The Ballet Bag » Ballet Companies

The Singapore Scene: “One @ the Ballet” with SDT

GermaineCheng — Wed, 12 Dec 2012 00:33:10 +0000

In his regular series of journal entries, guest blogger Harper Watters, who recently joined the Houston Ballet corps, has been looking at a dancer’s transition from student to professional.

On the other side of the globe, two young dancers – Chua Bi Ru and Kwok Min Yi – are also taking the first steps in their professional careers with Singapore Dance Theatre. Directly from Singapore, special guest Germaine Cheng catches up with both, ahead of their debuts in the Company’s production of The Sleeping Beauty:

It is nearly one o’ clock and I am surrounded by striking photographs of Singapore Dance Theatre’s dancers in various pieces such as Swan Lake and George Balanchine’s Serenade. A bunch of unabashed, aspiring ballerinas point and emulate their graceful poses (I just about resist the temptation!).

We’re gathered – young children, parents and ballet lovers – atop the picturesque Fort Canning Hill, in Singapore Dance Theatre’s (SDT) foyer and the excitement never stops building towards the Company’s presentation of One @ the Ballet. This sold-out edition of the monthly educational presentation helps to explain the various characters in the Company’s upcoming production of The Sleeping Beauty and how the story unfolds over a prologue and three acts.

Artistic Director Janek Schergen is an animated guide through the ballet, peppering the story with explanations of mime gestures and insights into each role. The dancers then perform extracts from the ballet – notable highlights include senior artist Chihiro Uchida’s dainty Aurora rising to meet the technical challenges of the Rose Adagio, duly escorted by the four Princes’ quirky, humorous acting, and able partnering.

SDT Senior Artists Rosa Park as Aurora and Chen Peng as Prince Florimund Photo: © Dennis Ng

Schergen concludes the afternoon by saying that when he first staged this production on the Company in 2010, he “thought (he) had pushed the Company too far”. But now, he’s proud that SDT is capable of putting on what is considered to be “the pinnacle of classic ballet” with every dancer in the Company taking on multiple roles throughout the evening.

After the event, I have the opportunity of speaking to two young dancers, Chua Bi Ru and Kwok Min Yi, (who also happen to be very good friends of mine). Both of them trained at Singapore Ballet Academy (SBA) before moving overseas to pursue full-time dance training in 2009. Bi Ru went on to train in Wellington at the New Zealand School of Dance, while Min Yi received her training at English National Ballet School (ENBS) in London. They both joined SDT this year.

Kwok Min Yi Photo: © Justin Koh

Germaine Cheng: Congratulations – you’re both dancing with SDT now! What does it feel like, especially since SBA used to be in the same premises as the Company and you were training in such close proximity to professional ballet dancers?

Bi Ru & Min Yi: It’s great to feel that we’ve arrived, and that we’re on the same level as dancers we looked up to as students. SDT is the only professional ballet company in Singapore and it has always been a model of inspiration and something we strived for. We feel very fortunate to have been offered jobs with the Company, and it’s a double blessing to be working at home!

GC: Were there any dancers you particularly looked up to?

BR: We were very young, and had a huge admiration for everyone in the Company! I particularly looked up to Natalie Clarke, who had taught me at SBA and danced principal roles with the Company.

MY: I am thrilled to be sharing the stage with Chihiro Uchida, whom I was very inspired by back then, in a professional capacity.

Chua Bi Ru Photo: © Milk Photographie

GC: You’ve been involved in various SDT productions as students. How is this production of Sleeping Beauty going to feel different?

BR: Of course, the Company has undergone many changes since we’ve been involved –dancers have come and gone, the Company’s now bigger… But making the transition from being an extra dancer to part of the Company hasn’t been difficult. We simply had to.

GC: It must be like a homecoming to be dancing at SDT. Was there a sense of familiarity as you stepped into your new job? Also, the two of you have shared a long friendship and dancing partnership. How does it feel to be reunited in the studio after moving to different ends of the world?

MY: We’re all grown up now – it’s quite a miracle we’re back together! There’s been a difference in mindset; we’ve matured as artists and as young women. It’s great to already know the premises inside out but quite a lot has changed within the Company since we left the country. When you expect change, it doesn’t come as that much of a shock.

GC: What are you most looking forward to in the upcoming production of Sleeping Beauty?

BR & MY: Being on stage at the Esplanade Theatre, and seeing all the various elements of sets, costumes and lighting come together.

Backstage at SDT’s Nutcracker in 2008. Bi Ru: Front row, first left. Min Yi: Back row, second right. Photo: © Ma Yueyun

GC: What roles are you dancing in?

  BR: I’m one of Aurora’s friends in Act I, a nymph in Act II and one half of a court couple in Act III.

MY: I’m dancing in Act I’s Garland Dance, and as a nymph in Act II.

GC: Have you danced in The Sleeping Beauty before?

BR: Yes – in SDT’s 2004 production by Jean-Paul Comelin. I was one of Tom Thumb’s brothers! I was very young then, and spent most of the experience getting to grips with the ballet’s story.

MY: As part of my graduate year at ENBS, I went on tour performing in My First Sleeping Beauty. It was an abridged version of the ballet aimed at children who’ve never been to the ballet before. We had to learn and alternate between various roles each night, so that was quite a challenge!

