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Duck

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  1. The links section is one of the first things I check when I go online at around lunchtime, both on a weekday and at the weekend. Huge thanks and gratitude to all those who provide the links on a daily basis. Being abroad, I tend to access the links more selectively though (just as I contribute more selectively than I did in the past). The links that I do open tend to be those that relate to - new productions at the Royal Opera House - productions that I am lucky to see through a cinema screening - updates on topics that are of interest - sometimes it is just the title of the article makes me read an article Thinking of other reasons as to why I have opened fewer links more recently - there will have been a link here and there that I decided not to read as I knew from experience that I wouldn't be able to access the article anyway, or not without going through the newspaper's registration process - if a favourite dancer is injured and hence does not feature in a production, the chances of reading reviews for that production are lower if I am not seeing the production anyway - workload and other commitments In terms of comparing the deceasing number of views of the links section with the increasing number of members and identifying potential reasons for the decrease in views, it'd be useful to understand how the number of those members has developed that actively use the site, and whether analyses can be done based on the viewing patterns of active members (e.g., using a specific part of the forum or more than one)..
  2. Here's another review on the upper part of the web page https://www.swr.de/swr2/kultur-info/saenger-matthias-klink-in-nixon-in-china-an-der-staatsoper-stuttgart/-/id=9597116/did=23817304/nid=9597116/sbsw99/index.html
  3. A fabulous evening albeit a long one, 3 ½ hours including intervals and prior to curtain calls. The applause was pretty long & loud already following curtain down at the end of acts 1 and 2, and it was tumultuous at the end, including what I think was some foot stamping. I left after the first ten minutes of ovations (for the soloists, the choir, the orchestra, the production team … everyone) as I needed to catch a train home, this being a Sunday evening before getting up for work on a Monday morning. I watch opera only from time to time and hadn’t seen Nixon in China previously. It was the link to historical events and equally the notion of creating images/ perceived reality through media that attracted me to this work, and the prospect of listening to music by John Adams was a bonus. In fact the motto of this year’s spring festival is “really real” in the sense of “what is real?” vs “what is (only) considered to be real?” Difficult to highlight a particular aspect, I rather think it came together as one, this is why I enjoyed it so much (spoiler alert … please stop reading here if you prefer to be surprised by what you’ll see on the 11th May :-) Fabulous soloists in their specific roles e.g., Michael Mayes (Nixon) with an incredible voice, loud, intense, depicting Nixon as someone from somewhere in the countryside, Matthias Klink’s (Mao) body language - walking in small steps, his upper body bent forward slightly. Powerful choir, in act 1 appearing & singing repeatedly in what would be the Stalls Circle and the Balcony at the ROH (I don’t know how they will capture this for the live stream) Loved the colour scheme of the costumes – black suits for Richard Nixon and Henry Kissinger, stunning dresses in black/blue respectively gold for Pat Nixon, a white suit for Mao, icy grey & silver for Chiang Ch’ing (her costume and her spikey headpiece alone inspired fear), shades of grey for Mao’s secretaries, the choir in grey and silver for the women and a little touch of gold for the men, the pioneers (if that’s the correct word?) in light grey, red for Chinese flags and what I think was meant to be Mao’s bible (of which there were lots of) A flexible stage design that allowed the seamless flow between scenes within each act. Nixon’s landing in China is shown through strips of light that are illuminated as if it was a runway, and Nixon is lowered down onto the stage from above. The metal structure that is used for the landing is transformed into a wall that is put together