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fashionista

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  1. fashionista

    New Nureyev documentary

    Thanks for this information - have just booked - look forward ))) Amanda
  2. fashionista

    Diana Vere

    Oh, so sad - have fond memories of dear Diana Vere - RIP x
  3. fashionista

    Fan Letters To Dancers

    When I was a little girl, I used to draw sketches of the RB dancers and send them with a letter to them c/o the ROH. I received some lovely replies. I think that sadly now social media may have taken over as it is so easy to become Friends on FB or follow on Instagram or Twitter. However, I think it is still nice to send a written letter - nothing like the personal touch x
  4. As far as I can recall, this is debut for Lauren.
  5. That would be a wonderful opportunity to have a Nureyev/Fonteyn celebration. However, I did hear rumours that that the 2020-21 season will be entirely devoted to new works. I may be wrong and I sincerely hope that this is not the case !!!
  6. Dear Floss, This is my concern, if the Ashton works are not revived, than the Ashton style will be lost - it is part of the signature style of the RB, together with their classical and dramatic heritage. Leave it too long, and those dancers who were coached personally by Ashton, will no longer be around to pass on the essence of Ashton to today's generation of dancers. It is essential that this style is not lost and would also stretch the dancers technically. It is a very exacting technique with fast and fleet footwork. Sadly, this is being eroded. For example, the beautiful Ashton solo in the peasant pas de deux from Giselle has now been dropped. It is very demanding and I am sure given the right coaching there are dancers in the company who could rise to the challenge. Unfortunately, I heard from a reliable source that it has been dropped because it is too difficult - this is not "on" !!! If the dancers can stretch themselves for contemporary work, then they should be equally stretched to take on the Ashton technique. Amanda
  7. Dear Floss, So totally agree with all that you say here. I do believe that the RB is essentially a classical company with an unequalled wealth of wonderful ballets in their repertoire, most of which were created by the founding choreogrpahers, namely De Valois, MacMillan and Ashton. I am concerned, as you are, that the rep is leaning too heavily on new works, many of which appear for one season and are never performed again as they are not worthy of being revived. I fully appreciate that one cannot live in the past and must move forward, and I do sincerely hope that the new improved Linbury could be used for more experimental contemporary works, and that the RB on the main stage could serve up some of the seminal works that made the RB so unique. It is a shame that the Fonteyn centenary seems to be bypassed - as you say, Floss, this would be an ideal opportunity to revive some wonderful Ashton works. My concern is that if the Ashton works are not danced, the Ashton style will be lost. This was my concern with the RBS matinee this year (and in the last few years) - too much reliance on new modern works and not enough heritage works. These works need to be taught to the students as part of their training. Leave it too long, and there will not be the "old" Ashtonian dancers left to pass on the style. I do appreciate that it is a difficult balance - heritage/contemporary, but the balance currently seems to weigh too heavily on the contemporary. I do so hope that this may be addressed going forward - there are some lovely "jewels" in the rep which do need to be passed on to today's generation of dancers.
  8. I believe there is the Frederick Ashton Foundation here in London. In New York, there is the Balanchine Trust.
  9. As always, a joy to see the RBS students, but once again, disappointed by the programming. Great start with Aurora's Wedding and fantastic finish with the Grand Defile, but poor programming in between. 5 nondescript "modern" mode pieces - all very much of a muchness, so to speak, and to be honest rather "boring". This does not give us a chance to see the RBS at their classical best - it is a "classical ballet" school and the programme gave no acknowledgement to their heritage. One "modern" piece would be great and impressive but 5 in a row does not work. Yet again, we see no drama - dramatic works are an integral part of the RB repertoire - it is essential that the students are trained and groomed in this vein. There is boundless talent and this really shone through in the opening and closing pieces (both classical!), although a shame that the Three Ivans was chosen rather than Aurora and her Prince perform the final coda to their pas de deux - am sure they were capable of dancing this. My dream programme would be Lower School in their traditional Irish, Scottish and English dances, a short Macmillan, Ashton or de Valois work, followed by Two Pigeons, Giselle or Fille. This has been done in the past. I know one must move forward but it is to the detriment of what the School should be achieving. In no way does this reflect any negativity on the students themselves who obviously gave their all and may I wish them every success for their future careers.
  10. Please advise if you have spare tickets (ideally 2) for next Monday's Swan Lake at 7.30 pm. Many thanks Amanda
  11. fashionista

    ENB Ballet in the Square 27-29 July

    Lynette, apologies, I have misquoted phone number for Grosvenor - it is 020 7408 0988 - Best, Amanda
  12. fashionista

    ENB Ballet in the Square 27-29 July

    Hi Lynette, I think this is part of Summer in the Square events which are organised by Grosvenor (only know as I worked there for a number of years). I think you are best to contact Grosvenor direct - perhaps their Marketing Department - to see if they have further details, which I believe they must as they own the Square and would be responsible for any activities held there. Their switchboard number is 020 7629 8171. Hope they are able to throw more light on this. Best Amanda
  13. Without any shadow of a doubt, Prince Siegfried should be able to partner his ballerina strongly and impeccably. However, his function is not based on that alone. In order to give the ballet dramatic integrity and balance, it is essential that he should convince us all through strong and convincing acting and dancing. I regret to say that at Monday's matinee, the balance between Naghdi and Kish was one-sided - it should not have been!!!! Naghdi's performance was a dazzling and moving interpretation, but sadly, Kish was no more than a cypher figure. I do not want to criticise unduly, but judging by Monday's show, he was miscast as he showed us no emotion at all. Yes, he was very supportive of Naghdi, but his own acting and dancing was not of a standard one would expect from a Royal Ballet principal. As has been said countless times o the Forum, what a pity the lovely Naghdi was not partnered by Ball. It is so surprising and perplexing as they have debuted together in R&J, Beauty and Giselle - why, oh why, not for Swan Lake?!!! Mr KOH, please think again !!!
  14. Dear Myddle, I could not agree more. My first viewing of the new production yesterday afternoon. Thrilled by the wonderfully talented Yasmine Naghdi, but totally disappointed by the production, for many of the reasons you cite. I will be writing a more lengthy insight into my thoughts on this production.
  15. fashionista

    Good makeup and foundations for class

    I would recommend MAC - it is the preferred make-up brand for the Royal Ballet company - therefore, assume it does the right job!
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