When the words "commercial" and "art" come together - as they do with the Bolshoi season currently at the Royal Opera House - odds are the glue between them is a three-word phrase "Victor Hochhauser presents". Victor and Lilian Hochhauser are the impresarios behind most Russian ballet seasons UK-wide, and they have a reputation for solid box-office commercial taste, which is easily dismissed as the safe option. But they are in their eighties now, and conservatism is forgivable.

Charlotte MacMillan took these exclusive pictures last week of the Bolshoi corps de ballet in class. The pictures brought back memories of his training to English National Ballet's Kirov-trained principal dancer Dmitri Gruzdyev, as he prepares to perform Michael Corder's Cinderella at the Coliseum next month. A regular coach for younger dancers after 17 years in the company, he has a keen eye for the training differences between his native land and his adopted country.

We’re getting used to expecting the extraordinary from Natalia Osipova - and then getting some more. With her impish face and farouche capriciousness, with a spring like a high-jumper and shoulders like a swimmer, she is without doubt the most explosively delightful comedienne and virtuoso around at the Bolshoi, but could she be a Giselle? A weak-hearted innocent, a sorrowing ghost, an angel of pleading mercy? Doubt it not.

When Russia was plunged into Revolution in 1917, a chief balletmaster inside the Imperial Ballet in St Petersburg feared the worst. It was not simply the death of Tsars he feared, but the death of all culture associated with them, including the classical ballet that had grown to become an opulent wonder of the world. For 25 years all the ballets in the repertoire had been notated, their choreography, how the steps fitted the music, what costumes and sets should be. The notes were filed in several large volumes.

Rape, marauding soldiers, peasants on the warpath and a flash hero - are we at the Bolshoi’s Spartacus once again? No, we’re at the Mikhailovsky Ballet down the road at the Coliseum where a rather more Erroll Flynn-type spectacle is being offered, Laurencia.

Roll up, roll up for the ancient Roman circus of a production almost as old as I am. Thrill to the catchy tunes and the oom-pah basses of flash Aram Khachaturian, played with the kind of lurid splendour you thought could only be faked on Soviet-era Melodiya recordings. Enjoy the pageant of sword-waggling, goosestepping cohorts, flagellated slaves, skimpy-tunicked maidens and golden-wigged ephebes.

You need very little for a Swan Lake. Tchaikovsky’s music, white swan-girls, a mooning boy, and 32 fouettés for the ballerina in black. That's about it, isn't it? Every traditional Swan Lake we see now is a sort of balletic pizza - a musical base scattered with ingredients collected from a familiar buffet, piled up by its stager or so-called choreographer according to taste (and often a large measure of vanity for sauce).

The Bolshoi Ballet and its London promoters have confirmed wholesale casting changes to the Covent Garden tour starting next Monday, due to the last-minute absence of prima ballerina Svetlana Zakharova. Zakharova was due to give six performances, but has withdrawn due to a hip injury, it is said. Her partner the celebrated male star Nikolai Tsiskaridze has withdrawn from Giselle, and appearances by another senior ballerina Maria Alexandrova have also been reduced.

The Bolshoi Ballet and its London promoters have confirmed wholesale casting changes to the Covent Garden tour starting next Monday, due to the last-minute absence of prima ballerina Svetlana Zakharova. Zakharova was due to give six performances, but has withdrawn due to a hip injury, it is said. Her partner the celebrated male star Nikolai Tsiskaridze has withdrawn from Giselle, and appearances by another senior ballerina Maria Alexandrova have also been reduced.

The redoubtable and always stylish Russian mezzo-soprano Irina Arkhipova, who died a week ago at the age of 85, still has a song to sing about the prolonged winter we're enduring. Among many roles in which she plunged in true Slavic fashion to contralto depths was that of the shepherd-boy Lel in Rimsky-Korsakov's Snegurochka (The Snow Maiden). This "Spring fairy-tale" is about how we're destined to carry on shivering until the Snow Maiden, daughter of Frost and Spring, melts at the first rays of love. Here's Arkhipova in a fine old Melodiya recording of Lel's first song, wondering whether the wild strawberry can survive the continuing cold snap.

The improvement in ballet film from video to DVD has been colossal and welcome. The audio experience too has improved by leaps and bounds as it is more and more geared towards computers with earphones, rather than dodgy TVs. Hand in hand with technological advances has come a long-overdue new openness to recording by the Royal Ballet, which is now catching up with other leading world companies in considerable style. Here theartsdesk reviews significant new ballet DVDs plus some Christmas dance treats. Our reviewers are Ismene Brown and David Nice.