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Found 23 results

  1. Here's a thread to discuss the current run of La Fille Mal Gardée, which opened tonight, with Laura Morera and Vadim Muntagirov, making his debut, in the leading roles.
  2. Just wondering what people's predictions for promotions at the Royal Ballet might be? Carlos Acosta is about to retire soon, which leaves a gap in the principal ranks and Deirdre Chapman also retired this season, leaving a gap in the first soloists too! I personally think Matthew Ball, Francesca Hayward and Marcelino Sambe will promoted up the ranks. Also Akane Takada, seems a firm favourite at the Royal Ballet after her debut in Swan Lake, so she might be promoted to Principal alongside Alexander Campbell maybe? What are people's thoughts?
  3. According to the Daily Telegraph article provided in today's Links http://www.telegraph.co.uk/news/bbc/12009837/Male-ballet-dancers-are-now-centre-stage-says-Darcey-Bussell.html, "The programme [Darcey's Ballet Heroes] is intended to be broadcast at the end of the BBC's Year of Song and Dance, and will be joined by documentaries about Nureyev, Acosta, and Pina Bausch." Can't say I'd been particularly aware of the "Year of Song and Dance", but there you are.
  4. I thought this [the Imagine programme on Carlos Acosta] was a very enjoyable and detailed documentary. Some interesting archive footage and very interesting to hear Carlos talk about his exciting project in Cuba.
  5. What a splendid start to the season! Superlative! ***** Five stars! It doesn't get any better! Well done! Steven McRae, Sarah Lamb and the whole company! The cinema audiences are in for a treat on Tuesday!
  6. Does anyone have any idea of the castings for Romeo and Juliet yet? I am going to the Bristol performances and am dying to know. I cannot understand why the ENB leave it so late to announce casting.
  7. Did anyone attend the rehearsal today and if so are they willing/able to comment on any notable changes to Raven Girl? Or indeed Connectome. (Sorry not sure of the ettique re being able or not to comment on rehearsals before the actual production run -apologies if this is not the done thing!) I know Raven Girl was not all that popular last time around but I have to confess to really liking it and thinking it had great promise as a modern fairytale about transformation and longing to belong. On a practical note too I was wondering about the order in which the ballets will be shown an when the interval falls -i.e. in the midst of Raven Girl or between Connectome and Raven Girl.
  8. I saw both performances in Birmingham yesterday, where The King Dances is replaced by Kin. I adore Theme and Variations and last night Momoko Hirata was just took my breath away with her speed and precision. She filled the stage with her presence and her partnership with Joe Caley continues to grow. I love Kin and we saw mostly the same dancers in both performances. In the afternoon the leading couple was Elisha Willis and Joe Caley. Elisha has a sublime limpid quality that beautifully suits her opening solo and the duet with Joe. Delia Matthews and William Bracewell led the evening performance. Delia is taller than Elisha and it brings a completely different but equally enjoyable dynamic to the choreography. Tzu-Chao Chou dazzled in his incredibly fast solo. Great stuff! Enigma Variations is just sublime and a total masterpiece. In the evening it was a joy to see Dominic Antonucci as Elgar and Wolfgang Stollwitzer as Jaeger. Their performance of Nimrod with Ana Albutishvili as Lady Elgar was incredibly moving. Jade Heusen was a total delight as Winifred Norbury and I very much enjoyed Yvette Knight and Tom Rogers in the hammock duet. It's a cracking good mixed programme. I am looking forward to seeing T&V, Enigma and The King Dances at Sadler's Wells on Saturday. I'm looking forward to everyone's thoughts...
  9. Enjoyed Akimov's class this morning before I had to go to a meeting. Very disappointing from Bolshoi since I returned over an hour ago - lots of recorded interviews and short "no attention span" clips.
  10. Disappointed to see so few appearances for Edward Watson in the forthcoming season. Whilst it is pleasing to have the return of Winter's Tale and I have just managed to get a ticket for Osipova in Romeo and Juliet, I don't want to see Raven Girl (once was more than enough) and Flight of a Faun left me cold last time. Poor Edward.
  11. I think this may be the wrong place to post this but as this is up and running I will just show you some pictures from yesterday evening's rehearsal. First night is tonight and I will leave comments to the critics, just to say that all three ballets were very dark. Liam Scarlett's No Man's Land Russell Maliphant's - Second Breath Akram Khan's - Dust More pictures on www.johnrossballetgallery.co.uk
  12. Saw the Bayadere tonight and got on much better with that than their Swan Lake. Denis Rodkin is a marvel to behold in the flesh and gets enough to do as Solor, the company gets into the spirit of Bayadere with some delightfully hammy acting (particularly enjoyed the flouncy, cross Brahmin) and I quite liked Gamzatti as well. Kolesnikova's arm were beautiful and I felt she was more suited to Nikiya than O/O. The shades were a bit shady at times and as in Swan Lake, there were no real stand-out dancers. I think it's a shame that the company seems to have focussed on one dancer as their star but doesn't really seem to develop the lower ranks. I'm sure there is some talent there, but some of the variations looked very haphazard.
