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  1. 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!
  2. I will message you - I do know someone who may be able to give you information - Best, Amanda
  3. Good morning balletomanes If anyone is interested, I have 1 ticket for this Thursday's matinee (Hamilton/Kish) - it is Stalls Circle A97 and is priced at £49.00, but will take lower offers. Many thanks Best Amanda
  4. Royal Ballet School Matinee - 8 July

    Can you tell me price and if ok, am willing to buy both sets. Many thanks Amanda
  5. Looking for 1 ticket for RBS matinee - any spare, please private message me. Many thanks Amanda
  6. I would certainly agree that Sleeping Beauty should be revived. Ondine also. As Fonteyn was Ashton's "muse", it would possibly be very much a Fonteyn/Ashton celebration. The RB's repertoire is so rich and it is time to revive gems such as Facade, A Wedding Bouquet, Symphonic Variations, Scenes de Ballet. Even more so, whilst they are dancers who were actually coached by Ashton and who were in the company whilst Fonteyn was there. The legacy needs to be handed down "personally" by dancers who understand the essence of the English style. I am aware that one must look forward and nurture new works, but the RB has a wonderful legacy of superb works, and these must not get "lost". And as a "party piece", how about Birthday Offering, aptly named, and whow, they could showcase all the fantastic burgeoning talent they have in the company!!!!
  7. Royal Ballet 2018/19 Season

    I think Nutcracker is a guaranteed "crowd pleaser" and it does bring in new young audiences. Considering it is Petipa's bi-centenary, it may have been good to revive The Sleeping Beauty rather than Nutcracker over the Xmas period (another "crowd pleaser"). On the Petipa/Tchaikovsky theme, after spending a huge budget on the new Swan Lake, am surprised that it gets no performances for the 2018/19 season. Admittedly, is scheduled for many performances this summer, but a big new piece like this usually has a further run the following season.
  8. From personal experience, I would recommend Freeds, Emma Amanda
  9. Who will follow Bintley?

    Totally agree that it should be somebody from the RB cradle - may I suggest Bruce Sansom or Adam Cooper?
  10. Hi Sim, that is strange, as when the seat issue came up a few weeks ago, I phoned the Box Office and they told me that my seat was the same and just to go to the Box Office on the day. Particularly bemused as we are sitting next to each other??!!
  11. ROH to introduce e-ticketing

    I have a mobile, no printer, and call me "old fashioned" much prefer to have the old style tickets!! I sometimes send e tickets to work email and print off there, but I dont really want an A4 piece of paper as my ticket!!! There can be problems when showing ticket booking on phone as on a couple of occasions have been at venues, where there is no reception and one is unable to show the booking on phone! Progress is not always for the better !!!!
  12. Fascinating interview dear Amelia - thanks so much for sharing. Amanda
  13. I believe that both the design for costumes and settings are an integral part of all ballet productions. I remember from my childhood ballet days reading the following:- Dance + Art + Music = Ballet This is a quote from my first ballet book which was included in a brilliant introduction by Dame Beryl Grey. This "equation" has stayed with me ever since and I do believe it is totally true - one needs all these components to work in synergy to produce a truly satisfying end product. Mr Diaghilev definitely got the ingredients beautifully balanced when he commissioned works for his company - one only has to think of ballets such as The Firebird, Petrushka, L'Apres Midi d'un Faune, Parade, etc etc, which all used an innovative collaboration between choreographer, designer and composer. I must disagree with those who think that some older ballets, such as those by Ashton, would be improved by new designs - this would be going against the original concept of the ballet as a whole as seen by the choreographer who would have worked closely with his designer in formulating the total concept of the ballet. One only has to think of the revised designs (and when I mention designs, I am covering both costumes and sets) for Ashton's Rhapsody and Les Rendezvous, to see how the "new" concepts did not work. One may think the original designs "old fashioned" but they form an integral part of Ashton's vision when he created the ballet. Likewise, new design attempts for MacMillan's Danses Concertantes have also proved unsuccessful - the spiky/jazzy style of choreography for this ballet working in tandem with Stravinksy's equally spiky/jazzy score, were reflected in Georgiadis' original designs - further revisions did not work. I do not think designs for the ballet are just "decoration", they form an integral part of this totally visual art form. However, some choreographers, notably Balanchine, decided not to use designs but to present his dancers in practice clothes on a bare stage - here, his concept was to focus entirely on the choreography and music, with obviously lighting playing a large and important factor in enhancing the choreography. This also emphasises that it is the choreographer's decision when creating works as to the inclusion or otherwise of design, and if included, what is required to complement the choreography.
  14. RB vs ENB Programming

    Lizbie1, am totally on your wavelength. Saw Winter's Tale first time around, and was very disappointed - particularly the 2nd act which I felt was just "padding". Given that many of my ballet friends did rather take to it, I have given it a second and even a third chance, and I have now concluded, not again! As such, I have not booked up for the forthcoming run - you are not alone.