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  1. I don't think anyone has noted that Phoenix Dance is performing their Windrush ballet, choreographed by their director Sharon Watson, on BBC 4 tonight at 10.30, as part of a series of programmes on Windrush. The performance was filmed in December, following their tour. Whilst I have some reservations about the piece, overall it is well worth viewing and the dancers are excellent.
  2. I agree about the need to take a torch, I was unable to find my seat number in the circle (cataracts don't help!) and had to rely on people sat in the vicinity. However, I emailed customer services about the difficulty in finding both the location and the seat number and they promptly sent a response stating that they are looking at improving signage (my word but I presume that's what they meant) and the placing of seat numbers so that it was easier to find seats.
  3. Anyone interested in Northern Ballet, Cathy Marston and their new ballet to be premiered in a month will be pleased to know that a special event, 'Victoria- Behind the Veil' will be live streamed on Wednesday 13 February, from 6.30 pm, from the NB website. Check that for any additional information.
  4. One of my all time favourite ballets is Bruce's Intimate Pages, to Janacek's Second String Quartet, which was also used by Lynn Seymour, Kylian and Mark Baldwin, among others. Re last night's Two Pigeons I thought Hay was profoundly moving, a totally convincing portrayal of the Young Man's feelings and development. I have liked all the casts a lot but not all the Young Girls have demonstrated the stroppiness of Lynn Seymour, who created the part, it shouldn't just be humorous, in my view..
  5. I remember seeing her first Swan Lake at a matinee one Thursday in Sunderland, when she had to replace Clare French who was substituting for another dancer that evening. Wonderful Odette-Odile. And a performance I later saw her do of Theme and Variations in Birmingham was the best I've ever seen of that fabulous ballet.
  6. I enjoyed the programme much more than some, the dancing and piano playing were beautiful, and I left on a high. However, my reason for posting is a minor detail that no-one's mentioned, and not to do with the performance itself. At the end of the opening night all 3 performers were presented with a huge bouquet (I've no idea if that happened at subsequent performances). A member of staff told me that it was the first time that men had been presented with flowers at the ROH (Herman Cornejo and pianist Bruce Levington) and that until then there had been a house rule against presenting men with bouquets. I have no idea if that is true but the woman who told me volunteered the information excitedly.
  7. I wrote to complain to the Guardian when I knew LW had been appointed as I knew from an ENB masterclass I attended where she led discussion how little she knew about ballet history (I told them that half the audience there were more knowledgeable than she was) and that the paper which had previously had eminent critics James Monahan and Mary Clarke, should appoint someone with more expertise. One of her first articles for the Guardian stated that ballerinas are universally petite (Zen?) But I don't agree about Clement Crisp, in my view he may often had an agenda, attacking the Royal in the past (during that period he lauded BRB much more than usual, as part of his campaign) and promoting Russian companies and dancers he was associated with. Reputable critics often make mistakes. The recent article on Apollo by Alistair Macaulay claimed that the ballet was unique among Balanchine's works in having a narrative (Davidsbundlertanze? even more so, A Midsummer Nights Dream? The Night Shadow?). In the programme for Trio Concerto Dance, Sarah Crompton claims that Sadler's Wells Theatre Ballet toured during the war (started 1947)
  8. She will be greatly missed, she has made a huge contribution to the company. I have a ticket for the Linbury that night but will have to return it so that I can go to Pippa's last Leeds performance. I hope she has an appropriate role in Victoria so that she can go out with a flourish.
  9. Thanks everyone for your sympathy and advice! Unfortunately, Lizbie 1 I’ve already been to that exhibition (it was very good). I’ll keep trying to get a return. Happy ballet going year everyone.
  10. Unfortunately the website was correct for the performance I wanted, completely sold out when I rang (the last performance, Sunday matinee , 13 jan). I thought i'd booked it so have a train booked back to North Yorkshire in the evening, instead both ENB Swan Lake and the Matthew Bourne sold out so I'll have nowhere to go unless I can get a return!
  11. I agree that all the signs are of an oversight. It reminds me of the Paris Opera Ballet's event meant to honour Yvette Chauvire, (their equivalent of Fonteyn) which was also very last minute and was an absolute disgrace,, I can't believe that the Royal's approach will be so demeaning. But as Floss implies the content needs to be carefully designed and prepared. The text about the celebration in the ROH magazine is written by someone who understands little about Fonteyn (' Frederick Ashton created several ballets for her'- little recognition that she was his muse). One despairs.
  12. I requested a change of cast list but the young Irish woman was quite rude in saying the sign was sufficient. Yet the last time I got a form it (correctly ) named 2 changes whereas the sign only listed 1. I later went back to the sign to update my cast list: but I must have inconvenienced other audience members who were waiting to buy a programme. Thankfuly the wonderful mixed bill, extremely well danced, made up for the aggravation. But if the ROH can’t be bothered to print the changes they should announce them from the stage.
  13. I'm glad that Beatrice Parma is cast in several performances. I saw her at Thursday's matinee, as the Rose Fairy, and was blown away be her dancing- very musical, and the choreographic shapes beautifully articulated. She'd make a wonderful Odette.
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