  13. Foteini Christofilopoulou was at the dress rehearsal for 'Car Man' at Sadlers Wells. Here are a few photos: Marcelo Gomes, Ashley Shaw © Foteini Christofilopoulou. Courtesy of DanceTabs / Flickr Zizi Strallen, Chris Trenfield © Foteini Christofilopoulou. Courtesy of DanceTabs / Flickr Kate Lyons, Liam Mower © Foteini Christofilopoulou. Courtesy of DanceTabs / Flickr See more... Set from DanceTabs: Matthew Bourne's 'The Car Man' Courtesy of DanceTabs / Flickr
  14. I attended the matinee yesterday, of a quadruple bill, on a day trip via Eurostar. The choreography was all by Ailey and three of the pieces were based on music by Duke Ellington, in one case, The River, created specifically for the ballet through a direct collaboration between these two iconic African-Americans. The most balletic of all the pieces, The River, was commissioned by ABT and includes a pas de deux created on Erik Bruhn and Natatlia Makarova. I recall seeing it when ABT visited London in the early 70s. This version was later revised by Ailey for his own company, removing the pointe work and reducing the number of sections to eight. The other two Ellington pieces were Night Creature (which Festival Ballet used to perform) and Pas de Duke, which was created on the remarkable Judith Jamieson, former dancer and later artistic director of the company, and Baryshnikov. Whilst I was very glad to see the ballets again I did feel that they had dated somewhat, in terms both of ethnic representation and of dance aesthetics. The dancers were, as ever, supremely enthusiastic but don't have quite the style and control now displayed by dancers who are trained in the major ballet academies. The final piece was the signature Ailey ballet Revelations, based on negro-spirituals (the official programme uses this description). It is astonishing that after so many thousands of performances the company still presents it so freshly, dancing with such fervour yet with controlled discipline in the group sections. The religious passion is deeply moving even to an non-believer. The performance ended with both the customary wild applause and the encored Rock My Soul. It was utterly moving; not least remembering the unforgettable Dudley Williams, who performed I Wanna Be Ready with deep conviction thousands of times, even when in his 50s and virtually unable to walk; he recently died. RIP. At one time the Ailey company visited Britain frequently, touring widely and always enthusiastically received. It is time they came again, they would reach out to a broad section, not just the traditional dance audience. Finally, given the discussion on this and another theme, about the booking date for next year's summer dance festival of NYCity Ballet, the Chatelet 2015-2016 brochure states that the programmes and prices will be announced in January 2016.
  15. It all seems so real now! DD's audition date for the dance course has arrived. 3rd November. Now I am already feeling more stressed than I was before. Goodness knows how bad it will be on the actual audition day!
  16. Just to say that the Elmhurst audition dates etc are now on the website !
  17. The swans are back in town this week, opening on Tuesday 10th Feb, with Sarah Lamb as Odette/Odile and Carlos Acosta her Prince Siegfried. Here are a few photos from the dress rehearsal last week: Swan Lake - Swans (Anna Rose O’Sullivan) © Dave Morgan. Courtesy of DanceTabs / Flickr Swan Lake - Carlos Acosta and Sarah Lamb © Dave Morgan. Courtesy of DanceTabs / Flickr Swan Lake - Carlos Acosta and Sarah Lamb © Dave Morgan. Courtesy of DanceTabs / Flickr See more... Set from DanceTabs: The Royal Ballet - Swan Lake Courtesy of DanceTabs / Flickr By kind permission of the Royal Opera House
  18. Foteini Christofilopoulou was at the dress rehearsal at Sadlers Wells, for Auf dem Gebirge hat man ein Geschrei gehört by Tanztheater Wuppertal Pina Bausch. Here are a few photos: Tanztheater Wuppertal Pina Bausch © Foteini Christofilopoulou. Courtesy of DanceTabs / Flickr Tanztheater Wuppertal Pina Bausch © Foteini Christofilopoulou. Courtesy of DanceTabs / Flickr See more... Set from DanceTabs: Tanztheater Wuppertal Pina Bausch - Auf dem Gebirge hat man ein Geschrei gehört Courtesy of DanceTabs / Flickr
  19. After quite a few booking day meltdowns and fiascos it appears this morning's booking also had problems - HOWEVER it was to do with something which caused the whole building to be evacuated. I was told this by booking office staff when picking tickets up just now - they were surprised I had been able to book them without trouble so early into the booking process this am. I thought I would post this in case others had problems and perhaps to reduce complaints which of course in the past have been more than justified. Seems this may not have been anything to do with the 'system'. ROH seemingly all fine and open as usual by the way . . . no idea what the drama was.
