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World Ballet Day schedule announced


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If you look around the 1:00 minute mark, you will see a MUCH smaller class, a handful of dancers working with their coach. I know that in many cases, soloist women and men, Principal women and men, and corps de ballet all are separated in classes, and these groups can be narrowed down even more with the coaches. Mariinsky works much the same way. When they your, they all take class together. But I do agree that it would have been nice to either have that explained for audience that doesn't know how Russian companies generally work, or to group them all together that day, or to allow the cameras into the different classes. It has also been my experience that Russian dancers can be a bit camera shy.

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When the Bolshoi produced its own segment on the subject a few years ago, it did point out that several classes take place simultaneously, and that the choice of which to take is made by the dancers themselves. The clips from Alexander Vetrov's class featured a mix of (male) principals, soloists and corps members, leading Anna Tikhomirova to explain why she enjoys taking Vetrov's class even though it is basically male-oriented.

When Azari Plisetsky gave a series of master classes at the Bolshoi, it's probable he worked with a different group of dancers each day. No doubt the idea was to get every dancer into his class once during his visit. There's less class footage here, but a lot of Plisetsky talking about teaching and technique.

On the less pleasant side, a couple of years ago I read a newspaper interview with Marina Kondratieva in which she mentioned that Svetlana Zakharova stopped taking her class after the Onegin casting brouhaha that saw her pupil Olga Smirnova get the opening night.

It has also been my experience that Russian dancers can be a bit camera shy.

That's probably one of the reasons the Bolshoi's contribution last year came across as forced and why Russian companies may not be an ideal fit for this sort of project.

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The Royal Ballet is offering its digital program for World Ballet Day free of charge with the promo code worldballet15. Click on the red "Do you have a promo code?" link above the green "add to basket" button. It's nothing particularly remarkable, basically a collection of the pages on the subject the company has already posted, and certainly not worth the £2.99 it ostensibly costs, but there's no harm in ordering the free version. Just note that the system automatically adds a £3 donation to the ROH, which can be removed easily if you're not inclined to make it.


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The five major companies are hosting others during their time blocks:

I've copied the hosts and hosted from the website, but it's not all-inclusive, as at least Ballet Met has been added.

The Australian Ballet -- 12pm local time
Bangarra Dance Theatre -- 4pm

National Ballet of China
Royal New Zealand Ballet

Bolshoi Ballet
Hamburg Ballet
Les Ballets de Monte Carlo
Nederlands Dans Theater
Stanislavsky and Nemirovich-Danchenko Moscow Music Theatre

The Royal Ballet
Birmingham Royal Ballet
English National Ballet
Northern Ballet

Scottish Ballet

The National Ballet
of Canada -- all ET

Ballet Met -- 1pm (Added: from company tweet and website)
Boston Ballet -- 1:30pm

American Ballet Theatre -- 2:50pm

Les Ballet Jazz de Montréal

San Francisco Ballet -- all PT
Houston Ballet -- 5pm
Pacific Northwest Ballet -- 5:30pm

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Everyone seems to be reporting their own time.

If Australian Ballet, which is always up first because they are 17 hours ahead of us, and it's 23 hours long, it has to end at 6:30pm tomorrow Pacific time, which makes the reported times by HB and PNB within the schedule.

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I couldn't tell you for sure. The Australian Ballet promised that their feed would be available for 30 days once the live transmission was finished. In any case, nearly half of the Bolshoi's segment was pre-recorded. After class with Boris Akimov, which this time really did look like his class (men outnumbered women, and there were a lot of corps members), there was footage of Yan Godovsky and Anastasia Yatsenko rehearsing a handful of dancers in one of the pas de deux from Russian Seasons, and we even saw a bit of a second, women's class taught by Svetlana Adyrkhaeva while an interview with Leonid Desyatnikov (who resonably wondered why "World Ballet Day" had been declared on International Music Day) was being cued up. After that, the entire feed consisted of pre-recorded segments, primarily interviews. Perhaps the most interesting thing is that there was no sign of Sergei Filin anywhere, and there was only a passing reference to the company's forthcoming broadcast of Giselle during a flash morning-class interview with Ekaterina Shipulina. I realize that Svetlana Zakharova is in Milan, but some footage of the corps rehearsing the wilis might have been included. Instead the only other "rehearsal" shown was two-week-old footage of Swan Lake. So there was very little "live" in this part of World Ballet Day Live, but at least Katerina Novikova was a vast improvement over Alla Sigalova as host.

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I fell asleep after and hour or so of the Bolshoi - I loved watching Akimov teach -- but I did see the interview with Alexandrova, in which she said she's recovered from injury. Novikova was excellent! I was so relieved to see her.

Rex Harrington was a pip teaching class. Guillaume Cote did bi-lingual commentary and pointed out many of the dancers in class. He noted that Tina Pereira was back from injury: she repeatedly caught my eye. I loved the class pianist, Andrei Streliaev, who played many opera excerpts. He s playing the Talbot beautifully in the "Winter's Tale" rehearsal, too.

Also the Australian Ballet's rehearsal pianist for "Sleeping Beauty," who sounded like a small orchestra. It was great to see Stephen Baynes' rehearsal of his Schnittke PDD, and the Bangarra Dance Theatre segment, a combination of class and a well-produced overview of the company. I was lucky to see their "Skin" at the 2002 Adelaide Festival in collaboration with Archie Roach. Page made the "Spear" section into a film I've yet to see.

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They're about to start San Francisco Ballet's segment, the final of the day, from 1pm-6pm Pacific Time.

Kudos to National Ballet of Canada for their segment!

Joanna Berman is hosting, and Helgi Tomasson may have smiled. They're in the middle of the floor part of class. Ballet Master Felipe Diaz is teaching.

Joanna Berman in "Liebeslieder Walzer" in the Hayden/McBride role is still one of my favorite all-time performances at SFB.

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I dipped in and out, and was so pleased with what I saw -- a nice mix of pre-recorded interviews and studio material, mixed up with the kind of ad hoc improvising that live television often creates (I loved hearing G Cote in the background a couple of times during the NBoC segment "Am I live? Oh!"

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