by pioneers and that shows a group of them exploring new ground/ territory (on the moon?). Wooden benches are used to portray gatherings in acts 1 and 3 (yet the banquet in act 1 scene 3 is done standing). The depiction of events in the ballet/opera created by Chiang Ch’ing in act 2 scene 2 is intensely grim, I wasn’t able to watch all of this. This is also where the layers of events in Adams’ work become intertwined as and when the Nixons and Henry Kissinger become involved in the piece (cf. what is real?). Act 3 has the orchestra pit removed (the music is now recorded I understand), and so the stage goes all the way to row 1, creating an incredible proximity between the audience and the performers on stage. The contrast in atmosphere to act 1 couldn’t be starker. Whereas act 1 is all about formality of interaction (which however doesn’t lead to much as Richard Nixon spends a lot of time thinking about the image that he’d create for the audience back home and Mao spends time talking about philosophy), act 2 shows Pat and Richard Nixon increasingly lost and with a deepening sense of unease, and now act 3 is all about looking back at one’s life and events therein, isolated, separated, disillusioned, all sense of achievement is gone. Chou En-lai’s words at the very end of the Opera summarise this atmosphere through the words “How much of what we did was good?” If you watch the livestream on 11th May (I hope it’ll be accessible from the UK), it’d be great to hear what you think about the production and the performance. If you have a chance to head to Stuttgart instead, tickets are still available for all forthcoming performances. Videos and pictures provided by Stuttgart Opera Teaser and pictures on the production page https://www.staatsoper-stuttgart.de/spielplan/a-z/nixon-in-china/ Trailer https://www.youtube.com/watch?v=O00yP5V_yso A number of newspaper articles (providing the links to google translate would be too long for all of these, so I am just linking to the articles themselves) An interview with Michael Mayes & Matthias Klink a few days before the premiere https://www.stuttgarter-nachrichten.de/inhalt.matthias-klink-und-michael-mayes-in-der-staatsoper-stuttgart-o-gott-wo-bin-ich.66980ce4-6ded-47d2-ad64-45d06aeb6e07.html To get a range of opinions, a few reviews that have been published already and that are not behind a paywall https://www.deutschlandfunkkultur.de/oper-nixon-in-china-in-stuttgart-intellektuell-spannend-und.1013.de.html?dram:article_id=445707 https://onlinemerker.com/stuttgart-staatsoper-nixon-in-china-von-john-adams-premiere/ https://www.stuttgarter-nachrichten.de/inhalt.nachtkritik-nixon-in-china-an-der-staatsoper-stuttgart-john-adams-minimal-oper-in-stuttgart-bejubelt.738ce81c-8051-401d-b627-a58b2b0f4813.html https://www.br.de/nachrichten/kultur/nixon-in-china-in-stuttgart,RMzk0dO
  4. He was outstanding in every school performance that I've seen him in since I moved here in 2016, and he was superb in the role of Tadzio in Death in Venice, too. I found his performance of Chroma at the PdL had the perfect mix of angularity and bendiness, and that made me think of the Royal Ballet, too.
  5. Oh, thank you, Vanartus & Jan :-) I take notes during intervals (which sometimes attracts strange looks by those sitting near me ;-) and use pictures in previews and reviews to jog my memory when I write these up. I am pretty sure, however, that I am missing out on lots of details (I also tried taking notes in the dark but these just weren't sufficiently legible) , and I am often at a loss as to how to describe the more modern wriggly movements. Maybe one day ... As for Mayerling, I'll be at the Insight Event on 12 May but haven't made up my mind yet as to whether I'll go and see a performance, too. I saw all three performances of the Watson/ Galeazzi cast in 2013 plus the cinema relay in 2009 (Jan - that was at the Odeon at Liverpool One, so maybe we happened to be in the same place for this one?), and I sometimes wonder whether I am ready (yet) to see this work with any other cast. I'll give this some more thought. @ Vanartus, I'll be at a number of performances, both at the Theaterhaus and the Opera House, in the first three weeks of July, so in the event that you decide to head to Stuttgart also before 28th July and would like to meet up, feel free to send me a PM. Would be great to catch up again.