Artists of SDT in Act III of The Sleeping Beauty. Photo: © Dennis Ng / SDT

GC: What has been the highlight of your first SDT season?

BR: Swan Lake in March definitely put me on my toes! I was standing on stage when one of the dancers was taken ill. Our ballet master whispered in my ear, and I had to fill in as a swan in the next act! Also, dancing in Ballet under the Stars was very special, seeing the audience sharing a picnic and enjoying the performance. The stage just a flight of stairs down from SDT’s studios, very convenient indeed!

GC: What are you looking forward to dancing next season?

MY: Everything! I’m looking forward to being in Coppélia which I’ve never done, and revisiting other classics. Also, the more contemporary works fall in less familiar territory and I’m keen to explore a different quality in my dancing.

About the Author:

Germaine Cheng is a freelance dance artist and writer, who graduated from Rambert School of Ballet and Contemporary Dance in London. Prior to that, she trained at the Crestar School of Dance and Singapore Ballet Academy, and has performed with the Singapore Dance Theatre and the Washington Ballet. She was mentored by leading UK dance critics at “Resolution! Review” and was a regular contributor to londondance.com and English National Ballet’s Dance is the Word blog.

Follow on Twitter @GermaineCheng

New English Ballet Theatre: Synergies

Linda — Thu, 19 Jul 2012 17:01:51 +0000

New English Ballet Theatre or NEBT is the brainchild of Karen Pilkington-Miksa. This young company works as a pick-up troupe, hiring dancers for a period of 3 months and commissioning new works for an annual programme. With a patron list that includes Carlos Acosta, Marianela Nuñez, Mara Galeazzi, Darcey Bussell and Wayne Eagling, plus support from Sadler’s Wells, NEBT hopes to provide a platform where young dancers, choreographers and designers can showcase their talent and work with some of the brightest names in the UK dance scene.

New English Ballet Theatre performs 'Bright Young Things' by Ernst Meisner - Photo: © Simon Tomkinson / NEBT

Earlier this month I attended their debut program at the Peacock Theatre, “Synergies”, featuring no less than four dance premieres, all set to live music (by the Westminster Festival Orchestra) and a selection of works from budding choreographers.

Carefully choosing unique pieces and rarities is a clever strategy that will allow NEBT to create an identity and stand out in the busy London dance calendar (these performances had to compete for attention with the sold-out season of Pina’s “World Cities”), but this can also result in a mixed bag of offerings. There were many pluses: Michael Corder’s Legends stood out as a work from someone in complete command of his choreographic skills and Jenna Lee’s Classical Symphony was a playful yet well-structured work for 10 dancers set to Prokofiev’s Symphony No. 1.

New English Ballet Theatre performs 'Legends' by Michael Corder. Photo: © Simon Tomkinson / NEBT

Another highlight was Kristen McNally‘s Spaghetti Western-ballet Lonesome Gun. First shown at Draft Works in the Linbury Theatre, this had a truly original voice as is typical in McNally’s works. But less appealing to me were some of the stereotypical neoclassical pieces – complete with central pas de deux – which didn’t feel quite as original. Most impressive throughout were the background projections/designs, reminding us that there is no shortage of creative minds interested in collaborating with dance makers.

Kristen McNally's 'Lonesome Gun' featuring The Royal Ballet's Hayley Forskitt - Photo: © Simon Tomkinson / NEBT

I noted with interest that – among all contributing choreographers – 4 out of 9 were female, a very rare occurrence. Here’s hoping NEBT will continue to grant opportunities to them and other young dance makers, since the company can only benefit from assembling a good repertoire. In particular, programming unique works like Lee’s and McNally’s reward audiences with a sense of how gratifying it can be to watch ballets that show promise from their creators.

This is especially important at a time when so many small to medium sized companies have lost their funding in the latest round of Arts Council grants. And with so much conservative programming in the UK dance scene, ventures like NEBT should be celebrated and welcomed.

New English Ballet Theatre performs 'Sixes and Sevens' by Samantha Raine - Photo: © Simon Tomkinson / NEBT

Storified: English National Ballet’s Summer Party

Emilia & Linda — Thu, 05 Jul 2012 18:05:37 +0000

Last week English National Ballet took over Kensington Palace’s Orangery for its annual summer party. In addition to exclusive dance and music performances, guests were invited to place their bids for swan-inspired works by artists like Ronnie Wood, Pixie Lott, Sam Taylor-Wood, Julien Macdonald and – the company’s newly-appointed AD – Tamara Rojo.

Our collaborator and guest tweeter for the evening, Zarina Holmes, was at the event and captured the fun:

Live Blogging #RBLive

wschuster — Fri, 23 Mar 2012 00:47:48 +0000

Join our fabulous guest blogger Wiebke Schuster (@wiebela on Twitter) as she live blogs #RBLive, a full working day at The Royal Ballet streamed live on The Royal Opera House YouTube channel and the Guardian website.

From 10 a.m. today Wiebke will be jotting down below her thoughts on the day’s activities – from the Company’s live rehearsals and interviews to the backstage films, so bookmark this page and keep hitting the refresh button throughout the day.

