featuring Seven Productions Including Brand New Ballets
Direct from Moscow to Select Cinemas across the U.S. and Canada March 16, 2015 – New York, NY – Pathé Live and BY Experience proudly announce the new 2015-16 Bolshoi Ballet in Cinema season featuring seven exceptional productions, with four live performances (captured earlier the same day of the cinema broadcast from Moscow) and three pre-recorded programs, screened as Sunday matinees to over 500 cinemas and performing arts centers across the U.S. and Canada.

Opening the sixth season of cinema events is one of the greatest romantic ballets, GISELLE performed live on October 11 followed by George Balanchine’s opulent JEWELS (recorded) on November 15 starring the celebrated young prodigy Olga Smirnova in Diamonds. John Neumeier’s tragic masterpiece, THE LADY OF THE CAMELLIAS, which only recently entered the Bolshoi’s repertoire to incredible success, will be performed live on December 6, followed by THE NUTCRACKER (recorded) on December 20. For the very first time, North American audiences will be able to see Jean-Cristophe Maillot’s brand new production of Shakespeare’s comedy THE TAMING OF THE SHREW, specially created for the Bolshoi, on January 24, 2016. SPARTACUS (recorded), Grigorovich’s signature ballet is set for March 13, and closing the season is a same day as live broadcast of Fadeyechev’s dazzling production of DON QUIXOTE on April 10. Tickets will go on sale in the U.S. and Canada on June 19, 2015 at www.BolshoiBalletinCinema.com

The new season combines classic and brand-new productions -- some never-before-seen in the U.S. -- featuring the Bolshoi Ballet of today at their absolute best. Starring the company’s exquisite roster of dancers in works by contemporary choreographers John Neimeier and Jean-Cristophe Maillot, and ranging from iconic George Balanchine to more timeless pieces in the classical ballet canon, this season is one not to miss. See descriptions of each production below.

Giselle Sunday, Oct.11, 2015 at 12:55 p.m. ET / 11:55 a.m. CT / 10:55 a.m. MT and 12:55 p.m. PT/AK/HI
Music Adolphe Adam
Choreography Yuri Grigorovich

The young peasant girl Giselle dies when she learns that the man she loves, Albrecht, has betrayed her. Against her own will, she joins the wilis, vengeful spirits who now turn against Albrecht and condemn him to dance until he dies of exhaustion. This treasure of romantic ballet is one of the oldest and greatest in classical repertoire, touching upon the great romantic themes: a doomed love affair ending in tragedy, a dive into fantasy and ultimate redemtion through the power of love. The Bolshoi is renowned for its intimate and emotionally intense interpretation of this beloved drama.

Jewels (recorded) – Sunday, Nov. 15, 2015 at 12:55 p.m. local time
Music Gabriel Fauré (Emeralds), Igor Stravinsky (Rubies), Pyotr Ilyich Tchaikovsky (Diamonds)
Choreography George Balanchine

This opulent triptych was inspired by Balanchine’s visit to the famous jeweler Van Cleef & Arpels on New York’s Fifth Avenue, celebrating the citites and dance schools of Paris, New York and St. Petersburg, each bound to its own precious stone. With this first abstract ballet, Balanchine built an homage of captivating beauty to the dance schools that had forged his style: Paris, New York, and St Petersburg, each represented by a contrasting jewel: emerald, ruby, and diamond. Jewels offers a unique occasion to enjoy Balanchine’s visually captivating work, as the Bolshoi is only company authorized by the Balanchine Trust to film and broadcast his masterpiece. Starring Olga Smirnova, Semyon Chudin, Vladislav Lantratov, Anna Tikhomirova, Ekaterina Krysanova, and the Bolshoi Corps de Ballet.

The Lady of the Camellias (Sunday, December 6, 2015 at 12:55 p.m. ET / 11:55 a.m. CT / 10:55 a.m. MT and 12:55 p.m. PT/AK/HI
Music: Frédéric Chopin
Choreography: John Neumeier

A young bourgeois, Armand Duval, falls madly in love with Marguerite Gautier, a gorgeous courtesan celebrated by the Parisian high society. Despite her infidelity, Armand will do all he can to win the beautiful woman’s heart and convince her to leave her indulgent life. The Bolshoi breathes new life into John Neumeier's tragic masterpiece, inspired by Alexandre Dumas' novel and accompanied by Chopin's exquisite score. This production assumes a new emotional and dramatic texture that only the Bolshoi’s dancers can deliver. “Neumeier’s character-rich ballet has found a company that is equal to its challenges” – Financial Times.

