Latest news with #BolshoiBallet
Irish Examiner
03-06-2025
- Entertainment
- Irish Examiner
FA Cup balls ready for a wide-open Derby with no obvious winner
Epsom has hired the balls and equipment used in FA Cup draws to add a touch of glamour to proceedings when the stall positions in Saturday's Derby are allocated in the town centre on Wednesday. From a punter's perspective, however, a wide-open race and one of the biggest fields this century promise to be the only selling points required for the 246th running of the Classic. Twenty colts remain in contention at the penultimate declaration stage on Monday. There are few sights in the sport to match the spectacle and excitement of a big field charging down the Epsom hill towards Tattenham Corner, but it is 22 years since Kris Kin and Kieren Fallon beat 19 rivals, the only Derby since the turn of the century with a maximum field of 20. That size field is still a possibility thanks to the addition of two lightly raced dark horses on Monday at a cost of £75k apiece. Midak, an unbeaten colt who runs in the colours of Aga Khan IV, who died in February, and New Ground, who was a length behind Cualificar, the runner-up in Sunday's French Derby, in April, will join Ruling Court, the 2,000 Guineas winner, and the significant trial winners at Leopardstown, York, and Chester in the probable field when a multitude of questions about the runners' stamina, speed, athleticism and attitude will prove to have just one answer. Delacroix, the comfortable winner of Leopardstown's main Derby trial, heads the ante-post betting at a top price of 11-4, but his position at the top of the market is still far from guaranteed, with Ruling Court little more than a point behind on 4-1 and Pride Of Arras, the unbeaten Dante winner, next at 9-2. The Lion In Winter, Delacroix's stable companion at the Aidan O'Brien yard, is a single-figure price despite his defeat in the Dante, while Damysus, the runner-up behind Pride Of Arras at York, will be the first port of call for many each-way backers at around 10-1. Delacroix is, in some respects, an ideal favourite for one of the few races that can grab the general sporting public's attention. O'Brien and Ryan Moore, his trainer and (probable) jockey, need little introduction, Delacroix's form is impressive with the promise of more to come, and yet, the odds hide the truth in plain sight. Take out the bookies' margin and there is around a 25% chance he will be a record-extending 11th Derby winner for his trainer — and, by the same token, a 75% chance he will not. We have, after all, been here several times before with O'Brien-trained winners of the Leopardstown trial. He has won the race a remarkable 17 times, but only Galileo (2001) and High Chaparral (2002), his first two Derby winners, followed up at Epsom. Delacroix was O'Brien's 14th Leopardstown trial winner since High Chaparral. Eleven of the previous 13 went on to run in the Derby without success, including Bolshoi Ballet, the 13-8 favourite in 2021, Fame And Glory (9-4), Stone Age (7-2), Broome (4-1) and Recital (5-1). When Delacroix is considered as potentially the latest in a long line of failures, even his top price of 11-4 loses much of its appeal. Yet the fascinating thing about this year's Derby is that there is a serious question about every horse near the top of the betting. For Ruling Court, it is stamina, for Pride Of Arras and Damysus, it is experience, while The Lion In Winter needs to bounce back from his Dante defeat. William Buick and Charlie Appleby, Ruling Court's jockey and trainer respectively, have two of the five Classics in the bag this year and could have a third by the time the field goes to post on Saturday as Desert Flower, the 1,000 Guineas winner, is favourite for Friday's Oaks. An Oaks success on Desert Flower would complete the set of British Classics for trainer and rider, while no jockey has ridden the first four Classic winners in a season. A win for Ruling Court would set up the intriguing possibility of an attempt to become the first Triple Crown winner since 1970 in September's St Leger at Doncaster. 'They will either stay or they won't, it's as simple as that,' Buick said on Monday. 'Obviously you have to ride them accordingly, but equally you can't make a horse stay and where you find out is inside the last couple of furlongs. There's the question mark about the distance, but I feel like I'm on the best two horses.' Guardian
The Age
31-05-2025
- Entertainment
- The Age
When fossil fuels pollute Swan Lake: Provocative ballet opens in Brisbane
The production of Swan Lake by the French company Ballet Preljocaj has been acclaimed for its beautiful images and choreography, but its creator is having none of that. 'I'm not interested just to do beautiful things,' Angelin Preljocaj said. 'Art is not just to be beautiful – it has to talk about humanity, and what happens in our world. 'And the idea is to put Swan Lake in the context of the climatic problem.' Preljocaj was speaking in Brisbane ahead of the opening of his production, which has an exclusive season as part of the QPAC International Series. The series brings world-famous performing arts companies such as the Bolshoi Ballet and the Teatro alla Scala exclusively to Queensland, bypassing Sydney and Melbourne. Arts Minister John-Paul Langbroek said the series had injected more than $32 million into the Queensland economy since its inception in 2009. The Ballet Preljocaj visit represents the restart of the series after COVID. First performed in 1877 and proclaimed a failure, Tchaikovsky's Swan Lake – about a prince, Siegfried, who falls in love with a woman, Odette, cursed by a magician to turn into a swan by day – would go on to become the most popular and iconic ballet in the canon.