  6. This mixed programme premiered last Thursday, inspired by the 100th anniversaries of both the creation of the Bauhaus and the events surrounding the adoption of the Weimar Constitution. Katarzyna Kozielska’s piece IT.Floppy.Rabbit draws on designs created by artists at the Bauhaus. The lamp designed by Wilhelm Wagenfeld is depicted through a white, semi-translucent lamp shade with a dancer in shiny black as lampstand underneath who does lots of bourrees. A dancer crawls along the floor, moving towards the lamp (a metaphor for searching and finding the iconic design?). A PDD makes use a Bauhaus design for a cloth, the performing couple is linked by the fabric, making for intriguing choreography. A video shows a figure from Oskar Schlemmer’s Triadic Ballet being drawn. Other than the initial solo, lots of PDD and dancing in groups, with female dancers on pointe. Costumes and hairstyles are inspired by those at the time, too – bobs for the female dancers and identical tight tops & shiny shorts which are tight at the waist and pretty wide at the legs. The music is rhythmic, pulsating a well as soft with strings and percussion. The piece ends with lots of small lamps lit behind a semi-transparent screen (an indication that the Bauhaus has been fully established & the designs have been made widely available?). The introductory talk explained that Edward Clug got inspired for his work Patterns in 3/4 by paintings created at the Bauhaus. The work is design oriented and playful. Tall light grey movable structures that look like the mirror image of the letter “L” illustrate what I think are the bottom right hand corners of window frames (a plant is put on one of them later on). Lots of arm swinging in front of the body in combination with (quarter) turns each. A dancer moves one of those small red push birds that are designed to help toddlers learn to walk across the stage. Heads bob along the lower part of the window frames. Dancers wear identical black pants and white shirts with a red line along the spine, female dancers in ballet flats this time. The music in three-four time (hence the title of the work) incudes Steve Reich’s Tokyo/ Vermont Counterpoint (so that was a good dose of music by Steve Reich at the weekend, I don’t hope it’ll be before long that I’ll have that pleasure again). If the first two pieces referred to the Bauhaus, Revolt by Nanine Linning took its inspiration from the tumultuous times surrounding the adoption of the Weimar Constitution. The choreography portrays how protest movements, based on the right to free speech, arise and develop, starting with the activities of individuals who then carry others with them (while still others initially walk past without paying attention) to form groups that then increase in size. Movements just as the music pulsating, moving forward, combative. Again the same costumes for female and male dancers, in shades of blue, with face masks towards the end, and no shoes this time. I found this programme convincing in a number of ways - based on historical events, the link to another art form, the clear and straightforward stage designs, the identical costumes for female and male dancers, the fact that most of the choreography doesn't reflect the dancer's positions in the company, and that there lots of members of the corps on stage. So the programme was really interesting, and it was also positively life affirming. Thinking about the works that I had seen – in Stuttgart and elsewhere – over the previous months, I had started to wonder where the sparkle had gone. This programme has shown that it is still there and very much a matter of choreographic styles and musical choices. Fingers crossed for tickets for performances of this programme towards the end of this season. Link to pictures https://www.swr.de/swr2/kultur-info/ballett-abend-aufbruch-in-stuttgart-ueber-100-jahre-bauhaus-und-weimarer-verfassung/-/id=9597116/did=23750942/nid=9597116/1hhyjbj/index.html Link to extracts from the three works https://www.swr.de/kunscht/ballett-aufbruch/-/id=12539036/did=23431918/nid=12539036/30wbqs/index.html
  7. Theatre des Champs Elysees in Paris - https://2020.theatrechampselysees.fr/la-saison/danse-1 Theatre Chatelet in Paris - https://www.chatelet.com/saison/saison-19-20/spectacles/ Theatre du Capitole, Toulouse – https://www.theatreducapitole.fr/web/guest/ballets-19-20
  8. Two fascinating events with Stuttgart Opera last weekend as part of the Opera's current Spring Festival, a “Long Night of Minimal Music” on Saturday evening, and an Insight Event on Sunday morning into the forthcoming Stuttgart premiere of John Adams’ Nixon in China. Steve Reich’s Pendulum Music kicked off the Long Night of Minimal Music. This wasn’t a sound that I’d choose to listen to on the radio but it was mesmerising to watch. Five microphones were hanging down from a structure and were moving above amplifiers on the floor, initially all with the same backwards/ forwards movement, and yet they all developed different movement patterns, until all movements came to a halt directly above the amplifiers. The tone emitted through each of the combinations of amplifiers and microphones changed along with the various movement patterns, and