The Nutcracker Sunday, Dec. 20, 2015 (recorded) at 12:55 p.m. local time
Music: Pyotr Ilyich Tchaikovsky
Choreography: Yuri Grigorovich

On Christmas Eve, Marie is given a wooden nutcracker as a gift. When the clock strikes midnight, the Nutcracker transforms into a prince and saves Marie from the Mouse King and his army. This beloved holiday classic will enchant the whole family with its fairytale setting and Tchaikovsky’s timeless score. The Bolshoi’s version of The Nutcracker has a unique and beautiful sense of romance and philosophy, danced by the heroic Denis Rodkin as the courageous Prince and the magical Anna Nikulina as Marie.

The Taming of the Shrew Sunday, Jan. 24, 2016 at 12:55 p.m. ET / 11:55 a.m. CT / 10:55 a.m. MT and tape-delayed to 12:55 p.m. PT/AK/HI
Music: Dmitri Shostakovich
Choreography: Jean-Christophe Maillot

Many suitors dream of marrying the lovely and docile Bianca, including Luciento. However her father will not let anyone marry her before her elder sister, the ill-tempered shrew Katharina, is herself married. French choreographer Jean-Christophe Maillot lands a coup with his adaptation of Shakespeare's comedy tailored specifically to the Bolshoi dancers, and achieves a magnetic two hours of breathtaking, nonstop dance unlike any other, portraying the Bolshoi’s audacity and energy in a completely new way. This new production was staged exclusively for the Bolshoi and cannot be seen anywhere else!

Spartacus (recorded) – Sunday, March 13, 2016 at 12:55 p.m. local time
Music Aram Kachaturian
Choreography Yuri Grigorovich

In ancient Rome, Spartacus, a Thracian king, is turned captive by Crassus with his wife Phrygia. Forced to fight as a gladiator and kill one of his friends, Spartacus plots an unprecedented upheaval. Grigorovich's Spartacus was created at the Bolshoi in 1968 and has since remained the Russian company’s signature ballet. This most spectacular production is an epic tour de force, giving full expression to the virility and strengh for which the Bolshoi’s male dancers are renowned. Principal dancer Mikhail Lobukhin is stunning in the role of the legendary gladiator, along with Svetlana Zakharova as Aegina and Vladislav Lantratov as Crassus.

Don QuixoteSunday, April 10, 2016 at 12:55 p.m. ET / 11:55 a.m. CT / 10:55 a.m. MT and tape-delayed to 12:55 p.m. PT/AK/HI
Music Leon Minkus
Choreography Alexei Fadeyechev (after Marius Petipa and Alexander Gorsky)

Cervantes’ eccentric hero Don Quixote leaves on journey full of adventures with his loyal squire Sancho Panza in search of his perfect woman. On the way he meets Kitri, the dazzling daughter of an innkeeper who he thinks might be his ideal love. The Bolshoi's panache and excellence are combined in Fadeyechev’s critically acclaimed staging of this exalting performance with Leon Minkus’ famous score. Featuring brand new sets and costumes to accompany this colorful and technically challenging production, DON QUIXOTE is quintessential Bolshoi, abounding with life and not to be missed!

More information on these productions, venues, and tickets coming soon. Please visit www.BolshoiBalletinCinema.com for updates.

# # #
About Bolshoi Ballet
The Bolshoi Theatre of Russia, one of the greatest music and dance stages in the world, was founded in 1776 and to this day remains a spearhead of Russian culture. With more than 250 dancers, the Bolshoi Ballet is one of the largest and most celebrated ballet companies in the world. Its annual repertoire of up to 30 titles per year includes classical masterpieces, rare productions and outstanding works by the most famous contemporary choreographers. Moreover, thanks to its school, the Bolshoi keeps the revered tradition of classical ballet alive through new generations of talented young dancers. For the 5th season, the Bolshoi Ballet will continue to open its doors and allow viewers across the world to attend their outstanding performances in over 1,200 cinemas internationally.

About BY Experience
BY Experience kicked off the digital revolution of live events to movie theaters and other locations globally with David Bowie’s 2003 Reality album launch and since then, over 22 million tickets have been sold worldwide for cinema events BY Experience has distributed globally. Current cinema series credits: Distribution Representative, The Met: Live in HD (Worldwide; since 2006), the U.K.’s National Theatre Live (Ex-UK; since 2009), Bolshoi Ballet (North America; since 2014), Stratford Festival HD (Ex-Canada, since 2014). Additionally, BY Experience has executive produced and/or distributed several diverse programs for cinema including numerous rock concerts, radio programs, fine art exhibits, and other special content events. BY Experience distributes to over 60 countries, to over 2,000 movie screens. www.byexperience.net.

