Dancer and two co-defendants found guilty of attack which almost blinded the company’s artistic director Sergei Filin
Just what I was after for the office do.
The Human Seasons, David Dawson’s new work for The Royal Ballet, is speedy, athletic and hectically busy. The curtain rises and falls on four couples, already in the middle of over-the-head lifts. It’s the nearest Dawson gets to a still moment.
With heart-warming tales of talent-spotting and a starry cast that ranged from Sergei Polunin to Imelda Staunton, the gala in aid of the Yorkshire Ballet Summer School came out as a cheerful jumble. There was the odd lurch as it switched from pure dance to showbiz and back again, but there was enough talent and good will to go around.
Carlos Acosta is a generous host. Classical Selection, a programme celebrating the ballet star’s 40th birthday, is much more substantial than most galas. Looking back over his own career, Acosta also makes the most of his colleagues from The Royal Ballet. It’s a lavish but surprisingly intimate evening, with superb dancing, live music and a friendly sense of scale.
2013 marks 75 years since the birth of Rudolf Nureyev, twenty since his death. English National Ballet’s new triple bill pays tribute to one of ballet’s greatest stars, and to the range of his career, which stretched from classicism of his Russian schooling to the new and older ballets he discovered on defecting to the west. ENB’s tribute is wide in scope but patchy in execution.
I was hooked on ballet from an early age I was five, watching a class all dressed in pale-pink led by a thin, beautiful teacher dressed in burgundy. She was so different from the other teachers at my school, who were nuns. My parents didn't want me to do ballet, so I insisted until they gave up: I used crying and all the manipulative tricks little kids have.
Death comes during a period of high drama for the theatre
Five years from now, popular cinema may have shaken off its infatuation with 3D, but for the moment, the movers and shakers are in thrall to its peculiar approximation of the way the eye sees things for real.
Royal Opera House, London:
Bestselling author Audrey Niffenegger talks to Jessica Duchen about having her dark fable Raven Girl brought to life by Royal Ballet choreographer Wayne McGregor
The world-famous dancer and former star of the Royal Ballet, Sylvie Guillem, has strongly criticised Britain’s biggest dance company, and revealed her dislike of its recently departed director, in an astonishingly frank interview with The Independent.
Natalia Osipova suddenly launches herself sideways, sailing through the air to land in the arms of Ivan Vasiliev, half a stage away. The Mikhailovsky Ballet’s Don Quixote is full of impossible feats, performed with swaggering charm.
You dodge the violent politics of Russian ballet only to end up in a chocolate-box 'Giselle'. Never mind, just jump for joy
The Russian dancer Andrej Uspenski who is a First Artist at the Royal Ballet began taking photographs of his colleagues about two years ago. Now his coffee-table book of photographs, Dancers: Behind the Scenes with the Royal Ballet, which is published next month, gives an insider's view of the Royal Ballet.
Even before she becomes a ghost, Natalia Osipova’s Giselle defies gravity. Running out from her rustic cottage, she hangs in the air with each glowing, skipping step. Osipova and her partner Ivan Vasiliev, two of the world’s most exciting dancers, headline a busy London season by the Mikhailovsky Ballet, a St Petersburg company whose international profile has soared in recent years.