Sydney Morning Herald
31-05-2025
- Entertainment
- Sydney Morning Herald
When fossil fuels pollute Swan Lake: Provocative ballet opens in Brisbane
The production of Swan Lake by the French company Ballet Preljocaj has been acclaimed for its beautiful images and choreography, but its creator is having none of that. 'I'm not interested just to do beautiful things,' Angelin Preljocaj said. 'Art is not just to be beautiful – it has to talk about humanity, and what happens in our world. 'And the idea is to put Swan Lake in the context of the climatic problem.' Preljocaj was speaking in Brisbane ahead of the opening of his production, which has an exclusive season as part of the QPAC International Series. The series brings world-famous performing arts companies such as the Bolshoi Ballet and the Teatro alla Scala exclusively to Queensland, bypassing Sydney and Melbourne. Arts Minister John-Paul Langbroek said the series had injected more than $32 million into the Queensland economy since its inception in 2009. The Ballet Preljocaj visit represents the restart of the series after COVID. First performed in 1877 and proclaimed a failure, Tchaikovsky's Swan Lake – about a prince, Siegfried, who falls in love with a woman, Odette, cursed by a magician to turn into a swan by day – would go on to become the most popular and iconic ballet in the canon.
Boston Globe
23-05-2025
- Entertainment
- Boston Globe
Yuri Grigorivich, giant of Soviet ballet, is dead at 98
The ballet told the story of the enslaved gladiator Spartacus, who led a failed revolt in ancient Rome, a tale that might bring to mind another revolution, one that did not fail: the Russian Revolution of 1917. Compared with earlier Soviet productions set to Aram Khachaturian's 1954 score, Mr. Grigorovich's was streamlined and simplified, with obvious good guys (Spartacus and his wife) and bad guys (the rich Crassus and his courtesan mistress). Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up What made the work most distinctive, though, was the style of dancing: It was big and bold, epic in scale and emotion. Advertisement Masses of men filled the stage, in armor or bare-chested, marching, kicking, jumping. Spartacus and Crassus, in soliloquy-like solos, spun like tornadoes and leaped impossibly high, with slashing, stage-spanning, split-kick jumps. Their climactic battle was a dance-off to end all dance-offs. In its emphasis on dancing -- and dancing as athletic spectacle -- Mr. Grigorovich's choreography departed from the previously dominant style of Soviet ballet: dramatic ballet, or 'drambalet.' To conform to political strictures around art -- under Socialist Realism, abstraction was to be avoided -- drambalet de-emphasized dance steps in favor of gestural storytelling, and favored acting influenced by the school of Konstantin Stanislavsky. (His approach, which stressed the actor's use of lived experience, would become the basis of Method acting.) The height of drambalet was a 1940 production of 'Romeo and Juliet' by Leonid Lavrovsky, the man Mr. Grigorovich replaced as artistic director of the Bolshoi Ballet in 1964. Advertisement The attention to male dancers in 'Spartacus' was also new. 'At last the Bolshoi men are allowed to dance,' Barnes wrote, 'and indeed the ballet is as much for them as, say, 'Swan Lake' is for women.' 'Spartacus' was a huge hit, at home and abroad, as was a 1975 ballet film featuring the heroically explosive Vladimir Vasiliev in the title role. The production became the Bolshoi Ballet's signature piece, as well as the model for later Grigorovich works, including his 1975 version of 'Ivan the Terrible.' Mr. Grigorovich's ballets were popular nearly everywhere, and he was considered a genius by most Russian critics. Some Western critics came close to agreeing. Barnes hailed him as 'the most talented Russian choreographer since Mikhail Fokine,' of the Mariinsky Ballet in St. Petersburg and the Ballets Russes in Paris. Many Western critics, though, found his choreography lacking in subtlety and taste -- especially those in America, where the Russian-born choreographer George Balanchine set the aesthetic standards. 