About Pathé Live
Pathé Live, a Gaumont-Pathé subsidiary since 2008, is the European leader in the distribution of alternative programs in cinemas. Its network is rapidly expanding and now counts more than 130 cinemas venues in France and over 1000 venues around the world. Thanks to its unique system of high definition and video transmission by satellite, Pathé Live is able to deliver high quality live and recorded events everywhere across the globe. Pathé Live has, over the years, been providing a wide variety of programs such as operas, ballets, concerts, exhibitions and has also been a pioneer in the broadcast of 3D live shows. Pathé Live is the distributor of the Met Live in HD in France and Switzerland.

Pathé Live has also been producing and distributing the Bolshoi Ballet shows since 2010 live or near live in 1000 cinemas across the world and will launch with the new 2014-2015 season, its 5th Bolshoi Ballet in cinemas season. These shows, specifically shot for the big screen with 5.1 sound and 10 HD cameras, will continue to provide a unique opportunity for the audience to experience an unprecedented proximity with the artists and enjoy a unique look behind the scenes of the most renowned ballet company in the world.

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At this point the Bolshoi basically does only one mixed bill, consisting of Yuri Possokhov's Classical Symphony and Mats Ek's Apartment. And even that they feel compelled to fill out with more "accessible" numbers because there isn't exactly a stampede for tickets.


What's happened to Russian Seasons? Did Ratmansky choreograph it for Bolshoi originally?

Russian Seasons seems to be pretty popular now. American and Italian also dance it.

I remember that last year in an interview Ratmansky was asked if he had any plan for Bolshoi, he answered 'NO for next year (2015)'. He might be too busy to coach the rehearsals for Russian Seasons ?


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I'm very eager to see Taming of the Shrew and certainly willing to give their account of Lady of the Camelias a shot.

I guess Krysanova would dance in Taming of the Shrew and Zakharova in Lady of the Camelias.

I also want to see Krysanova dancing Kitri in Don Quixote. But, who would be her Basile? Chudin, again? When I saw Chudin as Basile in New York last year, I thought this Basile must be a buckeen, now he became a barber to make living. yahoo.gif

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The mixed bill is largely dead at the Bolshoi. And its website is very helpful in compiling the necrology since it lists when a ballet was performed last.

Apartment - 1 February 2015

Classical Symphony - 1 February 2015

Rite of Spring - 28 February 2014

Apollo - 19 February 2013

Dream of Dream - 19 February 2013

Chroma - 19 October 2012

Cinque - 19 October 2012

Symphony of Psalms - 19 October 2012

Carmen Suite - 11 July 2012

Chopiniana - 11 June 2012

Herman Schmerman - 28 February 2012

Remanso - 28 February 2012

La Dame de pique - 10 April 2011

Serenade - 10 April 2011

Class Concert - 23 January 2011

Paquita grand pas - 8 December 2010 (shortened version performed at a gala)

Symphony in C - 8 December 2010 (gala performance)

Petrushka - 30 July 2010 (in London)

Russian Seasons - 30 July 2010 (in London)

That list doesn't include the ballets that haven't been performed for even longer, including Robbins' Afternoon of a Faun, Agon, Concerto Barocco, Gaîté Parisienne, In the Upper Room, Ratmansky's Jeu de cartes and Leah, The Lesson, Possokhov's Magrittomania, Wheeldon's Misericordes/Elsinore, Mozartiana, Passacaille, Les Présages, Le Tricorne... The company hasn't taken a mixed bill on an international tour since the summer of 2010. (Not counting a program of flashy pas de deux it took to Norway in 2014.) That's a lot of repertoire going to waste, and yet it always seems to find time for another run of Legend of Love or Ivan the Terrible. From a programming point of view, it's too depressing for words.

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With nearly half of these a repeat, I think only Giselle and Don Q might be of interest to me. Total shame about the one-act ballets. But we've been hearing for nearly 20 years that mixed bills don't sell to the casual ballet fan. I do think a little creative packaging could help to sell a few mixed bills. You could have a "Ballet Russe" bill with Les Presages, Le Tricorne and Apollo. Yes, Les Presages was for the de Basil’s Ballet Russe de Monte Carlo, but we can fudge that :) Or a "Party" program with Paquita grand pas, Gaîté Parisienne, and Jeu de cartes.

Heck, I'd even take a repeat of Coppelia.

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But we've been hearing for nearly 20 years that mixed bills don't sell to the casual ballet fan.

And for the life of me I don't understand why this is the case. Generally speaking, a mixed bill involves more dancing, less padding and a chance to see a larger number of principals in one evening. What's not to love?

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Have you noticed an increased appetite for Bruckner and Mahler? smile.png We do know that in the United States classical music concerts have an audience four times larger than that for opera, which may partly be explained by availability. I haven't seen much to suggest that the hegemony of the short new work-concerto-symphony format is in danger of being replaced. "Lighter classics" programs featuring famous bits and pieces still seem to be the primary avenue to attract new audiences.