Do join the party via comment form here or by tweeting us @theballetbag and @wiebela.

10: 30 Hi there!

Ever wondered what it is like to go to work at the Royal Opera House – like it is no big deal – just everyday business? Well, today for the first time, it doesn’t matter if you’re in Covent Garden or not, if you couldn’t roll out of bed in time to snatch up a good spot in the day ticket queue at the box office: We’ll get to watch some of the best dancers in the world do their thing! Let’s extend and expand on the award season hype and enjoy seeing one of the world’s most famous ballet companies live through a regular day. Like it is no big deal.

11:01 They just finished at the barre. On to center work!

They all look all so regal and calm! It is totally clear that the barre work is each dancer’s “homebase”. Luckily, fun dance attire – polka dots, stripes and patterns -make each day of repetition unique! Like my teacher used to say: whatever it takes to make you feel good when you walk into class!

Can I just say: (ballet teacher) Olga is a one woman show. Her legs are phenomenal!

11:50 Class just wrapped up. Anyone else out of breath from watching?

Watch those lightening-like feet in petit allegro! Now everyone is really showcasing their mad skills: It is so lovely to see them soar, take the space in (a very grand) grand allegro and feed off each other’s energy.

Judith Mackrell (she can totally pull off that snake-skin pattern jacket!) interviewed Wayne McGregor whilst the class neared its end in the background.

Exactly Wayne – If “Black Swan” got people to muster up the courage to take a beginner’s ballet class, or get back to training, or just got them curious about seeing a live performance: that is a win for the art form, no?

On to Alice rehearsal!

P.S.: Doesn’t Mara have the cutest baby bump?!

The Company in Class

13:38 Alice in Wonderland rehearsal finished.

Frogs, bouncy tea treats and newly found tap talents: We’re watching the Mad Hatter scene in rehearsal – One of my favorites. I just cannot keep my feet still during this!

A bundle of debuts are coming up during this run: Beatriz Stix-Brunell and Nehemiah Kish (who wasn’t in this rehearsal) make their debuts tomorrow! It is also Alex Campbell’s first time as the Mad Hatter and he is looking phenomenal: I cannot believe he has never tapped before. What a natural!

Chris Wheeldon is so articulate with his corrections. And charming nonetheless, of course. I love how he calls Beatrix “B”.

Putting these taps into dance notation sounds like a major challenge, but Anna Treviet has got it all under control! I would love to see the end result on a page!

Credit to (the presenter) George who is really getting into the ballet lingo now!

13:10 Dame Monica in Conversation – 54 years at the Royal!

Reminiscing on Rudolf Nureyev still makes her blush… Major sympathy points in my book!

Marianela Nuñez rehearses a solo from MacMillan's Prince of the Pagodas

13:50 It’s a wrap on the “Prince of the Pagodas” Rehearsal

Seeing the effort behind the intricate MacMillan choreography here is a really humbling experience and a great privilege to see. Breathtaking literally… The contrast between off-balance moments, followed by movements requiring complete control is really clear when watching Marianela Nuñez in rehearsal – as is the musical phrasing.

She is just the epitome of grace – what a smile too! Happy 30th birthday to her! Who wouldn’t want a giant cupcake as a surprise from their colleagues after a taxing rehearsal!

Marianela Nuñez receives a Birthday cupcake

14:50 Polyphonia Rehearsal and Team Hawaii wins the “YouMove” challenge.

Motto of the Polyphonia Rehearsal with Chris Wheeldon: “Spin out, sister, spin out!”

For this piece, Chris wants the ensemble to be like pencil drawings: each position is clearly etched out in space like a sharpened pencil sketch on paper. This Ligeti score seems impossible to count, but the three principal couples are quick to smooth out any rough spots. Great to see that Leanne Benjamin is being really outspoken and proactive in rehearsal! What a good example for the younger dancers in the room, new Alice “B” whom we met earlier, and the reserve cast working in the background.

Earlier on in the week, the Royal Ballet challenged its YouTube fans to submit videos of grand jétés in spectacular location. Team Hawaii definitely ruled with a die-hard fan leaping off a cliff into the Pacific ocean! Seriously, who can beat that? A close second place went to a “herd” of bunheads, jété-ing through the countryside. Luckily, it is not hunting season, right?

In case you missed it, you can watch all entries here.

Nehemiah Kish and Leanne Benjamin rehearse Polyphonia

15:50 “Street Stories” straight from East London to Covent Garden:

Some serious creativity going on in that studio full of students! Wonderful to see the kids committing to the tasks, to performance and trusting one another! Those counterbalances and modern partnerwork deserve a hats-off!

What a great interviewer RB’s own Kristen McNally is too! Another natural discovered. This day continues to impress.

16:20 Romeo & Juliet Rehearsal – “Young love, passion and murder”

Stage combat 101. Lesson 1: Fencing. I always wished they offered that class at my school. It looks like the perfect opportunity to rid oneself of some underlying anger without completely losing composure. Pleasant side effects include looking rather classy in the process whilst a slight risk of losing limbs and scarring remains…

Gary Avis and Ed Watson demonstrated an intense Act II duel between Romeo and Tybalt to finish off rehearsal. Where movie stars hand over to their stunt doubles, ballet dancers just step it up – no problem.

