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Jane S

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Everything posted by Jane S

  1. Coleman: and me! - I have a photo of him in The Concert on my wall and it still makes me smile every time I look at it. (I just looked him up and see that he danced Bluebird 92 times in his RB2 days!)
  2. It's a sweet gesture but whever I see this I wonder what the person who sent her the flowers is thinking?
  3. I just came across this Dancing Times article by Daniel Pratt of the Sarasota Ballet: he writes about Scenes de Ballet from a dancer's point of view in a way I find really illuminating. https://www.dancing-times.co.uk/dancing-scenes-de-ballet/ (And notice that he /describes it as 'demanding' rather than 'difficult'!)
  4. Just had another look, Alison, and it was actually Christopher Carr who said it (Vanessa Palmer just said that she agreed with him) and he was definitely talking about the women. Another thing about this run (which I'm not seeing this time round) - so far the role of Vera in Month in the Country has been done by quite senior dancers (O'Sullivan and HIngis) and it's been cast like this for a long time now but - with absolutely no disrespect to these dancers - I still miss the effect from the early days of having a complete untried unknown from the corps de ballet - Denise Nunn originally, then Gillian Kingsley - dancing the role. (Maybe there aren't any untried unknowns these days?) On the other hand I'm pleased to read that the costumes for Scenes de Ballet are seen as attractively chic this time round, rather than dowdy and dated as they've been described sometimes in the past!
  5. Christopher Carr said at the insight evening that there was only one cast for the women's corps de ballet and he implied that it was partly because it is so difficult.If you look at the online data base you will see that it's always been like this - one or two dancers may be swapped in or out but mostly it's the same team for a whole run. and what really surprised me when I checked this was the quality of the dancers used - very often there are at least 3 future principals and several future soloists - you could almost say that if you wanted to know the next generation of stars you should look at the team in Scenes de Ballet! Also at the Insight Vanessa Palmer, who danced in it herself (and was a nice Ashton dancer), said that it's almost soloist work rather than the usual corps de ballet thing.
  6. Keith, you will see from the number of people who have already 'liked' your post that Deanne Bergsma is remembered with admiration and affection on this forum - we had a conversation about her a year ago, also on her birthday, and it showed that people still think of her as THE Lilac Fairy. (And, assuming you are THE Keith Rosson, the first time I saw her in Swan Lake, you were her Siegfried!)
  7. Apologies - her name is Emma Riis-Kofoed. (Which I know perfectly well - fingers/brain link problem, I'm afraid)
  8. Going back a few pages, to Rothbart's machinations: in the current Royal Danish Ballet production, he really is the power behind the throne and among other things he 'turns' Benno from Siegfried's close friend to a part of the conspiracy against him - it's an interesting approach, let's say, and the recording of the production is still online and currently not geo-blocked. And Alban Lendorf is Siegfried.
  9. The Royal Danish Ballet is currently dancing Balanchine's Jewels and at last night's performance Nikolaj Hubbe appeared on stage twice - after Rubies, to promote Alexander Bozinoff to Solodanser (Principal), and after Diamonds, to do the same for Emma Riis- Cofoed. She has been very obviously headed for the top ever since she joined the company in 2017, whilst Bozinoff is a bit more of a surprise - Hubbe describes him offstage as a 'still water running deep' personality and he has quietly built up quite a repertoire of leading roles. The press release claims this a first for a double onstage promotion but I'm fairly sure that Alexei Ratmansky and Thomas Lund were also promoted together, after a performance of Swan Lake (Prince and Jester respectively). But that was long ago, and at the end of this month Thomas Lund leaves his post as Director of the RDB school after 10 years. His successor is Anne Peyk. until now the director of the Tivoli Ballet School. The press release announcing her appointment describes her previous career (via Google Translate): 'Anne Holm-Jensen Peyk comes from the position as innovative artistic director of Tivoli Ballet School and also has 13 years of experience as an instructor and teacher at the Royal Ballet with strong results in organizational, talent and staff development. Her ability to act in the Danish ballet school environment is seen, among other things. through initiatives such as the establishment of the ballet competition The Danish Ballet Prize and the association for dance medical knowledge Dance Science Denmark. Anne Holm-Jensen Peyk is herself a former dancer and has a strong national and international network in the professional ballet environment as well as the ballet school environment, i.a. Ballet Chemnitz, Tivoli Ballet Theater, The Royal Ballet, American Ballet Theater, Finnish National Ballet and Hamburg Ballet.'
  10. Thank you, Lynette - I look forward to the film - I long to see how Park sees the Markova solo!
  11. That link takes me to the video of the previous one, in October - it's the one about Les Rendezvous and Les Patineurs I was hoping to find?
  12. I can't remember seeing anything about the Ashton Rediscovered on Feb 20th - did it happen, and if so who danced?
  13. According to the Guardian obituary he was actually five years older than he claimed - 95!
  14. This one? https://www.nytimes.com/1974/08/18/archives/dance-prodigal-son-a-ragtime-ballet-is-sellout.html
  15. Yes, lots - of the Royal Ballet's Onegins I remember, only 2 (Bonelli and Hristov) had already done Lensky - though of course others may have danced Lensky before joining the company, or some of the Lenskys may have done Onegin since leaving.
  16. Could someone kindly identify the 4 Flowers in Rob's photos from last night?
  17. Re Apparitions: The only reviews of the London Festival Ballet version I have to hand are by John Percival and David Vaughan, both of them strongly pro-Ashton, and they both put the casting at the heart of the revival's failure - Schaufuss too solid and Makarova too worldly. (JP thinks the role would better suit 'a teenage ballerina with huge dark eyes' - I assume he's talking about Trinidad Sevillano) DV says that it didn't work on the big Covent Garden stage and it doesn't work in the Coliseum either. Interestingly, JP says that Anthony Dowell had tried to persuade Ashton to let him revive it at Covent Garden, and Ashton had said no. It would be interesting to know what Clement Crisp thought - is his review included in his book?
  18. Have you seen this, I wonder? (or maybe you wrote it!)
  19. Thank you - it will be interesting to see how they are both cast,
  20. https://www.theguardian.com/stage/2021/nov/29/royal-ballet-dancer-natalia-osipova-to-auction-worlds-first-ballet-nfts And please, if someone could explain in VERY SIMPLE LANGUAGE what would be the point of buying one of these, I'd be very grateful.
  21. That could be interesting! How tall is Casalinho, does anyone know? - will they be competing for roles or are they of obviously different types?
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