'What it's designed for is force,' Arlene Croce wrote of 'Spartacus' in a 1975 review in The New Yorker. She called the work relentless and repetitive, describing it as a 'bludgeoning,' yet she praised the passionate dancers. 'Even in trash like 'Spartacus,'' she wrote, 'Bolshoi dancers can impress you with their love of theater, their rage to perform.' Advertisement In his 1982 version of 'The Golden Age,' a tale of Communist youth facing corrupt gangsters, set in the 1920s to a 1930 score by Shostakovich, Mr. Grigorovich provided starring roles for his new protégé, Irek Mukhamedov, and Natalia Bessmertnova, whom he married in 1968 after divorcing his first wife, the esteemed ballerina Alla Shelest. But 'The Golden Age' would be his last new work. In the late 1980s and the 1990s, amid various internal power struggles at the Bolshoi, Mr. Grigorovich faced accusations that he had dried up creatively and was an arrogant, inflexible autocrat who would not allow other choreographers into the company. Prominent dancers, including the aging star Maya Plisetskaya and Mr. Grigorovich's former protégé, Vasiliev, openly criticized him. For years, Mr. Grigorovich had clashed with the Bolshoi management. In 1995, objecting to changes in the hiring of dancers, and to the hiring of Vasiliev as the artistic director of the Bolshoi Theater, Mr. Grigorovich resigned. The day after the announcement, Bolshoi dancers refused to perform. It was the closest thing to a strike in the company's history. To many, he remained a hero. Yuri Nikolayevich Grigorovich was born on Jan. 2, 1927, in the city then called Leningrad (now St. Petersburg). His father, Nikolai, was an accountant, and his mother, Klaudia (Rozai) Grigorovich, was a dancer from a family of dancers and circus entertainers. Her brother, Gyorgi Rozai, was an acclaimed character-style dancer in the Ballets Russes. Yuri trained at the Leningrad Ballet School (later the Vaganova Academy of Russian Ballet). Upon graduating in 1946, he joined the Kirov Ballet (now the Mariinsky). Short in stature, he performed demi-character roles like the Golden Idol in 'La Bayadère' and a Chinese dancer in 'The Nutcracker.' Advertisement Mentored by choreographer Fyodor Lopukhov -- who advocated a Russian classical approach and had also mentored Balanchine in the 1920s, but whose work had been classified as 'formalist,' a taboo in the Soviet Union -- Mr. Grigorovich began presenting his choreography in 1956. The following year, the Kirov debuted 'The Stone Flower,' his remake of a drambalet with the addition of abstract dancing. It received the official sanction of being remounted at the Bolshoi. His 1961 work, 'Legend of Love,' was also a success. Soon after, during the upheaval over the Kirov star Rudolf Nureyev's defection to the West, Mr. Grigorovich became the chief ballet master at the Kirov. Then, at 37, he moved to Moscow to lead the Bolshoi. After resigning from the Bolshoi in 1995, Mr. Grigorovich moved to the southern Russian city of Krasnodar to start a new ballet company under his own name. He headed juries at several international ballet competitions, including the Benois de la Danse in Moscow. In 2005, Alexei Ratmansky, then the artistic director of the Bolshoi Ballet, brought Grigorovich's 'The Golden Age' back into the repertory, and Mr. Grigorovich visited the company as an honored guest. Mr. Grigorovich has no immediate survivors. His wife, Bessmertnova, died in 2008, and he had no children. After Ratmansky's resignation from the Bolshoi in 2008, Mr. Grigorovich returned to the company as a choreographer and ballet master, a position he retained until his death. This article originally appeared in Advertisement
New York Times
23-05-2025
- Entertainment
- New York Times
Yuri Grigorivich, Giant of Soviet Ballet, Is Dead at 98
