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  1. I am so pleased you were impressed by the Ural Ballet in Ekaterinburg - they are an excellent troupe. I will be going out next week to see the premiere of Slava Samodurov's latest full length ballet for the company, By Order of the King (part of the Petipa celebrations). I am glad the company participated this year as they need to be known outside of Russia. Slava has now been their Artistic Director for 7 seasons and the troupe has improved greatly over this period.
  2. Hi All, I will be booking as Friends Plus member today. However, unless I am missing something, casts have only been announced for Don Q and not for Two Pigeons, Patineurs programme or Frankenstein. Am not very happy in booking not knowing casts and wondered if anyone knew the casting. Many thanks Amanda
  3. The seating plan gives blocks of prices but it is not coloured so you can see precisely which seat costs what - I think it needs to be more specific.
  4. I have to agree Bruce, I think charging £60 is way over the top, and sadly, as such, I will not be attending the October or February masterclasses. The Masterclasses should not be a "fund raiser" and I think to charge £30 would be adequate. Shame.
  5. The Ashton Foundation is holding two further Masterclasses at the Royal Ballet School in Floral Street on Sunday 28 October 2018 and Sunday 24 February 2019, as follows:- Sunday 28 October with Carlos Acosta - La Fille Mal Gardee and Rhapsody Sunday 24 February with Lesley Collier and Wayne Sleep - Enigma Variations Timing for both is 2.30 to 5.30 pm (introduction, masterclass, drinks reception). Tickets are £60 for each event and can be purchased by emailing ashtonevents@yahoo.com or 020 7212 9627. Both seem well worth attending. Amanda
  6. fashionista

    New Nureyev documentary

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

    Diana Vere

    Oh, so sad - have fond memories of dear Diana Vere - RIP x
  8. 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
  9. As far as I can recall, this is debut for Lauren.
  10. 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 !!!
  11. 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
  12. 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.
  13. I believe there is the Frederick Ashton Foundation here in London. In New York, there is the Balanchine Trust.
  14. 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.
  15. Please advise if you have spare tickets (ideally 2) for next Monday's Swan Lake at 7.30 pm. Many thanks Amanda