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When I look at the repertoire at local symphony orchestras (not Boston Symphony or the New York Philharmonic) but Hartford Symphony and Springfield Symphony, more and more there are programs like the music of Michael Jackson or Billy Joel (real Hartford Symphony programs) or movie music. I can't blame them. Those programs sell. I got a survey from Hartford Symphony asking me which program I would go to more: the music of Led Zeppelin or the music of Queen. I said neither. When I want to listen to either of those I listen to their recordings (note: always fill out these surveys. You get invited to more surveys and focus groups which lead, sometimes, to free tickets and such. Plus, you can try to influence things. But they didn't listen to me and there is a Queen program this year!). On the other hand, I love the New York Phil's Bugs Bunny program. Those cartoons were/are my favorites. Like Balanchine, they married high and middle culture. And they didn't water things down. That was real Wagner music in those cartoons!

We are at a challenging place with the arts. I feel torn. I want to support the broadcasts at my local theaters but I can't abide by some of the programs. I didn't go see the Royal's Manon earlier in the season and now that theater isn't carrying Swan Lake or La Fille mal gardée :(

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I know just how you feel. It is a "use it or lose it" proposition, and I reckon I've been banging the drum for these kinds of broadcasts for the last 6-7 years. But this season's offerings from the Bolshoi were so awful that I couldn't bring myself to go. I did go to see one repeat from a previous season, and I caught a bit of some of the other broadcasts on You Tube, which only convinced me that I'd done the right thing by not going. How does one support a project in principle, while also registering a protest against bad content?

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As it happens, I've seen Zakharova and Polunin dance this ballet together, so I'll definitely pass on this one. They're completely mismatched--he with a lot of elevation, but extremely stiff and with an enormous head, she all flexibility, with modest elevation and a tiny head. He isn't the strongest partner either--the overhead lifts are accompanied by noticeable jerks--and his dramatic involvement is hit-and-miss. The character is a stretch for Zakharova at the best of times, but if her partner is close to her in age or older, she has a fighting chance. When her partner is ten years her junior, she comes across as totally implausible.

It's shameful to invite a guest artist for the broadcast over the company's own dancers.

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I can't believe they picked Zakharova for this. There are already so many commercial DVD's of her in this role. I would have cleared my schedule to see Obratsova.

I saw Zakharova do Giselle at the Kennedy Center in June 2014 with Hallberg. I have to agree wtih volcanohunter that she is far from my favorite Giselle.

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Then, who would be her Armand? The German boy or Rodkin? Marguerite and Armand vs. Zakharova - Rodkin, ages fit. :lol:

Hope this time in Bolshoi's broadcasting of Giselle they would not do too many close-up shots, as in HD broadcasting of ROH's Giselle. It seemed that the British men always thought they knew 'drama' better. They had put too many big faces on HD screens for ballets in movie theaters. Maybe, they wanted to show Giselle was a sick girl, who had heart problem, so they put such thick white face paint on Osipova that you might think why a healthy noble man should love a pale peasant girl. Anyway, in Act I, Giselle was sick, but NOT dead. Moreover, in first half of Act I, Giselle was happy and shinning. That was awful to look at a flat white face on HD screen.

BTW, for ballet, they should keep the head, hands and feet of main roles in frames, when they are dancing.

Just don't do too much close-up shooting on dancers' faces, OK on feet, that would also reduce the recognition of dancers' ages. Probably, Polunin could have grown his beard or mustache again.


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Just so no one is harboring any hopes on the subject, Zakharova will be Marguerite in The Lady of the Camellias as well, according to her web site.

I've seen Zakharova as Marguerite Gautier. She's all limbs sans pathos. I also agree with the comments about her Giselle. However,

I'm not surprised that she will be the headlining ballerina in both ballets.

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The appearance of Sergei Polunin in "Sleeping Beauty" at La Scala on Septmeber 26, October 2 and 6 was cancelled due to "a neck disease". I wonder if this is going to affect his announced performance at the Bolshoi on October 11. It would be quite disappointing if he were to withdraw from the Giselle broadcast as well. To me he is one of the ultimate Albrechts of his generation of dancers and I was looking forward to seeing him.


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The appearance of Sergei Polunin in "Sleeping Beauty" at La Scala on Septmeber 26, October 2 and 6 was cancelled due to "a neck disease". I wonder if this is going to affect his announced performance at the Bolshoi on October 11. It would be quite disappointing if he were to withdraw from the Giselle broadcast as well. To me he is one of the ultimate Albrechts of his generation of dancers and I was looking forward to seeing him.


Prince Desire will be danced by Jacopo Tissi. This will be huge opportunity for him! Merde Jacopo :)!

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