17:20 Sweet Violets Rehearsal – “Not your usual night out at the ballet”

This new ballet by choreography prodigy Liam Scarlett looks promising. Full of theatricality! Thiago Soares and Leanne Cope make an extremely handsome couple in this intricate, tension-filled pas de deux.

Thiago Soares and Leanne Cope rehearse Liam Scarlett's Sweet Violets

18:18 We’re “in” on an Insight Evening with Wayne McGregor and Mark Ronson

Steven McRae and Sarah Lamb are the most electrifying couple. Superhuman dancing at its finest in a signature McGregor pas de deux – including outrageously loose limbs, serious coordination challenges and detail in the articulation of every joint, every inch of those amazing dancer bodies.

I could watch him at work all day long. His input is so visceral; he always stands close to the dancers, feeding them with exactly the quality, the energy and intent he is looking for. The physicality here is pushed to the absolute maximum (and beyond!).

Olivia Cowley’s lines are just endless and she is so fearlessly awkward in some parts of this dance, it’s fascinating to watch! Ed Watson’s energy tank and rock star qualities are simply unparalleled! He has been going all day!

Olivia Cowley and Edward Watson rehearse Wayne McGregor's Carbon Life

Even though Wayne’s training background is not in ballet, he makes an outstanding point:

The rigor of the discipline you practice can translate into any other area of work!

Wisdom of the day.

What a great note to end this day on. What a special day, an unprecedented look behind the scenes of a company full of versatile talents, of youth and experience, tradition and innovation in a “golden” balance. (Excuse the sports metaphor, but it is the Olympic year after all!)

Congratulations to the Royal Ballet on what seems like (judging by the buzz on the web) a huge success. Hope to see more of, or similar, formats in the future! I for one, have had a blast!

Thanks for reading!

Screenshots provided for educational purposes only.

Ballet Black in Rehearsal for Storyville

Emilia & Linda — Tue, 24 Jan 2012 10:21:32 +0000

Ballet Black returns to the Linbury Studio Theatre this February with Short Dance Works, a mixed bill combining plotless pieces with a brand new 30-minute narrative ballet (their longest yet) choreographed by Christopher Hampson.

Storyville takes us back to the famous red-light district in 20th century New Orleans, Louisiana to tell the “rags-to-riches-and-back-to-rags” tale of Nola, a sort of modern-day Manon. Before our Christmas break, we had the opportunity to watch Christopher rehearse the company:

One of Hampson’s inspirations in putting together Storyville was Louis Malle’s 1978 film Pretty Baby. Featuring Brooke Shields and Susan Sarandon, the movie tells the story of Hattie, a prostitute working at an elegant New Orleans brothel who corrupts her 12-year-old daughter Violet (Shields).

The main inspiration, however, is former dance club Mahogany Hall (shut in 1917), where the story unfolds. The central character is the young and innocent Nola, a real tour de force for dancer Cira Robinson as she simply doesn’t leave the stage. The other characters in Storyville are: brothel “madam” Lulu (inspired by the real Lulu White and played by Sarah Kundi), Mack (the “stereotypical crook”, here interpreted by Jazmon Voss) and “The Lover” (Damien Johnson) who tries to save Nola from her downward spiral.

For Hampson the real challenge for Cira will be “to go from teenage girl and to travel two years in half an hour, showing the decline in Nola’s personality…” Hampson adds: “Cira does beautiful work, I’m really thrilled to work with her.”

Asked about the parallels between Storyville and MacMillan’s Manon, Hampson nods: “yes, they’re very much alike. It’s a story of many societies and catches so many different time periods in history.”

With Storyville – Ballet Black’s longest ballet to date – and last year’s Orpheus (Tuckett) in the repertoire, does it mean the company will turn its focus to storytelling? Not for the immediate, says Artistic Director Cassa Pancho: “we are still very well known for the abstract work, so I don’t want to get rid of all of that from the repertoire”.

In additon to Hampson’s Storyville, Ballet Black’s Linbury season will include new pieces by Jonathan Watkins, Rambert’s Jonathan Goddard and Martin Lawrance.

All Photos: © Zarina Holmes for The Ballet Bag. More here:

With many thanks to Cassa Pancho and Christopher Hampson

Visit Ballet Black’s official website

Follow the company on Twitter @BalletBlack

Ballet Black presents Short Dance Works at the Linbury Studio Theatre, Royal Opera House, from 29 February to 7 March 2012. For tickets & booking visit the ROH website.

BalletX: Fall Series 2011

Brian — Wed, 23 Nov 2011 22:00:40 +0000

In a new guest blog US-based dance photographer Brian Mengini reports on BalletX’s recent season at the Wilma Theater in Philadelphia. Brian had the opportunity to catch up with the company in rehearsal ahead of their fall performances, which included two world premieres:

Brian lives in Pennsylvania and often works with the Pennsylvania Ballet and Boston Ballet. He also shared with us over the summer his experiences shooting the Boston Ballet in rehearsal.