so a melody of eerie sounds arose, shifted and finally converged into a single note, akin to the tone emitted by TV stations at night after the programme had finished when I was younger. I was spellbound. Steve Reich’s Piano Phase was given as video screening with extracts from Fase by Anna Teresa de Keersmaeker. The changes in movements of two female dancers – arm swinging, simple turns, and simple steps – followed the changes in phases in Reich’s work. Whereas the two dancers started in synchronous mode next to each other, after a while, one of them increased the speed of her movements just ever so slightly, and after a few more repetitions, her movements were now the exact mirror image of that of her colleague. After a while, they went back into parallel mode, … and so on. Wow, this will have involved endless counting and superb concentration and stamina by the two dancers. Plus the music was great, too. Ryoanji by John Cage was created by drawing lines along small stones that had been placed on paper in random fashion. The lines drawn became the notes that four singers would sing. These were standing, walking and sitting in the midst of the audience. Thus observing the performers also merged into observing the reactions of other members of the audience, including some listening with their eyes closed, some smiling. Workers Union by Louis Andriessen and In C by Terry Riley represented the “Classics” amongst minimal music (that's how the programme booklet called it). I really enjoyed these two works, I found them quite cinematic, and the rhythms reminded me of trains running or working machinery. There was lots and lots of enthusiastic applause for the performers of these two works. Back to Steve Reich with Mallet Quartet, displaying different moods, from calming and melodious to pulsating. The final piece that I attended was White Man Sleeps by Kevin Volans, at times resembling courtly dances, and playing with expectations as to when the piece might end as the composition included pauses and passages where the music was barely audible, before it then continued for another while. Again lots of enthusiastic applause for the performers of these two works. I absolutely loved the programme and hope there’ll be more minimal music in Stuttgart in forthcoming seasons. I guess the constant lookout for patterns, loops and phases influenced the way I was listening to the works, it felt pretty intense and involved … and very good. The programme went on thereafter & until 2 am on Sunday morning, yet I left at this point as I was keen to attend the Insight Event on Sunday morning for John Adam’s Nixon in China which will have its Stuttgart premiere this coming Sunday. A superb event, giving a good insight into the structure and key themes of the work, the main roles and the music, plus it included three solos performed live. The performers all sang and acted full out, as if they were on stage rather than in an introductory talk in a foyer of the Opera House, but the one that really hit me with its supreme intensity was Gan-ya Ben-gur Akselrod’s performance of a solo for Mao’s wife. The very moment she stepped onto a small pedestal (where those debating the work were sitting so the audience could see them more easily), her body language, her facial expression, everything was completely and utterly transformed within just that split second, and she simply was the person she plays in Adam’s work. It was only when tears were running down my face when I realised how much her performance moved me. Wow, I can’t wait until the opening night on Sunday. NB The performance of Nixon in China on 11 May will be livestreamed – see https://www.staatsoper-stuttgart.de/service/live/ for more details & other livestreams this season, and google translate https://translate.google.de/translate?hl=&sl=de&tl=en&u=https%3A%2F%2Fwww.staatsoper-stuttgart.de%2Fservice%2Flive%2F&sandbox=1
  9. Congrats & very happy, this is what I had been hoping for. Much looking forward to seeing him on stage soon.
  10. Roman Novitzky, Principal Dancer with Stuttgart Ballet and choreographer, is also a photographer. An exhibition with pictures of the company in rehearsal and on stage has just opened in Stuttgart. The exhibition runs until 11 April. https://vhs-stuttgart.de/programm/kurssuche/kurs/Ausstellung-Der-Tanzende-Blick/nr/191-01655A/bereich/details/, via google translate https://translate.google.de/translate?hl=&sl=de&tl=en&u=https%3A%2F%2Fvhs-stuttgart.de%2Fprogramm%2Fkurssuche%2Fkurs%2FAusstellung-Der-Tanzende-Blick%2Fnr%2F191-01655A%2Fbereich%2Fdetails%2F&sandbox=1 (NB the English title of the book is “The dancing view” not “The dancing look” as stated in google translate).
  11. Yuli has just been released here (described as "inspired by" the life of Carlos Acosta and his autobiography). I saw it yesterday and found it very personal and profoundly moving. I hadn’t read Carlos Acosta’s autobiography or even followed him much during his career and so wasn’t quite prepared for how much the film has affected me. Wow just wow and huge respect to him for being so open as well as to those involved in creating the film for capturing not only his story but also life and events in Cuba at the time.