  20. BRB has started its latest run of Coppelia in Edinburgh at the Festival Theatre. I missed the opening night but reports claim that Elisha Willis, Joe Caley and Michael O'Hare surpassed themselves. The Thursday matinee was notable for finally giving Samara Downs her first leading role, as Swanilda- previously she's always been a Friend, never the lead. Her dancing was confident and her interpretation impressive. Jamie Bond was a convincing Franz and Rory Mackay a touching Dr Coppelius: modern British productions underplay the sinister elements of Hoffman's eccentric scientist but within that approach Rory's sensitive and detailed characterisation is very effective. In the evening Momoko Hirata's dancing was technically assured and elegant and Cesar Morales's Franz a sympathetic chancer, danced with his usual stylistic aplomb, and Jonathan Payn an effective conventional Coppelius.The Act 3 solos were well done in both performances; Jenna Roberts danced Prayer sensitively in both performances- it's a difficult solo to pull off but she had the necessary gravity and control. As Dawn, Karla Doorbar and Yvette Knight, very different dancers in physique and style, were equally good. In Act 1, Daria Stanciulescu, a dancer new to me, and Maureya Lebowitz, again very different dancers, were sultry Gypsies. On Friday BRB premiered First Steps: a Child's Coppelia. I was unable to see it but it sounds an interesting variation on the child-friendly performances that British companies have been introducing. It was the Festival Theatre iwho suggested it, professional dancers will be performing and talking about their roles and the orchestra will be playing so it will be quite a full scale introduction.
  21. To get the ball rolling on this production, the cast for the General Rehearsal today was: Osipova; Golding; Naghdi; Ball and Gartside. Their first of three shows is, of course, next Friday (30th).
  22. Hi there! I'm new here and joined with the purpose of asking this question I'm a male dancer, just turned 18 and am on a dance course with my local college where I study contemporary and ballet with a mixture of Jazz and more commercial dance styles, and the odd urban/street things (an all rounded course really). I was late getting into dance, at about 15 I joined my first Ballet class and that's where my passion lies...I can get into urban and street style dance if needed for college but I much rather doing contemporary or ballet specifically. I wanted to dance all my life, but financial issues and the fact that whilst growing up the closest dance school was a 45 minute drive away held me back (that plus my father being dead set against me being 'girly' and doing *shock!* ballet!) I kept my passion by watching dance movies, and dance tutorials on Youtube and such and joining in with performing arts workshops in school. Now my lack of training having only been dancing for about 3 years or so now leads to the fact that I'm not exactly a perfect dancer and I have a lot of flaws in my technique that I try hard to batter out of me everyday. I do work hard in comparison to my the other students in college, as I put in extra time in the studio during lunch and break hours, as well as staying behind after hours. I've been auditioning for contemporary courses, and have successfully been accepted into a few now...however I wanted to keep my Ballet passion alive, and so took a chance and applied to Rambert School of Ballet and Contemporary dance. I never thought I'd even get an audition...but I did and it's on January 27th which isn't too far off now... It would be my absolute dream to get in, it's the type of school I've wished to be a part of since being a young kid and since finally taking control of my own life and joining dance classes, it's all I've hoped for. But I'm starting to have doubts...for a number of reasons. I'm not a Ballet body type, far from it. I'm short, I'm fat. Luckily I have long-ish legs which are strong, but the rest of my body is just...urgh. I just feel like it might be a waste of the school's time, my time, my money and my self confidence, to audition for somewhere that I may not even stand a chance in. I feel like I have nothing going for me, I don't have the 'look' of a dancer and my technique is in serious need of hard training to get to the level of some of these individuals that have danced all their life. At the same time though, would I regret not going? And dwell on it all my life? So I come here with these questions off the top of my head: - Do Rambert expect a certain higher level of ballet training in their boys and if so, how much? - Do they look at body types and judge who they want according to that? I just feel like there's no use in me auditioning somewhere where I may be laughed out the room...but perhaps it's just me overthinking and letting nerves get to me. Thanks for reading!
  23. Royal Ballet School audition dates for 2015 entry have been published on their website: http://www.royalballetschool.org.uk/training/auditions/audition-dates/
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