BalletX, Philadelphia’s premiere contemporary ballet company presented their fall performances last week at the Wilma Theater in Philadelphia. The series brought back a BalletX favorite, Silt, by San Francisco based choreographer Alex Ketley. Set to music by Chris Clark, Giovanni Pergolesi and Arvo Pärt (Mixed by Tar © JMB), Silt seeks to explore the “malleability of personal ideas of oneself”.

The programme also featured two world premieres: Layer Cake, by choreographer Loni Landon (making her BalletX debut) , is a “journey into a series of events through intricate movement” for 8 dancers to music by Alva Noto, Ryuichi Sakamoto, Loscil and Johan Johansson.

Colby Damon

The second world premiere was by BalletX Co-Artistic director and choreographer, Matthew Neenan. Matthew Neenan’s new ballet, Jackson Sounds, is part of his collaborative venture, “Inside the Mind of the Composer.” This all new education project has allowed Neenan to join forces with award-winning composer Robert Maggio on works that blur boundaries between movement and sound, with BX company dancers performing to live music by two cellists from Network for New Music.

Funding for “Inside the Mind of the Composer” is provided by the Philadelphia Chapter of American Composers Forum through their grant, Community Partners Project 2011. This has given Neenan the chance to collaborate with Maggio and his BalletX co-artistic director, Christine Cox, in a residency with South Philadelphia’s Jackson Public School. The residency began this September and includes improvisation sessions, rehearsal participation and hands-on workshops alongside dancers and musicians who teach choreography and composition. The seventh graders of Jackson Public School are the springboard of inspiration for Jackson Sounds.

Jesse Sani and Colby Damon

Talking about his inspiration for the piece, Neenan – also Choreographer in Residence for Pennsylvania Ballet – cited the diverse heritage at Jackson Public School which is known to have a strong music department and creative sensibility. For instance, the children were asked to play music from their heritage, some of which is reflected in Maggio’s composition, including the music for the final movement which evokes a student’s Nepalese roots.

Founded in 2005 by Matthew Neenan and Christine Cox, BalletX is a Philadelphia-based contemporary ballet company and “the Company in Residence” at the Wilma Theater located on Philadelphia’s Avenue of the Arts. In addition to their fall and spring runs, they are one of the few companies to produce summer shows and to tour in late spring. Known for their focus on world premieres, BalletX has worked with such choreographers as Zane Booker, Jorma Elo, Annabelle Lopez Ochoa, Edwaard Liang and Helen Pickett, just to name a few.

Jaime Lennon, Allison Walsh, Tara Keating, Anitra Keegan and Laura Otto

More images here (Click on thumbnails to enlarge & see as slideshow):

All photos by Brian Mengini ©

For more information on Ballet X:

Official website: www.balletx.org
Like Ballet X on Facebook

About the Author:

Photographer Brian Mengini resides in suburban Philadelphia and keeps a studio in Phoenixville, Pennsylvania. Brian’s unending passion for ballet came in the summer of 2007, when the Mann Center asked him to come in and shoot the Royal Ballet’s final performance of Swan Lake.   Since then, his images have appeared in a variety of exhibits and publications including Pointe Magazine and Dance Magazine.   In June of 2010, Brian started Barre Boys, a website dedicated to the male in ballet with a goal of squashing stereotypes and inspiring more males to pursue ballet. Together with his wife, he has launched Hope Dances, a nonprofit dance outreach program for children with special needs.

Birmingham Royal Ballet: Autumn Glory

Emilia & Linda — Fri, 14 Oct 2011 10:20:52 +0000

At the heart of Birmingham Royal Ballet’s autumn season is a fabulous new triple bill celebrating British classical dance heritage, or what BRB principal Matthew Lawrence calls, in his latest blog for Balletco, a “workout harder than Zumba”:

Nearly 75 years old, Ninette de Valois’s Checkmate is a prime example of vintage English ballet. Its semi-narrative plot, centered around a game of chess between Love and Death, has a touch of Bergman’s The Seventh Seal, but the ballet is also a feminist, groundbreaking piece that offers an interesting contrast to the typical notion of the helpless ballet heroine. A dramatic and stylised war unfolds between a gallant Red Knight, who is devoted to his king, and a seductive and ruthless Black Queen, who will ultimately bring the knight down.

The purity of Sir Frederick Ashton‘s Symphonic Variations showcases technical brilliance from a master choreographer. Danced to César Franck‘s piece of the same name, the ballet is a real tour de force for its six dancers and is rightly hailed as a masterpiece.

John Cranko’s Gilbert and Sullivan-inspired Pineapple Poll is vintage ballet meets “Golden age of MGM cartoon”. With a medley of the best of Gilbert and Sullivan, this is a colorful and funny work, with a hint of Tex Avery. When the dashing but self-involved Captain Belaye (in London, Matthew Lawrence or Robert Parker) arrives in town, the female population swoon, including our heroine Poll (Ambra Vallo or Carol-Anne Millar). Whilst dodging the attentions of local inn worker Jasper, she finds herself leading a band of desperate ladies, all seeking the attentions of the admirable officer, who is unwittingly taking the town by storm.

Ahead of the company’s London performances of Autumn Glory next week, here are a few recent production images to whet our appetites:

Have you seen any of these ballets before and do you have a favorite? Share your views below!