  12. I've got IE11 on my laptop and Samsung IE on my phone. Both had bookmarks set to "events" to avoid the home page that the ROH introduced a few months ago. This worked as expected until ... a couple of weeks ago, the events page on my phone switched to the new layout even though there were no changes to the set up of my phone at the time. I called myself lucky as at least my laptop still displayed the previous layout until ... just this morning, this also showed the new layout - again, without there being any changes to the set up of my laptop. So thank you, Richard, for mentioning the links in your posts above, I've now changed the bookmark on both devices to show the productions page, and it works
  13. 5 is Romeo and Juliet. I'd say Vladimir Klos. Can't quite see the face of Juliet. 6 I think Birgit Keil - and? 4, 7 and 9 I also think Requiem. 4 and 7 agree Reid Anderson and Egon Madsen I think. 9 Reid Anderson to the right. The dancer to the left John Neumeier? 8 the dancer to the right Richard Cragun. On my phone so can't quite see the details of 1, 10 and 11.
  14. Been watching most afternoons this week and was consistently drawn towards candidates - 408 for his beaming smile - 416 as it all just looks great (and I don't say this just because he trains at the John Cranko School in Stuttgart)
  15. Been watching the classical coaching this afternoon. Just love the smile of candidate 408, Yu Wakizuka. I saw him in class earlier in the week and he was smiling back then just as during his variation a short while ago. Seeing him smile makes me smile, too.
  16. Extensive media coverage through previews and reviews of Die Sieben Todsuenden/ Seven Heavenly Sins which premiered in Stuttgart on Saturday as the first co-production of Stuttgart Ballet, Stuttgart Opera and Stuttgart Theatre for more than 20 years. Not that a co-production in itself would trigger this extent of media coverage through newspapers up and down the country plus television, I’d rather think this comes as Peaches features prominently in the production. I haven’t seen the production nor am I going to; based on what I’ve read, the production is split largely into two parts. Part 1 – based on Brecht’s work and transferred into a boxring, Anna comes in four different characters (a female actor – Josephine Koehler, a male dancer – Louis Stiens, who has also provided the choreography for the production, an older version of Anna – Melinda Witham, and Peaches). Anna’s family is represented through four referees. Part 2 – the boxring has disappeared, and Peaches performs a number of songs in relation to the seven sins (I guess the word “heavenly” in the work’s title is based on a comment that she made that she doesn’t consider these seven aspects to be sins), complete with matching outfits. Opinions in previews and reviews range from rather dismissive to jubilant, others highlight the fact that the piece will have attracted new audiences or that the audience on Saturday reacted with prolonged ovations. Based on the variety of opinions, I am not providing any links but a search for “Peaches Stuttgart” will provide plenty of them (a word of caution – the work comes with an age guideline of 16+ years, and some of the pictures or excerpts in some of the previews and reviews confirm why this is the case).