Yuri Grigorivich, one of the most significant choreographers of the 20th century, who served as the artistic director of the Bolshoi Ballet from 1964 to 1995, reshaping Russian ballet in the late Soviet era, died on Monday. He was 98. His death was announced by the Bolshoi Theater in Moscow. Mr. Grigorovich was best known for his 1968 production of 'Spartacus.' Reporting from Moscow soon after its premiere, the dance critic Clive Barnes wrote in The New York Times that it was 'a turning point in Soviet ballet,' one of the biggest successes in decades. The ballet told the story of the enslaved gladiator Spartacus, who led a failed revolt in ancient Rome, a tale that might bring to mind another revolution, one that did not fail: the Russian Revolution of 1917. Compared with earlier Soviet productions set to Aram Khachaturian's 1954 score, Mr. Grigorovich's was streamlined and simplified, with obvious good guys (Spartacus and his wife) and bad guys (the rich Crassus and his courtesan mistress). What made the work most distinctive, though, was the style of dancing: It was big and bold, epic in scale and emotion. Masses of men filled the stage, in armor or bare-chested, marching, kicking, jumping. Spartacus and Crassus, in soliloquy-like solos, spun like tornadoes and leaped impossibly high, with slashing, stage-spanning, split-kick jumps. Their climactic battle was a dance-off to end all dance-offs. In its emphasis on dancing — and dancing as athletic spectacle — Mr. Grigorovich's choreography departed from the previously dominant style of Soviet ballet: dramatic ballet, or 'drambalet.' To conform to political strictures around art — under Socialist Realism, abstraction was to be avoided — drambalet de-emphasized dance steps in favor of gestural storytelling, and favored acting influenced by the school of Konstantin Stanislavsky. (His approach, which stressed the actor's use of lived experience, would become the basis of Method acting.) The height of drambalet was a 1940 production of 'Romeo and Juliet' by Leonid Lavrovsky, the man Mr. Grigorovich replaced as artistic director of the Bolshoi Ballet in 1964. The attention to male dancers in 'Spartacus' was also new. 'At last the Bolshoi men are allowed to dance,' Mr. Barnes wrote, 'and indeed the ballet is as much for them as, say, 'Swan Lake' is for women.' 'Spartacus' was a huge hit, at home and abroad, as was a 1975 ballet film featuring the heroically explosive Vladimir Vasiliev in the title role. The production became the Bolshoi Ballet's signature piece, as well as the model for later Grigorovich works, including his 1975 version of 'Ivan the Terrible.' Mr. Grigorovich's ballets were popular nearly everywhere, and he was considered a genius by most Russian critics. Some Western critics came close to agreeing. Mr. Barnes hailed him as 'the most talented Russian choreographer since Mikhail Fokine,' of the Mariinsky Ballet in St. Petersburg and the Ballets Russes in Paris. Many Western critics, though, found his choreography lacking in subtlety and taste — especially those in America, where the Russian-born choreographer George Balanchine set the aesthetic standards. 'What it's designed for is force,' Arlene Croce wrote of 'Spartacus' in a 1975 review in The New Yorker. She called the work relentless and repetitive, describing it as a 'bludgeoning,' yet she praised the passionate dancers. 'Even in trash like 'Spartacus,'' she wrote, 'Bolshoi dancers can impress you with their love of theater, their rage to perform.' The Russian ballet superstar Mikhail Baryshnikov, shortly after his defection to the West in 1974, told The Times: 'Whether you like his ballets or not out here in the West, Grigorovich is a name that means a great deal to Soviet dancers.' In his 1982 version of 'The Golden Age', a tale of Communist youth facing corrupt gangsters, set in the 1920s to a 1930 score by Shostakovich, Mr. Grigorovich provided starring roles for his new protégé, Irek Mukhamedov, and Natalia Bessmertnova, whom he married in 1968 after divorcing his first wife, the esteemed ballerina Alla Shelest. But 'The Golden Age' would be his last new work. In the late 1980s and the 1990s, amid