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SwissBalletFan

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  1. Sorry to all, It was me who misread Angela’s post. Wow these are just the premieres, then it looks very exciting if there are some usual repertoire classics.
  2. Angela, thank your for your reply and the history surrounding Stuttgart Ballet. I enjoy modern choreographies and enjoyed Pite’s Emergence in Zurich very much. I guess I mean underwhelmed, 2 classical ballets does not really compare to the 5+ at the other companies who also have some very exciting modern works. Is there a reason that Stuttgart also has seeming fewer productions in a season? Maybe it was this that highlighted the really strong leaning towards triple bills rather than full length works. also I am neither disappointed nor complaining as I guess within Germany all bases are pretty much covered.
  3. Dear angela, considering the repertoire of Berlin and Munich (assumed as under Mr Zelensky) in 18/19, I have to say Stuttgart looks a little underwhelming relying on triple bills rather than classical splendor. Am I missing something? ( I probably am) May I ask how you feel about it?
  4. To be fair, preaching isn’t really included in ‘plain common decency’. Ms. Bussell invites some level of criticism for the way in which she goes about things, and I don’t think that anyone has ‘begun retreating’. Even her statement that she is ‘deeply humbled’, has a ring of the disingenuous about it for me. I am not sure her award has been delivered as a sign of approval from her adoring public clamoring for her to be recognized, rather that it has been given after some deft political understanding of what it takes, and some words in the right ears at the higher echelons of power. In these awards, there are hurdles to go through, and she has ‘ticked all the boxes’ to receive this award. Just because we are all Dance fans, it does not mean we should rejoice, for an award for one of ‘ours’. Actually, one poster said something that, although she danced beautifully, she was always still ‘Darcey’ and didn’t fully inhabit the role to steal the audiences’ hearts or emotions. I feel exactly this way about her receiving this award. Respect that she has received it, and for all the right things she has done to deserve it; in her charity work and in her career, however it leaves me rather cold.
  5. I think in ballet there have always been a number of artists, at all levels and throughout the world who have pushed themselves (or had influential hands pushing from behind) to the front, to be noticed, recognized and to make the most of their careers. Some may call it self promotion, some may calling it making the most of your lot. I think that it is quite obvious when people are doing this, and there is no shame in it. Ms Bussel, isn’t the face of BBC ballet and all things dance purely by luck. I am sure her charities and the companies she is connected to will benefit a great deal by this recognition too. So it’s all good for her. However, in ballet, as in life, we all see those showing it all and pushing for all, while secretly rooting for the less showy, ambitious or more natural or humble person/dancer who would do equally well in the role. I think it’s up to the fans and audiences to recognize these quiet and kind individuals, give them an extra applause or recognition they are not expecting...from ballet studio to opera house.
  6. Cesar Corrales resigns from ENB

    When you compare the repertoire with Munich, I think it is clear what the difference is. ENB may be pushing boundaries, but it is very much on the contemporary side. Munich has wonderful classics in which would be a dream for a classical ballerina, or ballerino. Royal also maintain a good repertoire of classical pieces too which could be the reason for the change. It should also be mentioned, that for classical dancers, classical technique needs to continue to be maintained with a balanced repertoire, that is even without considering that a fantastic classical repertoire can very much enhance and improve technique. So for a young dancer, there is a point where 'pushing the boundaries for audiences' is not pushing the limits for their bodies. Also, the control factor mentioned by Tamara Rojo would be a big factor for expressive dancers, as they will be very highly sought after on the gala circuit, and if she did not allow them to go (not many galas are attended by ENB dancers outside of Tamara Rojo), although admittedly they do guest for other companies). This could also be a point of frustration regarding the financial benefits of galas vs low pay (relatively) at ENB.
  7. Cesar Corrales resigns from ENB