  17. For anyone heading to Stuttgart to see Stuttgart Ballet and/or Gauthier Dance in February or March this year - there are a couple of exhibitions in the Stuttgart area in relation to dance that may be of interest. The exhibition “Ecstasy” at the Kunstmuseum in Stuttgart covers ecstasy in dance, sports, youth culture, religion, mythology, etc. As for ecstasy in dance, a number of paintings portray early 20th-century dancers; pictures and videos show e.g., traditional dances and dance in a night club. More information about the exhibition which runs until 24 February here https://kunstmuseum-stuttgart.de/index.php?site=Exhibitions;Current&id=114&bereich=ECSTASY&1538130133. The link also gives access to a detailed brochure that describes some of the works that feature in the exhibition. The Kunsthalle in nearby Goeppingen has a new contemporary exhibition that depicts the interaction between movement/dance and fine art through a mixture of drawings, paintings, sculptures and videos. Contents include Works about dancers (e.g., drawings by Vasily Kandinsky of Gret Palucca) Works created based on the analysis of someone’s movement across space (pencil drawings by Morgan O’Hara – the wider the movements are, the larger the drawing becomes; the more diverse the movements are, the lighter the colour of the resulting work remains – whereas movements that stay within a small area lead to a much darker shade of the same colour. And so … e.g., the movements of dancers of English National Ballet in Act III of Swan Lake lead to a large round-ish form that is filled with roughly the same shade throughout, the wide and flowing arm movements of a conductor lead to a large drawing with many fine lines, the intense focus of a pianist on just a few keys creates a small and very dark, almost rectangular form) Videos that show how dance and movement create art (e.g., the moving arm of a sculpture by Jean Tinguely draws a picture, someone jumps along a wall and the ensuing movement of the person’s arm draws a picture) Recordings of (excerpts of) performances (e.g., Merce Cunningham’s Summerspace, Bruce Naumann’s Floor and Wall positions, a work by Nam June Paik that shows multiple instances of Merce Cunningham, a work by Anna Teresa de Keersmaeker, along with some of her plans for and notations of the work, William Forsythe's Improvisation Technologies, Samuel Beckett's Quad I + II)) There is also a drawing by Vaslav Nijinsky This exhibition runs until 24 March. I saw it earlier today and found it mesmerising. Link http://www.kunsthalle-goeppingen.de/ausstellungen/aktuell/halle-unten/, and via Google translate https://translate.google.de/translate?hl=&sl=de&tl=en&u=http%3A%2F%2Fwww.kunsthalle-goeppingen.de%2Fausstellungen%2Faktuell%2Fhalle-unten%2F&sandbox=1
  18. More extensive live streaming from the Prix de Lausanne this year with both morning and afternoon sessions covered. Schedule and links to both live streaming for 2019 and replays from 2018 here, I presume this is where the replays from 2019 will feature, too https://www.prixdelausanne.org/multimedia/live-streaming/ Live streaming in 2019 on Arte https://www.arte.tv/fr/videos/RC-014432/prix-de-lausanne/prochainement/ (I don't know whether they'll drop the word "prochainement" from the link come 4 Feb).
  19. Gauthier Dance has performed in hospitals and nursing homes as part of its Outreach Programme
  20. There's a new statement by the Bavarian State Ballet on their web site https://www.staatsoper.de/presse/presseinformationen/presse-infos-ballett/mitteilung/news/presseerklaerung-ergaenzung-zur-personalie-sergei-polunin.html?no_cache=1&tx_news_pi1[controller]=News&tx_news_pi1[action]=detail&cHash=174e87ec643f17759ecc72ec0289ba6e and via Google translate https://translate.google.de/translate?hl=&sl=de&tl=en&u=https%3A%2F%2Fwww.staatsoper.de%2Fpresse%2Fpresseinformationen%2Fpresse-infos-ballett%2Fmitteilung%2Fnews%2Fpresseerklaerung-ergaenzung-zur-personalie-sergei-polunin.html%3Fno_cache%3D1%26tx_news_pi1%5Bcontroller%5D%3DNews%26tx_news_pi1%5Baction%5D%3Ddetail%26cHash%3D174e87ec643f17759ecc72ec0289ba6e&sandbox=1 I find the last sentence of the second paragraph interesting as this reads as if they genuinely hadn't had the policies and procedures in place to deal with the recent issue (I would have thought that this was a given but maybe I am expecting too much? Not sure how other large-scale cultural organisations are set up in this respect?) and that instead, they did indeed encounter a range of diverging opinions within the organisation (as referred to in the statement dated 17 January 2019 - "For days now we have been talking to one another"). This would then also explain the change from the initial statement (which is no longer on their web site) to the version dated 17 January 2019.