Birmingham Royal Ballet’s Autumn Glory, featuring Checkmate, Symphonic Variations and Pineaple Poll, runs at Sadler’s Wells 18 & 19 October 2011.

The company also performs La Fille Mal Gardée between 20 and 22 October 2011. For tickets and further information visit Sadler’s Wells website.

The Royal Ballet 2011-2012 Season at a Glance

Emilia & Linda — Thu, 01 Sep 2011 10:22:03 +0000

European summer is almost over (although here in Britain it never really began) and ballet companies around the world are getting ready to kick off their new seasons. The Royal Ballet is set to return to Covent Garden in a few weeks with Balanchine’s Jewels. Taking inspiration from one of our favorite magazines, Wired, we geeked out and prepared this infographic showing what the company has in store for us over the next ten months:

(Click on image to download a copy, or here to view in higher definition)

Sources and Further Information:

Ballet and Dance 2011/12 Season Press Release, Royal Opera House
Monica Mason’s Farewell Season Press Release, Royal Opera House

Mariinsky in London Roundup

Emilia & Linda — Fri, 26 Aug 2011 20:20:33 +0000

Celebrating the 50th anniversary of their first visit to London, the Mariinsky Ballet left a trail of brilliancy following its three-week residency at Covent Garden. The company brought a selection of works that played to its strengths: from big classical works like Swan Lake and La Bayadère (which showed off a flawless corps de ballet) to a new full-length work by Alexei Ratmansky. Better late than never, here are our top moments from the tour:

Viktoria Tereshkina as Odile in the Mariinsky's production of Swan Lake. Photo: Natasha Razina / Mariinsky Theatre ©

Linda

Having missed the Mariinsky two years ago, it was time to catch up. With six programes and plenty of casts, I was a Bag Lady on a mission:

Shows seen

3x Swan Lake ( Lopatkina / Korsuntsev – Tereshkina / Shklyarov – Kondaurova / Hallberg )
Fokine Bill ( Parish / Shirinkina / Selina – Kondaurova – Vishneva / Zelensky )
2x Balanchine / Robbins
( cast 1: Matvienko / Sergeyev – Obraztsova / Stepin / Somova / Ivanchenko / Lopatkina / Korsuntsev – Tereshkina / Shklyarov – cast 2: Shirinkina / Hallberg – Denis & Anastasia Matvienko / Kondaurova / Ivanchenko / Tereshkina / Smekalov – Somova / Kolb )
Don Quixote ( Obraztsova / Timofeyev )
2x Anna Karenina ( Vishneva / Smekalov – Lopatkina / Smekalov )
2x La Bayadère ( Vishneva / Zelensky / Kolegova – Lopatkina / Korsuntsev / Kolegova )

Favorites:

Ulyana Lopatkina

Few ballerinas today have Ulyana’s grandeur, that type of presence that makes the audience feel like they are witnessing something extraordinary. Jane Simpson, in her Swan Lake review for Ballet.co, said: “for all her perfect control and stately presence, I just can’t read her; I envy those who can, for whom she is clearly a goddess.” I guess I am in the camp of those who can!

Kondaurova’s Firebird

Confession: I have never been a big fan of The Firebird. Charming story but not much plot development or memorable moments. All change after Kondaurova’s blazing Firebird: the way she would flicker her hands faster than firefly wings, her jumps smoothly sailing across the stage, it left me thrilled and wishing for an encore.

Ekaterina Kondaurova in Fokine's The Firebird. Photo: Natasha Razina / Mariinsky Theatre ©

Anna Karenina

There are new full-length ballets and then there are “Ratmansky new full-length ballets”. Even though classical dance’s hottest choreographer might have been constrained here by Shchedrin’s score – somewhat lacking in soaring tunes – two performances were enough for us to fall in love with this work (and with Yuri Smekalov’s elegant Vronsky).

Wonderful Corps de Ballet

There is no corps de ballet like the Mariinsky’s; ’nuff said.

Mariinsky does American Royalty

During the Mariinsky’s NYC visit this past June, we read many tweets on the company’s different approach to Balanchine – whose works they dance completely unlike New York City Ballet (ie. not as fast, a lot more “purely classical” in style). Despite this difference, for us it was a pleasure to see the company flesh out the Russian core within Balanchine’s choreography and their performances of Ballet Imperial and Scotch Symphony were polished and beautifully executed, topped with an ultimate A-team of ballerinas for Robbins’s In the Night. More than good enough for UK audiences: we were spellbound.

Bonus: Dream Scene from Don Q

With Katya Kondaurova as Queen of the Dryads and Evgenya Obraztsova as Dulcinea, it’s easy to put up with all of this ballet’s silliness.

