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Jane S

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  1. Incidentally I was just looking to see how the Proms idea initially came up in the 70s and according to John Tooley, whose idea they were, the original plan was to relay opera and ballet performances to various centres round the country (more than 40 years ago) and Tooley had persuaded the Midland Bank to pay for it - but in the end it proved too expensive (line costs and special projectors) so they abandoned that idea and subsidised the Proms instead. (Leading to Richanrd Buckle's review starting "I'd like to kiss the Midland Bank" - or something like that anyway) Also, in the 1900s Tooley almost fixed a deal with Texaco and the BBC to relay live television performances but it fell through when an oil crisis meant Texaco had to withdraw.
  2. Geoff - at the bottom right hand corner of the picture there are 5 little symbols 1. click on the left hand one and a little red line appears underneath it 2. click on the next one along (the usual 'settings' symbol) and the third option down should say 'Russian autogenerated' 3. click on the arrow next to those words and choose the auto translate option 4. select English ... works for me anyway (on a desktop)
  3. And in Nikolaj Hubbe's version for the Royal Danish Ballet - also set in the time of the British Raj - the Solor character really is European (an English lieutenant called William) - but in the scene where other Solors smoke opium, he shoots himself dead.
  4. On the other hand, my own first encounter with Alastair Macaulay was at a matinee of Two Pigeons by the RB touring company in Norwich, sometime in the late 1970s - I didn't then know who he was but always remembered him as he spent the whole of the intervals making detailed notes about what he'd seen - not opinions but descriptions of the choreography (so far as I could see from a nosey glance or two). So my first impression was of someone who did the groundwork. (Full disclosure: I know him slightly.)
  5. You have a good eye, Bruce! - Ryan Tomash has joined the Royal Danish Ballet and will be dancing Golfo, the sea spirit, on the first night of this season's run of Napoli.
  6. Fascinating - and it was only in investigating further on Google that I learnt - what everyone else maybe has known all along - that Larisch and Rudolf were actually first cousins.
  7. Well, the way the role was being cast when I last saw Mayerling a few years ago, I used to wonder if there was a lost Act 4 somewhere in which he was revealed as Rudolf's younger brother, stolen in infancy !
  8. Can anyone remember, did Gartside ever do Bratfisch? It would have been a perfect role for him.
  9. Casting for this has now been announced - the RB will be represented by Anna Rose O'Sullivan and Marcelino Sambe, who dance one Tchaikowsky pas de deux and two Tarantellas.
  10. This is his farewell tour, I believe, and tonight is his last performance at the Teatro Colon. He's 42. He left the RB in 2005 and I remember him mostly for two things: the complete surprise when he was cast as Siegfried at very short notice after having done nothing more prominent with the RB than a Gentleman in Act 2 of Manon, and his beautiful 'Ashtonian' arms, the best of any man in the company at the time.
  11. The Teatro Colon in Buenos Aries is livestreaming a performance of MacMillan's Romeo and Juliet tomorrow, with Lauren Cuthbertson and Inaki Urlezaga in the leads. It's at 17.00 in BA - 21.00 in London I think but better check. http://www.teatrocolon.org.ar/en/en-vivo Anyone know if it can be seen in Europe? Thanks to Dansomanie for the link
  12. I doubt it - the book has 514 pages and is based on her doctrinal thesis (University of Cambridge)
  13. The two solos in act 1 were danced by two farmhands until the middle of the 20th century, when the second one was given to James (I've read that the change was made by Flemming Flindt around 1965.) You can still see the original casting in the film of the Rambert Sylphide. When the RDB came to London in the 1970s James had the 2nd solo but the first one was still danced by an unnamed character rather than by Gurn. Bournonville saw dancing as an expression of joy and therefore as you say the James of Act 1 couldn't possibly have danced. I asked Kobborg in an interview just before his RB production openind if he'd thought of reverting to the original but he was scathing about the possibility of any James agreeing to give up the solo. I don't think there's any particular reason to long to have Kobborg's production back - like everyone else he'd added little bits - the pas de six for Effie's friends for instance. The film of Lis Jeppesen and Nikolaj Hubbe gives the credit for 'original production' to Hans Brenaa and that would be a good place to start. I'm not entirely sure who came up with the Madge-was-a-Sylphide idea but it certainly wasn't Kobborg - possibly Sorella Englund early in the 1990s - but as we saw in the RB performances she doesn't always do it. Incidentally although Hubbe's current production puts a very different slant on the story I don't think he's altered the choreography at all.