  21. From what I can see, the Bavarian State Ballet has not added another press release on their web site following on from the statement dated 17 January 2019. They have updated the web site to confirm that Polunin will dance in Spartacus on 25 March 2019 https://www.staatsoper.de/en/your-visit/aktuelles/meldung/news/kommende-gastauftritte.html?no_cache=1&tx_news_pi1%5Baction%5D=detail&cHash=7172bab216e74aacf7728d2af12cb823 There’s another article in the Sueddeutsche Zeitung though that reports on a statement made by the company yesterday in relation to the issue https://www.sueddeutsche.de/muenchen/staatsoper-polunin-darf-weiter-tanzen-1.4298132 and via Google translate (I haven't used this tool before so I hope that both link and translation work as intended) https://translate.google.de/translate?hl=&sl=de&tl=en&u=https%3A%2F%2Fwww.sueddeutsche.de%2Fmuenchen%2Fstaatsoper-polunin-darf-weiter-tanzen-1.4298132&sandbox=1 I had stopped following Polunin quite some time ago and only started to read this thread again when the discussions about him dancing in Paris and now in Munich started a few weeks ago. Just as a lot of posters here, I am shocked by his latest tattoo and his recent controversial statements on Instagram. What also caught my attention in the current situation was how the organisations that cast him have reacted in response to his actions and the ensuing discussions. POB announcing him well after the tattoo and the posts on Instagram became public, and then withdrawing their invitation shortly afterwards, it seemed to me, following a public outcry. Munich, what can I say. There’s been a lot of discussion about the content of the statement dated 17 January 2019. The company had also issued an earlier shorter statement which seems to have disappeared from their web site since (I remember reading it at some stage last Thursday, probably at around lunchtime). Posters on dansomanie discussed this earlier version last Thursday, and one of them also provided a translation into English http://www.forum-dansomanie.net/forum/viewtopic.php?t=3496&start=375&sid=6d671cca90b27a34306cb4085ccb12e0. An article by the Bavarian Radio last Thursday also reported on the earlier statement https://www.br.de/nachrichten/kultur/bayerisches-staatsballett-haelt-an-tanz-star-sergei-polunin-fest,RFPPSDb - and again using Google translate (the layout of the page in the translation looks a bit odd on my laptop, I don’t hope it will affect the translation) https://translate.google.de/translate?hl=&sl=de&tl=en&u=https%3A%2F%2Fwww.br.de%2Fnachrichten%2Fkultur%2Fbayerisches-staatsballett-haelt-an-tanz-star-sergei-polunin-fest%2CRFPPSDb&sandbox=1 If I read the statement dated 17 January 2019 with unease, I found the earlier version even more dreadful. Adding to that the contents of the newest article in the Sueddeutsche Zeitung, the organisation has been going through an internal discussion process, and it'll be interesting to see whether there'll be further announcements following the internal company meeting that the article refers to. The outcome of all that so far leaves me hugely dissatisfied though. I hadn’t found the programming in Munich particularly interesting anyway, I guess the newest developments just confirm that I won’t be missing anything there. @ ChMeBa – if the performance of Spartacus that you’ll be attending in April is the one on Apr 1, you’ll be seeing Vladimir Shklyarov :-)
  22. The Semperoper Ballet in Dresden in Aaron Watkins' version of The Nutcracker was broadcast on 24 Dec and is currently available as VOD. https://www.br-klassik.de/programm/fernsehen/ausstrahlung-1615954.html I hope this one is accessible from abroad, too.
  23. Glad to see that the video is accessible from abroad :-)
  24. Stuttgart Ballet in Cranko's Romeo and Juliet with Elisa Badenes and David Moore in the lead roles was shown on television in Germany this morning. It is now available as view on demand until 6 Feb 2019 - I don't know, however, whether this works from outside Germany, too. https://swrmediathek.de/player.htm?show=ba958e50-1012-11e9-9a07-005056a12b4c
  25. A mix of works that I’d like to see again and a few others - Woolf Works, Song of the Earth, Requiem, Voluntaries, The Four Temperaments, Sinfonietta Works that I haven’t seen yet: Xenos, My Brother My Sisters, Tetley’s version of The Rite of Spring Marco Goecke – anything, anywhere within reasonable travel distance Crystal Pite’s new work for Paris Opera Ballet in autumn 2019, mentioned as part of the 17/18 season announcement Visiting companies in the region that I wouldn’t be able to see otherwise 2019/20 will be the first season for Bridget Breiner in Karlsruhe and for Marco Goecke in Hanover. I look forward to their season announcements and how they will shape their companies
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