General booking for the Bolshoi Ballet's Covent Garden season this summer opens on Tuesday (9 April), and the company has at last announced its intended casting. However, it should always be borne in mind that, as Les Ballets Trockadero de Monte Carlo habitually announce before every performance, "in accordance with strict Russian tradition, there may be changes".

Victims driven to death by the mob, women and men violently rutting in animal costumes, a black comedy about a snatched baby, a naked man dancing alone in his own fantasy - many and varied are the images in the nearly 200 danceworks created to the notorious Rite of Spring since its premiere exactly a century ago. 

Is the Bolshoi Ballet going to have trouble selling its tickets for its London tour as a result of the acid attack on its artistic director Sergei Filin? A range of opinion is erupting among ballet-goers dismayed not only by the attack but by the exposure of vicious infighting inside the Moscow troupe and the subsequent public developments.

So the man who specialises in dancing Bolshoi ballet villains has been arrested and confessed to the infamous attack on his boss, Sergei Filin. But today Pavel Dmitrichenko, well-known to Bolshoi audiences for playing Ivan the Terrible, one of Russia's more pitiless Tsars, showed an equally Tsarist haughtiness when he made his first appearance in a Moscow court. He had nothing to apologise for, he said, even though it's emerging that at the very least Filin, a 42-year-old father of three, will never see normally again and his future employment must be in doubt.

Bolshoi Ballet director Sergei Filin has vowed to return from the horror of an acid attack to lead Russia's flagship ballet company - "not handsome, but in full force", in a remarkable interview from his hospital bed. Facing two solid days of surgery on his eyes and head, seriously burned by sulphuric acid thrown over him by a masked man last Thursday night, Filin said he urgently hoped the police would solve the crime, or he would lose faith.

UPDATED SUNDAY:  Moscow police have revealed that Bolshoi Ballet director Sergei Filin was attacked with sulphuric acid, causing third-degree burns to his face and eyes. As he recovered today from a second round of surgery on his damaged eyes, his public rival described the assault as "monstrous". The star dancer Nikolai Tsiskaridze, who has been widely accused of inspiring fanatical opposition to the current Bolshoi management, today condemned the attack.

On 25 November cinemas all over Britain and overseas will host a live relay from the Bolshoi Ballet of a rampantly OTT and enormously entertaining ballet set in ancient Egypt, The Pharaoh's Daughter. It has mummies coming to life, English tourists in timewarps, frenzied cobras, underwater ballets, jaunty tunes, and phalanxes of delectable archeresses. The original ballet premiered exactly 150 years ago, and what you'll see is a recreation of the fantastical, surreal exotica of the kind of theatre provided at the dawn of classical ballet.

Internationally he may be Russia's best-known film director, but Alexander Sokurov’s fame - his unique single-frame Russian Ark from 2002 aside - hasn’t travelled as widely as it might. Critical reaction has often been mixed, but at least the majority of his main films from the last two decades are available outside his homeland.

Fokine, the founding choreographer of the Ballets Russes, wrote on Anna Pavlova’s death, “Pavlova will be the dream of many generations, a dream of beauty, of the gladness of movement.” The superb array of international stars of ballet last night showing up at the Coliseum to honour Pavlova a century later had to set you thinking, all over again, about why this particular ballerina remains worldwide the epitome of what people imagine about the ballet.