various internal power struggles at the Bolshoi, Mr. Grigorovich faced accusations that he had dried up creatively and was an arrogant, inflexible autocrat who would not allow other choreographers into the company. Prominent dancers, including the aging star Maya Plisetskaya and Mr. Grigorovich's former protégé, Mr. Vasiliev, openly criticized him. For years, Mr. Grigorovich had clashed with the Bolshoi management. In 1995, objecting to changes in the hiring of dancers, and to the hiring of Mr. Vasiliev as the artistic director of the Bolshoi Theater, Mr. Grigorovich resigned. The day after the announcement, Bolshoi dancers refused to perform. It was the closest thing to a strike in the company's history. To many, he remained a hero. Yuri Nikolayevich Grigorovich was born on Jan. 2, 1927, in the city then called Leningrad (now St. Petersburg). His father, Nikolai, was an accountant, and his mother, Klaudia (Rozai) Grigorovich, was a dancer from a family of dancers and circus entertainers. Her brother, Gyorgi Rozai, was an acclaimed character-style dancer in the Ballets Russes. Yuri trained at the Leningrad Ballet School (later the Vaganova Academy of Russian Ballet). Upon graduating in 1946, he joined the Kirov Ballet (now the Mariinsky). Short in stature, he performed demi-character roles like the Golden Idol in 'La Bayadère' and a Chinese dancer in 'The Nutcracker.' Mentored by the choreographer Fyodor Lopukhov — who advocated a Russian classical approach and had also mentored Balanchine in the 1920s, but whose work had been classified as 'formalist,' a taboo in the Soviet Union — Mr. Grigorovich began presenting his choreography in 1956. The following year, the Kirov debuted 'The Stone Flower,' his remake of a drambalet with the addition of abstract dancing. It received the official sanction of being remounted at the Bolshoi. His 1961 work, 'Legend of Love,' was also a success. Soon after, during the upheaval over the Kirov star Rudolf Nureyev's defection to the West, Mr. Grigorovich became the chief ballet master at the Kirov. Then, at 37, he moved to Moscow to lead the Bolshoi. Over the years, Mr. Grigorovich made his own versions of most classic ballets: 'The Nutcracker,' 'Romeo and Juliet,' 'Giselle,' 'La Bayadère' and more. Sometimes, as in his 1973 version of 'The Sleeping Beauty,' he restored original choreography that earlier Soviet versions had discarded. Mr. Grigorovich's 'Sleeping Beauty' beefed up the male roles, as did his 1969 version of 'Swan Lake,' but it was censured by the Ministry of Culture, and Mr. Grigorovich, who had altered the standard Soviet happy ending, was forced to restore it. This was not the last time he clashed with Soviet authorities, though it wasn't until the power of the Communist Party was waning, in 1990, that he made his disagreements public, in an interview with The Times and in other forums. Among the many awards and official honors he won were the Lenin Prize, in 1970; the Order of Lenin, in 1976 and 1986; and the U.S.S.R. State Prize, in 1977 and 1985. The death in 1989 of Simon Virsaladze, a stage designer he had collaborated closely with on most of his works, put a damper on Mr. Grigorovich's creative output. 'There is enough to running a company without being a choreographer,' he told The Times in 1990. After resigning from the Bolshoi in 1995, Mr. Grigorovich moved to the southern Russian city of Krasnodar to start a new ballet company under his own name. He headed juries at several international ballet competitions, including the Benois de la Danse in Moscow. In 2005, Alexei Ratmansky, then the artistic director of the Bolshoi Ballet, brought Mr. Grigorovich's 'The Golden Age' back into the repertory, and Mr. Grigorovich visited the company as an honored guest. Mr. Grigorovich has no immediate survivors. His wife, Ms. Bessmertnova, died in 2008, and he had no children. After Mr. Ratmansky's resignation from the Bolshoi in 2008, Mr. Grigorovich returned to the company as a choreographer and ballet master, a position he retained until his death.