    Which when you look at the comments and statements of dancers who have left ENB, I think there is a clear reason for not being happy at ENB in general. However of course promotions, and repertoire can keep a dancer otherwise happy, which seemed to be the case. His resignation so soon after promotion is a bit of a signal. Congratulations to Royal Ballet, to Mr Corrales himself, and I hope that Ms Rojo keeps finding such gifted young dancers to replace the many that leave, as she (or someone in her team) is of course really doing a great job in finding talented young dancers. Questions are asked about why the most talented leave (on and off the stage), but that is up to the management of ENB to deal with, if they are so inclined.
  8. I thought I would write to wish everyone on the forum to wish everyone a Happy Christmas. We may all have our disagreements and many mis understandings, I am sure all are just trying to share their love and experience of ballet. The very best to you all.
  9. I am surprised this has not been posted before, but maybe it has been avoided as it may yield controversial posts. Marcelo Gomes has resigned from ABT due to an investigation into a event of alleged sexual misconduct by him 8 years ago. ABT have said that it has nothing to do with employees at ABT or relevant to his post at ABT. There have been messages of support from Julie Kent and Diana Vishneva which are touching how well they know him. This support has been attacked by a few people in social media, as, in the absence of specifics of the case, no one k it’s what has happened, but that it must be a pretty serious allegation for him to resign. http://wapo.st/2zctaRW?tid=ss_tw-amp
  10. I don't think anyone has a problem with thinking British ballet schools are not a waste of money. They are some of the best institutions, which is why they attract and nurture such wonderful talent as Sergei Polunin etc. Unless you think British ballet schools are aiming only to nurture the best British ballet dancers? A large amount of British tax payers are not British as a nationality.
  11. Thank you Nina for the link. I understand more about the issue at White Lodge, but I still am puzzled about the terminology used regarding 'British'. Even Like Jennings uses the term 'British Born and trained' which would not include Francesca Hayward (not geographically anyway). I understand how tough it is for any boy or girl trying to get to a principal level, and which is why, I wondered how Alina or Marianela would take MABs message: 'you wait decades for an outstanding British ballerina'. Well you have one in Marienela Nunez, she has the passport and was trained at white lodge. My 'spiteful' last comment about wealthy immigrants, highlights the issues raised in Mr Jennings' article about how money is a big factor in being able to study ballet from a young age. I feel that it is great, that after some period of instability that royal Ballet has an amazing array of talent at principal level and it is definitely something to celebrate. Could we we just drop the British point? In time of brexit, talk of refugees, immigrants etc.. I find this particular case being described as a British Ballerina, interesting as she probably holds other passports too from her non British parentage. Mo Farah has openly talked about the issues he has faced about being seen as a British athlete.
  12. Well, it is a bit clearer to me now, that the intention is to mean British-trained, or British-style, rather than simply 'British' as the nationality. Or at least one might hope. MAB for anyone following the political developments in the U.K. of late, (as well if those in the 60s&70s) the fact that the U.K. still grants a british passport to most children born there, has caused issues about 'being British' and what that means. In these uncertain times, I find it personally a problem to say people have been waiting for great British dancers, as if those dancing at Royal that weren't British (even many trained at British schools) is some kind of second prize. It's great to celebrate wonderful dancers in the company (which they certainly are) without mentioning nationality. So if Thiago Soares and Marienella Nunez had a child in the U.K., that child could be the next wonderful British Ballet dancer? Even though his/her parents were not celebrated as that? As is the case here? edited to add: even many of the 'foreigners' at Royal have been trained at British schools.
  13. I am not sure why there is the fascination if they are 'British'. I would hope that the British public, look equally as inclusive and kindly on a child born in the U.K. of refugees to be unquestionably British. As much as they do of rich immigrants that have a child in your country.
  14. In calling for auditions, Berlin have detailed their 18/19 season: The 2018/2019 Season Repertory includes: RATMANSKY · La Bayadère (Creation) BALANCHINE · Theme and Variations (Premiere) BOURNONVILLE/ANDERSON · La Sylphide, Napoli 3rd Act (Premiere) CRANKO · Onegin CRANKO · Romeo & Juliet BART · Swan Lake MEDVEDEV/BURLAKA · The Nutcracker RICHARD SIEGAL (Creation) SHARON EYAL (Premiere) STIJN CELIS (Premiere) WILLIAM FORSYTHE HOFESH SHECHTER This looks pretty classical with some wonderful pieces to me, I think it can compete very favourably to Munich. source
  15. To be honest, I think this level of detail remains interesting only to those who have a deep knowledge of ballet. The same as most of the audience wouldn't know the name of the ballerina/dancer, nor would they care. In recent times I have had to resort to the Serenity Prayer in journalistic approaches to Ballet, a corps dancer called a 'prima ballerina', anything involving Sergei Polunin as 'the bad boy of ballet', etc etc.. Ballet is an interest of mine, and something I continually like to learn about, but I would rather encourage press to write about the art, even if they also must write with their audience in mind, which is of course what gets the word out about ballet, to those that know nothing about it.
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