Anastasia Matvienko and Alexander Sergeyev in Balanchine's Scotch Symphony. Photo: Natasha Razina / Mariinsky Theatre ©

Emilia:

It feels like I have been following the Mariinsky around the globe for the past couple of months. I returned from a short stay in New York where I had caught The Little Humpbacked Horse and Carmen Suite / Symphony in C just in time to immerse myself in Balanchine and Robbins à la “Imperial Style” and then left for Rio de Janeiro – where the company arrives next week – soon after the premiere of Anna Karenina. Enough shows to name a few favorites of my own:

Shows seen

Swan Lake ( Tereshkina / Hallberg )
2x Balanchine / Robbins
( cast 1: Matvienko / Sergeyev – Obraztsova / Stepin / Somova / Ivanchenko / Lopatkina / Korsuntsev – Tereshkina / Shklyarov – cast 2: Shirinkina / Hallberg – Denis & Anastasia Matvienko / Kondaurova / Ivanchenko / Tereshkina / Smekalov – Somova / Kolb )
Anna Karenina ( Vishneva / Smekalov )

Favorites:

Viktoria Tereshkina

I am 100% with The Arts Desk’s Ismene Brown on that one: she is Queen Tereshkina.

Ballet Imperial

It is a great shame that the Mariinsky is not taking this Balanchine jewel to its Rio de Janeiro tour: it was there that the ballet premiered in 1941, in its original incarnation. It was a pleasure and privilege to see it so well danced by two very different but equally compelling casts: on opening night Queen Tereshkina partnered by the sparky Vladimir Shklyarov, with Alina Somova and Igor Kolb looking very elegant and polished the next evening.

Viktoria Tereshkina and Andrian Fadeyev in Balanchine's Ballet Imperial. Photo: Natasha Razina / Mariinsky Theatre ©

David Hallberg

The Mariinsky has an amazing contingent of male soloists: handsome, beautiful long limbs, strong, some excellent partners too. Guesting from ABT in Swan Lake and Scotch Symphony, David “beautiful feet” Hallberg was completely at home amongst Imperial men. We hope for more guesting soon.

Anna Karenina

Hooray for a story ballet not “revised by Konstantin Sergeyev“. New Yorkers might not have been so crazy about Ratmansky’s ballet of doom and gloom, complete with piercing score; and it’s true that the choreographer seems more at home in lighter, wittier pieces. But Anna Karenina is the right kind of narrative ballet for our post MacMillan times: a blend of high concept stagecraft and drama which gives classical dance a cinematographic quality.

Style, style, style!

The company has bucketloads of style. Thank you Vaganova!

Ulyana Lopatkina as Anna and Yuri Smekalov as Vronsky in Ratmansky's Anna Karenina. Photo: Natasha Razina / Mariinsky Theatre ©

We also asked our Twitter followers to share their favorite moments with us:

@theballetbag I miss Kondaurova's Firebird, Lopatkina's Swan and Matvienko's DQ. Really loved this season.

August 16, 2011 7:10 pm via Twitterrific for Mac ReplyRetweetFavorite

@JulietAshdown

Juliet Ashdown

@theballetbag Lopatkina beyond extraordinary in AK & Bayadère, Tereshkina's Nikiya, the hardworking corps/soloists (Selina!)... #Mariinsky

August 16, 2011 7:44 pm via Twitter for BlackBerry®ReplyRetweetFavorite

@bellafigural

Laura

@theballetbag In the Night 1st cast, v closely followed by Vic & Vlad in everything: Vic's Odette, both in Bayadere & Ballet Imperial.

August 16, 2011 7:52 pm via webReply RetweetFavorite

@annakardar

anna merrick

@theballetbag I have to add the corps

August 16, 2011 8:51 pm via webReply RetweetFavorite

@annakardar

anna merrick

@theballetbag Lopatkina to start with, of course. In The Night, AK, La B: three very different roles, but she was wonderful in each.

August 16, 2011 8:56 pm via TweetDeck ReplyRetweetFavorite

@charliegould

Charlie Gould

@theballetbag Also great in everything: Obraztsova (esp In The Night) and Kondaurova (Firebird, In The Night, SL).

August 16, 2011 8:58 pm via TweetDeck ReplyRetweetFavorite

@charliegould

Charlie Gould

@theballetbag Didn't always warm to Tereshkina, but fantastic performances in Ballet Imperial, In The Night and Act 3 Bayadere.

August 16, 2011 8:59 pm via TweetDeck ReplyRetweetFavorite

@charliegould

Charlie Gould

@theballetbag From what I have seen, Lopatkina in AK and La Bayadere, Smekalov as Vronsky, and the corps beautiful as usual, but no more.

August 16, 2011 9:02 pm via webReply RetweetFavorite

@artifactsuite

artifactsuite

@theballetbag Oh, and Mr Hallberg...

August 16, 2011 9:06 pm via TweetDeck ReplyRetweetFavorite

@charliegould

Charlie Gould

@theballetbag In The Night; the corps in any 'white act'; Kondourova's Firebird; Lopatkina's mere presence

August 16, 2011 9:13 pm via webReply RetweetFavorite

@zxDaveM

DaveM

@theballetbag They're still at the top, but are they at the very top? In my view, they should be, and not only in Balanchine...

August 16, 2011 9:20 pm via webReply RetweetFavorite

@artifactsuite

artifactsuite

@theballetbag Highlights 4 me = Obraztsova in everything, though London was starved, we barely saw her. Shklyarov in everything, he is a god

August 16, 2011 9:53 pm via webReply RetweetFavorite

@munaazzawi

munaazzawi

@theballetbag Also Tereshkina in Bayadere & the corps in everything they did. Swan Lake, Bayadere and Balanchine were also highlights 4 me

August 16, 2011 9:57 pm via webReply RetweetFavorite

@munaazzawi

munaazzawi

@theballetbag My Mariinsky Highlight: Tereshkina in Swan Lake. Hard to forget...

August 17, 2011 7:21 am via TweetMe for iPhone ReplyRetweetFavorite

@AkikoTYO

K Akiko

@theballetbag Loved: La Bayadere - Lopatkina/Korsuntsev; In the Night - Lopatkina/Korsuntsev; Scheherazade - Vishneva/Zelenski; corps. :-))

August 17, 2011 7:23 am via Mobile Web ReplyRetweetFavorite

@Barbara_KL

Barbara L

@theballetbag Dryads &Shades, AK's storytelling, Shklyarov's Golden slave, Petushkova's Firebird, Hallberg's Siegfried, Obraztsova's smile..

August 17, 2011 10:02 am via webReply RetweetFavorite

@blogpinklady

Pink Lady

@theballetbag sadly (and fortunately too) my highlight has been the coverage by you! Damn the 18,000 km distance. It has seemed wonderful!

August 16, 2011 11:38 pm via webReply RetweetFavorite

@El_lovethearts

Eleanor Robb

@theballetbag didn't see the Mariinsky #ballet in London but can I play? Vishneva in most technically perfect Rose Adage in 2005 LA tour.

August 17, 2011 2:30 am via Twitterrific ReplyRetweetFavorite

@lolcar

Andre Y

@theballetbag Tereshkina/Kondaurova in 2008 NYC In the middle ... Obretzsova as Juliet in California, Serenade in NYC ... The list goes on!

August 17, 2011 2:33 am via Twitterrific ReplyRetweetFavorite

@lolcar

Andre Y

@lolcar @theballetbag My faves? Tereshkina's TBC#2 & Kondaurova's Rubies Tall Girl from the Mariinsky's NY City Center a few years ago

August 18, 2011 3:48 am via webReply RetweetFavorite

@susan17ny

Susan Minotillo

@lolcar @theballetbag And, of course, Daria Pavlenko's Swan Lake!

August 18, 2011 3:49 am via webReply RetweetFavorite

@susan17ny

Susan Minotillo

Mariinsky in London: Balanchine & Robbins Dress Rehearsal

Brian — Tue, 09 Aug 2011 10:41:08 +0000

US-based dance photographer Brian Mengini is currently in London, working on a photo project with dancers from English National Ballet and The Royal Ballet. Brian lives in Pennsylvania and often works with the Pennsylvania Ballet and Boston Ballet. He recently shared with us his experiences shooting the Boston Ballet in rehearsal.

In this new guest blog he talks about how the opportunity came about to photograph the Mariinsky Ballet’s dress rehearsal for their acclaimed Balanchine/Robbins triple bill, staged last week in London. Check out some great photos of the Company, with ABT Principal David Hallberg as a special guest in Scotch Symphony. Lookout for our “Mariinsky in London” roundup soon.

I arrived into London on Wednesday and, shortly after settling in at my hotel in Watford, I got straight over to Covent Garden. I had a shoot that evening with Mariinsky principal dancer Igor Kolb. It was a fun session that took place on the rooftop balcony of the Royal Opera House. What an amazing experience! At the conclusion, Igor invited me back to shoot the dress rehearsal the following day. That night, the Mariinsky Ballet was dancing Don Quixote, for which I had a ticket. So, after the session, I hung out and took in the sights. “Don Q” was great but I had a splitting headache and was falling asleep as it was my travel day so I headed home early.

When I arrived at the Royal Opera House on Thursday, Igor met me at the stage door with a smile and handshake. He was very warm and friendly. He took me up to his dressing room so I could leave my bag and things up there then ushered me down to the auditorium. Official rehearsal didn’t start until 1:30 pm, but when I arrived (at 1 pm), there were some dancers on stage, trying out steps. The orchestra was also warming up. Always nice to hear them tune up their instruments. The curtains closed: show time!

Just then, I took a look around the theater in amazement. How incredible is this? Here I am in London, shooting a dress rehearsal for the Mariinsky in the Royal Opera House. Just incredible. Curtains opened with Ballet Imperial. Beautiful & simple. Then they went into another Balanchine piece: Scotch Symphony. It was my first time seeing it and I had fun photographing it. They closed the rehearsal with Jerome Robbins’s In the Night, this time in full costume and makeup. This gave me some great photo candy. I remember when they were setting it up, it was poorly lit and I thought: “oh… this should be interesting.” But alas, the lighting was just perfect, as was the dancing. I think this piece gave me the most images of the three of them (see gallery below). It was a true honor and privilege to photograph this programme. I hope to have the chance to do it again.

Credits: Igor Kolb in Ballet Imperial (with Alina Somova in the background), Maria Shirinkina and David Hallberg in Scotch Symphony, the Matvienkos (Anastasia and Denis) in Robbins’s In the Night. All photos by Brian Mengini ©.

And plenty more here (Click on thumbnails to enlarge & see as slideshow):

About the Author: