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Found 14 results

  1. Thread for all the mixed-company MacMillan celebrations at the Royal Opera House this autumn. It kicks off tonight with Birmingham Royal Ballet in Concerto, Scottish Ballet in Le Baiser de la fée (or The Fairy's Kiss, if you prefer) and a mixed-company performance of Elite Syncopations, if I'm not mistaken. And to start us off, here's a link back to David's notes on Le Baiser de la fée
  2. PRESS RELEASE 6 October 2017 A MACMILLAN CLASSIC RETURNS AND A ROYAL OPERA HOUSE PREMIERE FOR SCOTTISH BALLET THIS AUTUMN Kenneth MacMillan’s original choreography of The Fairy’s Kiss (Le Baiser de la Fée) was brought back to life on Friday 6 October in a stunning new production by Scottish Ballet at the Theatre Royal, Glasgow. Scottish-born MacMillan created the work in 1960 for The Royal Ballet, and this revival marks the 25th anniversary of his death and its first presentation since 1986. The work will be performed as part of the MacMillan Festival at the Royal Opera House in October – a celebration of this iconic 20th century British choreographer. Several Scottish Ballet dancers will also perform alongside artists from Britain’s other ballet companies in MacMillan’s Elite Syncopations. This will be the first time the company performs at the prestigious London venue. Inspired by Hans Christian Andersen’s The Ice Maiden, MacMillan’s The Fairy’s Kiss stays true to the original tale’s dark edge and in the words of Clive Barnes ‘not only appears as a telling homage to the 19th-century Russian ballets that inspired it, but also as a work full of noble, singing poetry.’ Scottish Ballet’s new production features sets and costumes designed by Gary Harris, who worked closely with MacMillan. The choreographic score has been tirelessly re-constructed by professional Benesh notator Diana Curry over a three month period from fragmented records including piano reductions, rehearsal notes, and poor quality video recordings. The Fairy’s Kiss will be performed alongside Christopher Hampson’s The Rite of Spring (Le Sacre du Printemps). Previously performed by the company at the Edinburgh International Festival in 2013, The Rite of Spring is a brutal and physical response to the raw energy of the Stravinsky score. The Fairy’s Kiss and The Rite of Spring will tour to Glasgow, Edinburgh, Aberdeen, and Inverness this October/November 2017. The Fairy’s Kiss will be performed at The Royal Opera House, London in October 2017. For more details - https://www.scottishballet.co.uk/event/autumn-2017 Scottish Ballet CEO/Artistic Director Christopher Hampson: ‘It is thrilling for Scotland’s national dance company to revive Le Baiser de la Fée, an early work showing the prodigious talents to come from one our most cherished choreographers. Reviving this formative work will allow generations to come to better understand Sir Kenneth MacMillan’s journey from a nurtured, young choreographer to becoming the 20th Century’s most iconic storyteller through dance.’ ADDITIONAL INFORMATION The recreation of The Fairy’s Kiss is generously supported by The Linbury Trust Media partner: WHEN AND WHERE Scottish Ballet performs The Fairy’s Kiss (Le Baiser de la Fée) by Kenneth MacMillan and The Rite of Spring (Le Sacre du Printemps) by Christopher Hampson, at: Theatre Royal, Glasgow Friday 6 & Saturday 7 October 2017 Friday 6 October – 7.30pm Saturday 7 October – 2.30pm & 7.30pm Pre-show and Post-show Talks: Stravinsky Pre-show Talk (Free but ticketed): Friday 6 October - 6.30pm Stravinsky Post-show Talk (Free): Friday 6 October - 9.30pm Festival Theatre, Edinburgh Wednesday 11 – Friday 13 October 2017 Wednesday 11, Thursday 12 & Friday 13 October 2017 - 7.30pm His Majesty’s Theatre, Aberdeen Tuesday 24 & Wednesday 25 October 2017 Tuesday 24 & Wednesday 25 October – 7.30pm Pre-show and Post-show Talks: Stravinsky Pre-show Talk (Free but ticketed): Tuesday 24 October – 6.30pm Stravinsky Post-show Talk (Free): Tuesday 24 October - 9.30pm Eden Court, Inverness Friday 3 & Saturday 4 November 2017 Friday 3 & Saturday 4 November – 7.30pm Pre-show Talks: Stravinsky Pre-show Talk (Free but ticketed): Friday 3 November – 6.30pm Scottish Ballet performs The Fairy’s Kiss (Le Baiser de la Fée) by Kenneth MacMillan, at: Royal Opera House, London Wednesday 18 & Thursday 19 October 2017 Kenneth MacMillan: a National Celebration Performances of The Fairy’s Kiss (Le Baiser de la Fée) by Scottish Ballet, Concerto by Birmingham Royal Ballet) and Elite Syncopations (featuring dancers from The Royal Ballet, Birmingham Royal Ballet, English National Ballet, Northern Ballet and Scottish Ballet) www.scottishballet.co.uk ABOUT THE ARTISTS Kenneth MacMillan Biography Kenneth MacMillan (1929–92) was one of the leading choreographers of his generation. He was born in Dunfermline and discovered ballet while evacuated in Retford in Nottinghamshire during World War II. Aged 15, he forged a letter from his father to Ninette de Valois requesting an audition to Sadler’s Wells School (now The Royal Ballet School). He joined, on a full scholarship, and later entered the Royal Ballet Company. He was Director of the Royal Ballet from 1970–77 and was Principal Choreographer 1977–92. His ballets are distinguished by their penetrating psychological insight and expressive use of classical language. These qualities are demonstrated in his works Romeo & Juliet, Gloria, Manon, Mayerling and Requiem. He created his first major work, Danses concertantes, in 1955 and went on to become one of the world’s leading choreographers. He was the Director of Deutsche Oper Ballet Berlin (1966–9) and Associate Director of American Ballet Theatre (1984–90). He continued to create masterpieces throughout his life, including The Prince of the Pagodas (1989) and his last work The Judas Tree in 1992. He died backstage at the Royal Opera House during a revival of Mayerling. Gary Harris Biography Gary was born in London, and trained at the Arts Educational and the Royal Ballet Schools. He joined the London Festival Ballet (now English National Ballet) in 1978 and was one of the company’s leading soloists until he left in 1985 to pursue a career as a freelance dancer, performing in West End shows, including On Your Toes, La Cage aux Folles and Phantom of the Opera. He has worked the world over as a dancer, teacher, repetiteur and designer. In 1991 he joined the Royal Ballet, London, as notator and repetiteur, working with choreographers such as William Forsythe and Kenneth MacMillan and re-staging the works of Fredrick Ashton. He assisted Kenneth MacMillan in the first staging Manon for the Paris Opera Ballet in 1990, and restaged Song of the Earth for the same company in 1996. He was Associate Artistic Director of the Hong Kong Ballet and choreographed a cast of 1,200 performers for the handover of Macau back to China in 1999. Gary was Artistic Director of the Royal New Zealand Ballet from September 2001 – December 2010. For the RNZB, he restaged Swan Lake, Paquita, Coppelia and Giselle. The company premiered his production of The Nutcracker in 2005 and Don Quixote in 2008. Notable design commissions include The Sleeping Beauty and Raymonda for the National Ballet of China, Christopher Hampson’s Double Concerto for English National Ballet and Saltarello, Esquisses and The Sleeping Beauty for the Royal New Zealand Ballet. Since returning from New Zealand, Gary has continued re-staging the works of Kenneth MacMillan and in 2013, designed Christopher Hampson’s Hansel & Gretel for Scottish Ballet. Christopher Hampson Biography Christopher Hampson joined Scottish Ballet as Artistic Director in August 2012 and was appointed Artistic Director / Chief Executive of Scottish Ballet in June 2015. Christopher trained at the Royal Ballet Schools. His choreographic work began there and continued at English National Ballet (ENB), where he danced until 1999 and for whom he subsequently created numerous award-winning works, including Double Concerto, Perpetuum Mobile, Country Garden, Concerto Grosso and The Nutcracker. Christopher’s Romeo and Juliet, created for the Royal New Zealand Ballet (RNZB), was nominated for a Laurence Olivier Award (Best New Production 2005) and his production of Giselle for the National Theatre in Prague has been performed every year since its premiere in 2004. Christopher created Sinfonietta Giocosa for the Atlanta Ballet (USA) in 2006 and after a New York tour it received its UK premiere with ENB in 2007. He created Cinderella for RNZB in 2007, which was subsequently hailed as Best New Production by the New Zealand Herald and televised by TVNZ in 2009. His work has toured Australia, China, the USA and throughout Europe. Other commissions include, Dear Norman (Royal Ballet, 2009); Sextet (Ballet Black/ROH2, 2010); Silhouette (RNZB, 2010), Rite of Spring (Atlanta Ballet, 2011), and Storyville (Ballet Black/ROH2, 2012). Christopher is co-founder of the International Ballet Masterclasses in Prague and has been a guest teacher for English National Ballet, Royal Swedish Ballet, Royal New Zealand Ballet, Hong Kong Ballet, Atlanta Ballet, Matthew Bourne’s New Adventures and the Genée International Ballet Competition. Christopher’s work now forms part of the Solo Seal Award for the Royal Academy of Dance. Registered in Scotland No:SC065497; VAT Registration No:261 5097 64; Registered Charity No: SC008037; Registered Office: Tramway, 25 Albert Drive, Glasgow G41 2PE
  3. Scottish Ballet had a livestream of a rehearsal of The Fairy's Kiss earlier today. It is still available to view on the Company's Facebook page: The Company will be doing an official World Ballet Day live stream on Thursday 5 Oct via The Royal Ballet’s Facebook profile (The Rite of Spring rehearsal). Exact times TBC. Additionally another Facebook live directly from Scottish Ballet’s profile of warm-up class on stage will take place at approximately 12:15pm on Thursday 5 Oct
  4. I am surprised that Scottish Ballet’s revival of MacMillan’s “Le Baiser de la fée”, based on Han Christian Andersen’s 1861 fairy tale - “The Ice Maiden”, has not raised more excitement amongst Forum members and, since it’s a quiet time I’m being cheeky and uploading some extracts from my own notes, gleaned from many sources in an attempt to whip up interest! It was in April 1960 that Kenneth MacMillan made his first attempt, choreographing his own version for The Royal Ballet with Svetlana Beriosova as the Fairy, Donald MacLeary as the young man and his own Muse, Lynn Seymour as the bride. “He made melting, skimming steps that showed off her fluid movements and luscious feet … she was adorably soft and spontaneous … Beriosova was a grandly fluent fairy”. By then he was the eighth choreographer to tackle the Hans Andersen story! Both Frederick Ashton and George Balanchine had warned him of the difficulties, arising chiefly from the lack of obvious relationships between Stravinsky’s score and Andersen’s narrative. This was Kenneth MacMillan’s third Stravinsky ballet, the previous two being Danses Concertantes (1955) and Agon (1959). He had no time for Stravinsky’s identification of the Fairy with Tchaikovsky’s Muse, or indeed for fairies of any kind: “I’m sick to death of fairy tales” he told The Times in December 1960. But like Ashton he was drawn to the music. For Ashton the instant of the kiss is the climactic ecstatic moment in the young man’s life. But MacMillan had a darker story to tell. “His instinct was for the bride betrayed. His narrative was one of good and evil - of the abandoned bride (“She is the one who is lost”) and a young man in the grip of everlasting darkness.” Most critics at the time reviewed MacMillan’s 1960 version favourably, singling out Lynn Seymour and for special mention: Richard Buckle: a “tremendous success - MacMillan, with his ear to the ground, has perfectly translated into movement the filigree of shimmering insect splendour which is a feature of this score”. Of Lynn Seymour as the Bride, he wrote that she “skims and flits like a happy gnat through her lovely allegretto variation: she has the priceless gift of lending to art an air of spontaneity, and without question makes a triumph of her first created role. Of Svetlana Beriosova as the Fairy. “Her swooping boreal gestures and Alpine style point the difference between god and human”. Alexander Bland (The Observer) wrote: “It is not until the pas de deux that interest quickens, the high point of the evening being soon reached in the fiancée’s solo, a delicious drifting rubato affair, which Lynn Seymour will make into a winner, when she has grown into it”. And so on ….. But despite the positive reviews the ballet did not survive. The reasons were partly that the musical demands of Stravinsky’s score were impractical for a touring company but primarily because of Kenneth Rowell’s set designs. In place of the traditional images of fairyland Macmillan had his designer, Kenneth Rowell, fashion a threatening landscape in dark colours, “an abstract world of rock, gorges, caverns and ominous icebergs” … described by Clement Crisp as “arguably the most beautiful and poetic designs seen at Covent Garden since the war.” These were so complex that, at a time when the Company could call on sixty other works in the repertory, there were only six other ballets with which Le Baiser de la fée could, for technical reasons, be programmed. Of those six some were not compatible on the same programme. MacMillan’s Le Baiser de la fée proved a nightmare to schedule. At a disastrous performance at the Edinburgh Festival the following August the scenery collapsed nearly braining one of the dancers. The ballet was mothballed after only 33 performances. However Le Baiser de la fée continued to fascinate MacMillan and 25yrs later in 1986 he revisited his 1960 original work making changes for a new generation of dancers: Fiona Chadwick, Sandra Conley and Jonathan Cope. He kept most of the choreography he had made for Seymour, but changed the Fairy’s role considerably, “making a new intricate solo for Chadwick, showing off her sense of anger and wilfulness”. It is this production that Scottish Ballet are reviving. In his earlier production, MacMillan’s preoccupation had been with the betrayed Bride, the figure in the ballet truly left alone after the fairy entices her husband away. But in the revised 1986 version, his focus was on the Fairy’s pursuit of the entranced young man, thereby returning to Stravinsky’s original intention: the work as an allegory for the artist’s dilemma, that ordinary happiness must be sacrificed to the muse. “It was the music that naturally attracted me”, he told Clive Barnes, “certainly not the story. I realise that the story is not altogether convincing. But I also found the theme, or, if you like, allegory, extraordinarily interesting.” Barnes commented: “MacMillan cuts to its heart - the artist in society, the man marked out from his fellows, unable to join in their life and dedicated to suffering”. To Mary Clarke of The Guardian who had seen the original ballet in 1960 it seemed that MacMillan had “retained much of what was written for Lynn Seymour – those swirling, circular lifts, those limpid descents when the foot melts into the ground above a bent knee, the sorrow of her exit after desertion. And how marvellous to see MacMillan writing again in a purely classical style.” John Percival of The Times also noted the close resemblances to the 1960 version. “I cannot understand why the earlier version was unsuccessful … it was blessed with superb performances and one of the most beautiful decors ever created for the Royal Ballet, a set of marvellous abstract landscapes by Kenneth Rowell.” Kenneth Rowell’s designs had been destroyed and were replaced with designs by Martin Sutherland but they did not find favour with the critics. In The Observer Jann Parry dismissed the set as unimaginative: “He succeeds in evoking neither the Fairy’s ‘Land beyond Time and Place’, nor the village from which she claims her initially reluctant hostage.” Though seen as Kenneth MacMillan ‘at his most exquisitely classical’, his 1986 production like its predecessor failed to hit a popular chord and once again it shortly disappeared from the repertoire. MacMillan’s original 1960 production was clearly too much, both orchestrally and with its intricate designs, for the Royal Ballet at the time but would probably have fitted well into the Company today in its present home. One would have expected the Royal Ballet to be the Company to revive it now, particularly since they still have several of the 1986 cast including Jonathan Cope among their ranks. However twice bitten, thrice shy and it is Scottish Ballet that have picked up this daunting challenge. They have enlisted the Benesh Notator Diana Curry who worked with MacMillan in the 1980s: “Although the technique was quite new in the 1960s Sir Kenneth always worked with a choreologist and much of Le Baiser de la fée had been recorded. However there was a significant lacuna and that was the solo where the bridegroom, danced by Donald MacLeary in 1960 and Jonathan Cope in 1986, goes looking for his bride and finds himself waylaid by the fairy. Fortunately that scene had been recorded on film which Ms Curry has analysed and notated”. The tricky problem of the design has been entrusted to Gary Harris, I understand at the personal wish of Lady MacMillan. Gary has an hugely impressive CV. “He has worked the world over as a dancer, teacher, repetiteur and designer … in 1991 he joined the Royal Ballet as notator and repetiteur, working with choreographers such as William Forsythe and Kenneth MacMillan and re-staging the works of Fredrick Ashton … He was Associate Artistic Director of the Hong Kong Ballet and then of the Royal New Zealand Ballet until December 2010 … Since returning from New Zealand, he has continued re-staging the works of Kenneth MacMillan and in 2013, designed Christopher Hampson’s Hansel & Gretel for Scottish Ballet.” One has to applaud Scottish Ballet. I have hopes that their revival may prove to be a significant event. Presumably, that is why someone (hopefully the BBC?) has undertaken to film it! Meanwhile I would welcome comments from the more knowledgeable members of the Forum, some of whom I’m sure will have seen one or both of the original productions.
  5. Sorry this is just a quick "OMG it was brilliant!" ...but it was. "Ceci est mon corps" made you grit your teeth to begin with but then really took hold. The all male cast was incredible. If violence can be beautiful, then this was. "Energence" was stunning. On all levels. Amazing. And the company itself is so good - to be praised to the very heights! try and grab a ticket if you can...
  6. mumtaxi

    Scottish Ballet Associates

    Does anybody who auditioned for the Scottish Ballet Mids and Seniors have their letter yet? Due to be out this week and my daughter is on tenterhooks! Also do they give any feedback at all? Fingers crossed for you all
  7. I saw the opening night performance of the new Swan Lake last night at the Liverpool Empire. I didn't like it one bit it was all too minimalist and grey not helped by drab costumes, wishy washy lighting and a very loud orchestra! The dance was so so but the first Act had some very messy choreography and I could not see any acting going on, so had I not read the synopsis I would have been clueless as to what this version was attempting to convey. Never have I wished a Swan Lake to be over before. Trying to find a positive the best bit was Act 4 and there were some good big lifts throughout. Others that I have spoken to liked it and it got a 4 star review (really?!) but it wasn't for me I'm afraid. Interested to hear any other views.
  8. mumtaxi

    Scottish Ballet Associates

    Hi Everyone, I'm new to this forum and also to the world of ballet, so apologies if my questions are naïve! My DD is interested in auditioning for the Scottish Ballet Associates scheme - she would be going for Mid Associates. I was just wondering if all Mid applicants are invited to audition, as they are for the juniors, or if they only invite those they would like to see more of? This also leads to the question of how important is the quality of the photos they have asked for. The form asks for one headshot and one full length "in ballet uniform, facing forward with feet in parallel position, arms by sides." Am I ok taking these myself, with the guidance of her teacher? Huge thanks for any advice!
  9. Delighted to see such a positive reception to the "new" Hampson Cinderella in today's Links. If anyone's going to see it, do report back.
  10. Scottish Ballet also start a brief run of their new A Streetcar Named Desire at Sadler's Wells tonight, so please use this thread for discussion. BTW, does anyone know the running time? The SW website is unhelpful in that respect.
  11. Had hoped that somebody would post up on this 'cos its a terrific show.... I went up for the premiere a couple of weekends ago and had a great time - it's a version that concentrates on Clara and the children and has no odd physiological detailing or, to my mind, strange story twists. Just great dancing in fluid choreography (by founding artistic director Peter Darrell) and glorious costumes by Lez Brotherston whose brief was to re-imagine the originals by Philip Prowse. It's proved a good move and the ending is the best of any Nutcracker I've seen - but won't spoil for you. The TodaysLinks team have been collecting a bunch of reviews - here are the links to get a feel for the new production... Scottish Ballet, The Nutcracker, Edinburgh: Kelly Apter, Scotsman: http://www.scotsman.com/what-s-on/theatre-comedy-dance/ballet-review-the-nutcracker-edinburgh-festival-theatre-1-3634272 Justine Blundell, Edinburgh Guide: http://www.edinburghguide.com/reviews/edinburghswinterfestivals/thenutcrackerfestivaltheatreedinburghreview-15304 Alice Bain, Guardian: http://www.theguardian.com/stage/2014/dec/15/nutcracker-scottish-ballet-edinburgh-review Mark Brown, Telegraph: http://www.telegraph.co.uk/culture/theatre/dance/11294287/The-Nutcracker-Festival-Theatre-Edinburgh-review-near-flawless.html John McLellan, Edinburgh Evening News: http://www.edinburghnews.scotsman.com/what-s-on/theatre/review-the-nutcracker-1-3638045 DanceTabs: http://dancetabs.com/2014/12/scottish-ballet-the-nutcracker-edinburgh/ Tour details for completeness: http://www.scottishballet.co.uk/the-nutcracker/peter-darrells-the-nutcracker-2014.html If you have seen the show, or catch it on tour - it comes down to Newcastle note, do add some thoughts.
  12. Scottish Ballet presents Peter Darrell’s THE NUTCRACKER 13 December 2014 – 3 January 2015, Festival Theatre EDINBURGH 7 – 10 January 2015, Theatre Royal GLASGOW 14 – 17 January 2015, His Majesty’s Theatre, ABERDEEN 21 – 24 January 2015, Eden Court INVERNESS 11 – 14 February 2015, Theatre Royal NEWCASTLE Choreography: Peter Darrell CBE Music: Pyotr Ilyich Tchaikovsky / Design: Lez Brotherston Lovingly recreated for audiences across Scotland and beyond, this winter Scottish Ballet proudly presents Peter Darrell’s The Nutcracker, touring Edinburgh, Glasgow, Aberdeen, Inverness and Newcastle. Crafted for Scotland by the Company’s founding Artistic Director, a famous story-teller and an incredible dance-maker, this Nutcracker is full of magical memories. Audiences can now, once again, share this dream-making production with families and friends, over forty years since it first premiered. After a fun-filled Christmas party full of magic and celebrations, young Clara falls asleep and dreams that she helps the Nutcracker Prince to defeat an army of giant mice. She is rewarded by a visit to the glittering Land of Ice and Snow, where snowflakes come to life, sparkling as they dance – and the magical Kingdom of Sweets – the enchanted Realm of the beautiful Sugar Plum Fairy. “I’d known about Darrell’s production of The Nutcracker when I was a child. The images of the hanging baubles in Act Two was in just about every dance book there was,” explains Scottish Ballet’s Artistic Director Christopher Hampson on his choice to reintroduce Darrell’s Nutcracker to audiences. “A Nutcracker production, for most ballet companies, is a very important part of the repertoire. It is normally the most performed work and needs to be something that will last for generations. Peter’s production had done that, but it needed to be rested so that it could be rediscovered again and brought back with a fresh perspective. It’s no accident that I’ve chosen a Darrell work to put at the very heart of our repertoire.” Peter Darrell’s magical world of The Nutcracker has been re-imagined for today’s audiences by Olivier Award winning designer Lez Brotherston, adding sumptuous layers of plush Victoriana and traditional festive fare to the original 1973 production. “This production will be as close to Peter’s original as possible - the point of bringing the production back is to see his beautiful, intricate choreography,” adds Hampson. “In terms of design, I asked Lez to take inspiration from the original designs. So, although they are different, there will still be a sense of the original production. “The essence of this being a family production is the key element – and we’ve looked to gently incorporate some new ideas for a new audience. We’ve been working closely with the Peter Darrell Trust to ensure that our new production has Peter’s intentions at its heart.” “The brief of the piece was unusual in that it existed before. It’s Peter’s production and it still feels like that – as it should do,” says Designer Lez Brotherston. “Peter’s original designer was Philip Prowse and that feels quite meaningful to me personally. Philip’s work was of great inspiration to me when I was at art school – he tutored me on my final-year designs and his influences have stayed with me. “It’s still set in the 1870s and has that sumptuous, rich Victoriana feeling – and there are bustles and tutus of course, but some of the costumes have been adapted to better show off the dancers’ line and the choreography. “Those who have seen the production before will remember Darrell’s famous Land of Sweeties – that’s still there although my sweeties are slightly different, and there’s a version of the Land of Snow too. My interpretation of the house is also a little different and maybe there’ll be something special about the toys that the children receive as Christmas presents – you’ll have to come along to see.” Darrell's enchanting production has claimed a special place in the hearts of audiences across Scotland for generations. It sparked the ballet careers of many young dancers who performed the roles of Clara and her brothers - including Scottish Ballet Principal Dancer Christopher Harrison who has seen his own dream come true and will be this time performing the star role of The Prince some twenty years later. Once again Scottish Ballet will welcome a very special cast of young, local dancers to the ranks of the Company's professionals for this inspiring production in which Clara, the littlest ballerina, is the one who visits the many magical worlds and saves the brave Nutcracker Prince.* Budding ballerinas and Nutcracker soldiers can also get involved in a range of fun Wee Nutcracker dance workshops in Glasgow and Edinburgh; download our special Fun Pack full of fun activities for kids to try at home or find out how Scottish Ballet's magical world of The Nutcracker is brought to life at Family Insights across the tour. Audio Described performances are also available, alongside free pre and post show talks where audiences can meet the dancers too. Adults can also indulge in some sugar-plum themed baked goods and dance sessions with Scottish Ballet's favourite tea-time treat, Ballet Cafe. Please see listings for more details. The Scottish Ballet Orchestra will also accompany the dancers live, performing the world famous Tchaikovsky score. *Read more about the children of Peter Darrell’s The Nutcracker The children of Peter Darrell’s The Nutcracker Peter Darrell’s The Nutcracker in 2014/15 will offer over 40 young people from across the country the chance to work alongside Artistic Director Christopher Hampson, Head of the Scottish Ballet Associates Programme Kerry Livingstone and Scottish Ballet’s dancers to learn, rehearse and perform as characters in the final production. Creating chances for young people to experience working with a professional company is vital to broadening the opportunities available and creating a thriving future for dance in Scotland – one that is particularly fitting for a Peter Darrell production, as he cast young dancers in his original production. The intended outcomes are to build on our history of developing classically-trained young dancers, taking talented youths on a magical journey where they are part of the story and theatre. These creative experiences can change lives. A number of existing Scottish Ballet dancers (such as Scottish Ballet Principal dancer Christopher Harrison), internationally reknowned choreographer Michael Clark and many others across ballet companies throughout the UK, were young dancers in Peter Darrell’s The Nutcracker many years ago and have gone on to professional careers they might not have otherwise realised. Children were central to Darrell’s production, and we are keen to continue this legacy, with the central role of Clara being chosen from among this group of children. Children aged 9-12 auditioned for the life-changing opportunity of being involved in this professional production. For Edinburgh and Glasgow, almost 100 boys and girls from the Associate Programme and Dance School of Scotland auditioned, and the children for each performance were picked from five locations across Scotland and in Newcastle. Costume fittings have already taken place and they’ll begin rehearsing with Scottish Ballet from next week! LISTINGS LISTINGS: EDINBURGH Festival Theatre Edinburgh | 13/29 Nicolson St | Edinburgh | EH8 9FT Box Office 0131 529 6000 Book Online edtheatres.com PERFORMANCES Evenings 13, 16, 17, 18, 19, 20, 22, 23, 27, 29, 30 December 2014 and 3 January 2015 Matinees 13, 18, 19, 20, 22, 23, 24, 27, 30, 31 December 2014 and 3 January 2015 BALLET CAFE Mon 15 December 2014 |2-5pm | Tickets £10 | Location: The Studio, Festival Theatre Edinburgh. To book contact Scottish Ballet on education@scottishballet.co.uk or 0141 331 6285. A fun and informal afternoon for adults where we invite you to take part in a gentle beginners' dance session, listen to an illustrated talk on our current production, and relax for a chat over a cup of tea and cake. PRE-SHOW TALKS Thu 18 December 2014 (Focus on dance) Fri 19 December 2014 (Focus on music) Sat 3 January 2015 (Focus on dance) 6.30pm - 7pm Tickets FREE. Book via venue. POST SHOW DISCUSSION Fri 19 December 2014 following 7.30pm performance Tickets FREE. No booking required. FAMILY INSIGHT Sat 3 Jan 2015 | 11am - 12.30pm Tickets £5.50, concession £3.50. Suitable for ages 6+. WAYS TO SAVE Concessions: £3 off for full-time students, unwaged, senior citizens, Young Scot cardholders and people with disabilities. Excludes Fri/Sat eves. Children: £3 off all performance. Family Ticket: Groups of 4 (max 2 adults) £110 (Wed-Thu eves/Sat mat), £90 (Thu mat). Stalls and Dress Circle only. Not available on premium seats. £10 Standby: Best available seats for under 26s, full-time students and unwaged. Only available in person from 12 noon on the day of the performance with a valid photo ID card or proof of status. Group Sales (8+) 0131 529 6005 £6 off Stalls and Dress Circle seats. Wed/Thu eves and Sat matinee only. WEE NUTCRACKER WORKSHOPS 29, 30 December 2014 Festival Theatre Edinburgh Book online at basket.scottishballet.co.uk Explore the story and movement from the ballet and enter Clara’s dream world full of marching soldiers, frozen ice fairies and enchanted sweets that come to life. No previous experience necessary, but please come prepared to dance. All participants should wear loose comfortable clothing, soft ballet shoes or bare feet and bring plenty of water. Please note both adult and child will participate in the 3-4 years’ class. Parents of children attending the older workshops are not permitted to stay. Wee Nutcracker Workshops will be running in Tramway in Glasgow (link to page with Glasgow dates and booking links) and the Festival Theatre in Edinburgh(link to page with Edinburgh dates and booking links). Each workshop costs £6 LISTINGS: GLASGOW Theatre Royal | 282 Hope Street | Glasgow | G2 3QA Box office 08448 11 21 21 Book online atgtickets.com PERFORMANCES Evenings 7, 8, 9, 10 January 2015, 7.30pm Matinees 8, 10 January 2015, 2.30pm Tickets £8.50–£36.50 BALLET CAFE Tue 6 January 2015 | 2-5pm | Tickets £10 | Location: Tramway, Glasgow. To book contact Scottish Ballet on education@scottishballet.co.uk or 0141 331 6285. A fun and informal afternoon for adults where we invite you to take part in a gentle beginners' dance session, listen to an illustrated talk on our current production, and relax for a chat over a cup of tea and cake. PRE-SHOW TALKS Thu 8 January 2015 (Focus on dance) Fri 9 January 2015 (Focus on music) Location Theatre Royal Tickets FREE. Book via venue. POST SHOW DISCUSSION Fri 9 January 2015 Tickets FREE. No booking required, the post-show discussion will take place in the theatre directly after the performance FAMILY INSIGHT Sat 10 January 2015 |11am - 12.30pm Tickets £5.50, concession £3.50. Suitable for ages 6+. WAYS TO SAVE Concessions- £3 off for full-time students, unwaged, under 16s, over 60s and people with disabilities. Available on price bands A-D for Mon-Thu evenings. £10 Standby Tickets - Best available seats for under 26s, full-time students and unwaged. Only available in person, one hour before performance with a valid photo ID card or proof of status. Family Ticket - Groups of 4 (max 2 adults) - £63 (Tue–Thu eves), £79 (Fri–Sat eves) Stalls and Upper Circle only. Group Sales 0844 871 7602 Groups 10+ save £4 per ticket Groups 20+ save £5 per ticket Groups 40+ save £6 per ticket Price bands A–C. Excludes Fri/Sat eves. WEE NUTCRACKER WORKSHOPS 13, 14, 20, 21 December 2014 Tramway, Glasgow Book online at basket.scottishballet.co.uk Explore the story and movement from the ballet and enter Clara’s dream world full of marching soldiers, frozen ice fairies and enchanted sweets that come to life. No previous experience necessary, but please come prepared to dance. All participants should wear loose comfortable clothing, soft ballet shoes or bare feet and bring plenty of water. Please note both adult and child will participate in the 3-4 years’ class. Parents of children attending the older workshops are not permitted to stay. Wee Nutcracker Workshops will be running in Tramway in Glasgow and the Festival Theatre in Edinburgh Each workshop costs £6 LISTINGS: ABERDEEN His Majesty’s Theatre | Rosemount Viaduct | Aberdeen | AB25 1GL Box Office 01224 641122 Book Online aberdeenperformingarts.com PERFORMANCES Evenings 14, 15, 16, 17 January 2015 Matinees 15, 17 January 2015 Tickets £13.50 - £40.50 BALLET CAFE Tue 13 January 2015 | 2-5pm | Tickets £10 | Location: His Majesty’s Theatre. To book contact Scottish Ballet on education@scottishballet.co.uk or 01224 641122. A fun and informal afternoon for adults where we invite you to take part in a gentle beginners' dance session, listen to an illustrated talk on our current production, and relax for a chat over a cup of tea and cake. PRE-SHOW TALKS Thu 15 January 2015 (Focus on dance) Fri 16 January 2015 (Focus on music) 6.30pm - 7pm FREE. Book via venue. POST-SHOW DISCUSSION Fri 16 January 2015 after 7.30pm performance FREE. No booking required. FAMILY INSIGHT Sat 17 January 2015 | 11am - 12.30pm Tickets £5.50/£3.50 conc. Suitable for ages 6+. WAYS TO SAVE Concessions: £2 off for full-time students, unwaged, over 60s, Young Scot cardholders and people with disabilities. £4 off for under 16s. Excludes balcony. £10 Standby Tickets: Best available seats for under 26s, full-time students and unwaged. Only available in person from 12 noon on the day of the performance with a valid photo ID card or proof of status. Family Ticket: Groups of 4 (max 2 adults) £61 Wed/Thu eves only. £11 for each additional child. Stalls and Upper Circle only. Groups (8+) £2 off plus one free ticket for every 15 purchased. Excludes balcony. LISTINGS: INVERNESS Eden Court | Bishop’s Road | Inverness | IV3 5SA Box Office 01463 234 234 (bkg fee) Book Online eden-court.co.uk PERFORMANCES Evenings: 21 – 24 January 2015 at 7.30pm Matinees: Thu 22 & Sat 24 January 2015 at 2pm Tickets £15.50 - £29.50 BALLET CAFÉ Tue 20 January 2015 | 2-5pm | Tickets £10 | Location: Eden Court. To book contact Scottish Ballet oneducation@scottishballet.co.uk or 0141 331 6285. A fun and informal afternoon for adults where we invite you to take part in a gentle beginners' dance session, listen to an illustrated talk on our current production, and relax for a chat over a cup of tea and cake. PRE-SHOW TALKS Thu 22 January 2015 (Focus on dance) Fri 23 January 2015 (Focus on music) FREE. Book via venue. POST-SHOW DISCUSSION Fri 23 January 2015 after 7.30pm performance FREE. No booking required. FAMILY INSIGHT Sat 24 January 2015 | 11am - 12.30pm Tickets £5.50/£3.50 conc. Suitable for ages 6+. WAYS TO SAVE Concessions - £2 off for full-time students, unwaged, under 26s, over 60s and people with disabilities. Excludes balcony. £10 Standby Tickets - Best available seats for under 26s, full-time students and unwaged. Only available in person from 12 noon on the day of the performance with a valid photo ID card or proof of status. Groups of 10+ - Get one ticket free (10 for the price of 9) Family Ticket - Groups of 4 (max 2 adults) - £66 Wed/Thu eves and Sat mat £70 Fri/Sat eves LISTINGS: NEWCASTLE Theatre Royal | 100 Grey Street | NE1 6BR Box office 08448 11 21 21 Book online theatreroyal.co.uk Theatre Royal Wed 11 - Sat 14 Feb 2015 Evenings 11, 12, 13, 14 Feb 2015 Matinees 12, 14 Feb 2015 The revival of Peter Darrell’s The Nutcracker is generously supported by The Monument Trust
  13. Scottish Ballet brings Krzysztof Pastor's dramatic tale of love and loss back to life ROMEO & JULIET Glasgow / Aberdeen / Inverness / London / Edinburgh 19 April – 24 May 2014 Choreography: Krzysztof Pastor / Music: Sergei Prokofiev / Dramaturgy: Willem Bruls / Design: Tatyana van Walsum This Spring, Scottish Ballet will return to the stage with the world’s most famous tale of love and loss in a powerful and vivid reinterpretation of Shakespeare’s tragic story of star-crossed lovers, Romeo & Juliet. This exhilarating production, which was created for Scottish Ballet by Polish choreographer Krzysztof Pastor in 2008, has since gained status as one of the Company’s most iconic works - with a second hugely successful tour in 2010. Now, for the first time, Romeo & Juliet will return under the focused guidance of Scottish Ballet’s Artistic Director, Christopher Hampson, who joined the company in 2012. In another first, Romeo & Juliet will be performed at Sadler’s Wells in London from 14 – 17 May, giving audiences there the opportunity to see this unique and enchanting adaptation for themselves. Set in the 20th century, this passionate story of forbidden love unfolds through three dramatic acts as time moves on inexorably. Beginning in black-and-white, in a 1920s Italian metropolis, Pastor uses a back projector depicting stark images of First World War trenches to invoke a message of conflict and turmoil - a clear hint of what is to unfold on stage. The second act moves to the sepia-toned 1950s, in the wake of Mussolini’s Fascist dictatorship. Finally, the third act is set amidst the backdrop of warring nations in the 1990s; a land dominated by the eerie blue light of television cameras that report 24/7 from the frontline of global wars. Loyal followers of Scottish Ballet will see the evolving talent within the Company as a number of recognisable faces dance principal roles. Artistic Director Christopher Hampson, who has firmly secured his reputation as a master in creating captivating and unique choreographic works following productions such as Hansel & Gretel and Rite of Spring, said: “To be involved with bringing one of the Company’s most loved productions back to the stage is both an honour and a great opportunity. “When producing a show that has already been so well received, the pressure is on to ensure that all the beauty, drama and physicality, essentially what audiences have fallen in love with, remain as vibrant as the day it was first performed. “My personal challenge has been to select the principal roles from a corps of exceptionally talented dancers, all of whom have demonstrated an overwhelming dedication and commitment brought about by their love of this production. It’s this connection that shines through and will appeal to people both coming to see this Romeo & Juliet for the first time as well as those returning for the second or even third occasion. He continued, “I’m confident that with the combination of talent on stage and an incredible musical score which many already know and love, we will do justice to Pastor’s original production, which remains as current today as it did in 2008. Speaking ahead of the very first performance in 2008, Krzysztof Pastor described what audiences could expect. He said: “It is set in the 20th century, but we move through three different periods within that century. The characters don’t age, though, they remain the same, but the change of setting is really just to emphasise the fact that this story could be happening at any time.” “In this story the conflict is between the Montagues and the Capulets,” continues Pastor, “but it could as easily be between a Catholic and a Protestant, or a Muslim and a Jew. Divisions and conflicts, walls and wars are timeless.” Romeo & Juliet will open at The King’s Theatre, Glasgow on Saturday 19 April and run until Saturday 26 April. It will then tour to His Majesty’s Theatre, Aberdeen (30 April – 3 May), Eden Court, Inverness (7 – 10 May), Sadler’s Wells, London (14 – 17 May) and The Festival Theatre, Edinburgh (21 – 24 May). Webcasts: Thursday 27 March and Thursday 3 April at 4pm. Delve into the rehearsal process of Romeo and Juliet and follow two dancers on their way to the stage. Take the opportunity to ask Scottish Ballet’s talented dancers questions and find out more about what it takes to perform as Romeo and Juliet. Get in touch via twitter at #SBRomeoJuliet or email your questions to Christina.riley@scottishballet.co.uk Romeo & Juliet is sponsored by Adam & Company. Please see editor’s notes and listings below for further information on dates and times of Scottish Ballet’s audio described performances and touch tours. LISTINGS King’s Theatre, Glasgow Sat 19 – Sat 26 April 2014 Evenings - 19 & 22 - 26 April @ 7.30pm / Matinee 26 April @ 2pm Audio described performance (preceded by a touch tour at 12.30pm) on Saturday 26 April @ 2pm. Ballet Cafe Late at Scottish Ballet, Tramway on 23 May @ 7pm. Tickets £10. Book online at scottishballet.co.uk/balletcafe Free Pre-Show talk at Glasgow Weir Hall, Scottish Opera on 24 April (Focus on Dance) and 25 April (Focus on Music). Contact King’s Theatre box office to book. Free Post-Show discussion at Glasgow, Kings Theatre on 25 April. No booking required. Insight at King’s Theatre on 26 April @ 11am. Tickets £5.50 / £3.50 concession. Book through box office. Tickets: £10.50 - £43.50* Tickets including ATG booking fee: £11.50 - £44.50 Box Office: 0844 871 7648 Book Online: www.atgtickets.com/venues/kings-theatre * *No booking fees charged on sales made in person at the venue Box Office, by Theatre Card holders or Groups. ATG booking fees plus a £2.85 transaction fee apply for all other sales. Aberdeen, His Majesty’s Theatre Wed 30 April - 3 May 2014 Evenings - 30 April, 1– 3 May @ 7.30pm / Matinee 3May @ 2pm Audio described performance (preceded by a touch tour at 12.30pm) @2pm on Saturday 3 May. Ballet Cafe Late on Tuesday 29 April @ 7pm. Tickets £10 Free Pre-Show talk at His Majesty’s Theatre on 1 May (Focus on Dance) and 2 May (Focus on Music). Free Post-Show discussion at His Majesty’s Theatre on 2 May. Insight at His Majesty’s Theatre on 3 May @11am. Tickets £5.50 / £3.50 concession. Book through the box office. Tickets from £27.50 – £15.50* / Premium seats £37.50* * Booking fees apply Box Office: 01224 641122 Book Online: www.aberdeenperformingarts.com/events/scottish-ballet-romeo-juliet Inverness, Eden Court Wed 7 May – Sat 10 May 2014 Evenings 7-10 May @ 7.30pm / Matinee 10 May @ 2pm Audio described performance (preceded by a touch tour at 12.30pm) on Saturday 10 May @ 2pm. Ballet Cafe Late on 6 May @ 7pm. Tickets £10 Free Pre-Show talk at Eden Court on 8 May (Dance) and 9 May (Music). Free Post-Show discussion at Eden Court on 9 May. Insight at Eden Court on 10 May @11am. Tickets £5.50 / £3.50 concession. Book through box office Tickets* - Fri 9 and Sat 10 evening £30.00 / £27.00 / £23.00 / £20.50 Weds 7 / Thurs 8 evenings / Sat 10 May matinee £28.00 / £25.00 / £21.00 / £18.50 Box Office: 01463 234234* Book Online: www.eden-court.co.uk* / In person at Eden Court *Booking fees apply London, Sadler’s Wells Wed 14 May – Sat 17 May 2014 Evenings 14-17 May @ 7.30pm / Matinee 14 May @ 2.30pm Audio described performance (preceded by a touch tour at 1pm) on Saturday 14 May @ 2.30pm Pre-Show talk at Sadler’s Wells Kahn Lecture Theatre on 16 May. Free to same day ticket holders Tickets* Stalls: £24 / £36 / £42 First Circle: £18 / £36 / £42 Second Circle: £12 / £18 / £24 Box Office: 0844 412 4300 Book Online www.sadlerswells.com/RomeoandJuliet / In person at Sadler’s Wells *Transaction fee applies. £2.50 for telephone bookings / £1.75 for online and concessionary bookings. No charge for in person bookings. Edinburgh, Festival Theatre Wed 21 May – Sat 24 May 2014 Evenings 21-24 May @ 7.30pm / Matinee 24 May @ 2pm Audio described performance (preceded by a touch tour at 12.30pm) on Saturday 24 May @ 2pm. Ballet Cafe Late on Tuesday 20 May @ 7pm. Tickets £10 Free Pre-Show talk at Festival Theatre on 22 May (Dance) and 23 May (Music). Free Post-Show discussion at Festival Theatre on 23 May. Insight at Festival Theatre on 24 May @11am. Tickets £5.50 / £3.50 concession. Book through box office Tickets* Premium seats £42.50 General tickets £37.50 to £15.50 Box Office: 0131 529 6000 (Mon – Sat, 11am – 6pm) Groups (8+): 0131 529 6005 (Mon – Fri, 10am – 6pm) In person at 13/29 Nicholson St EH8 9FT (Mon – Sat, 10am – 6pm or until curtain up on performance nights) Book Online: www.edtheatres.com *A booking fee of 75p is charged per ticket for online, phone and postal bookings by the Festival & King’s Theatres Edinburgh. Maximum charge of £3 for phone and postal bookings. For bookings of 8 or more, call 0131 529 6005 where no booking fees apply. Ticket prices include a contribution to the Theatres Development Fund. An 80p handling charge will be added for posting your tickets to you. Festival City Theatre Trust is a registered Charity SC018605. EDITOR’S NOTES Krzysztof Pastor Choreographer, Romeo and Juliet Krzysztof Pastor began his ballet training with the Ballet School in his home town of Gdańsk. After his training, he joined the Polish Dance Theatre in Poznań (1975). In 1983 Pastor became a soloist with Le Ballet de l'Opéra of Lyon in France, dancing ballets by Gray Veredon, Hans van Manen, Kurt Jooss and others. From 1985 to 1995, he danced with the Dutch National Ballet (Het Nationale Ballet), working with many well-known choreographers such as Carolyn Carlson, Nils Christie, Nacho Duato, Rudi van Dantzig, Jan Linkens, Eduard Lock, Hans van Manen, Maguy Marin, Toer van Schayk, Nina Wiener, and Peter Wright. He danced major roles in both classical and neoclassical ballets, as well as modern dance works. Pastor completed his first choreographic work in 1986 for an international gala performance in Lodz. After creating several ballets for the Dutch National Ballet’s workshop programmes, he was asked to design a ballet for the company’s main programme in 1992, the successful Shostakovich-Chamber Symphony. He worked as a freelance choreographer from 1995. In the 1997/98 season he joined the Washington Ballet as its choreographer in residence, and became the Dutch National Ballet’s choreographer in residence in the 1998/99 season. Pastor has gained considerable recognition as an international choreographer, creating nearly fifty ballets to date, including the acclaimed Do Not Go Gentle… and In Light and Shadow; the full length production Kurt Weill, Acid City, Don Giovanni, Tristan and Dangerous Liaisons; as well as Symphony Fantastic for the Australian Ballet. In 1995 Pastor's duet Detail IV won the Gold Choreography Award of the Helsinki International Ballet Competition. In 2000 he was awarded the Medal of 200 Years of Polish Ballet by the Ministry of Culture in Poland, and the Dancers Fund '79 Choreography Prize in the Netherlands. His works: Do Not Go Gentle… (2000) and Kurt Weill (2001) were hailed in the Netherlands as great artistic events of those seasons, and presented as such at the Dutch Days of Dance. In 2001, his ambitious and challenging production Kurt Weill was also nominated at the Bolshoi Theatre (Moscow) for the prestigious international Benois de la Danse Prize in no less than three categories. In January 2003, Krzysztof Pastor was appointed resident choreographer of the Dutch National Ballet, sharing the position with Hans van Manen. In December 2007 he was invited by the Bolshoi Ballet in Moscow to work with the Bolshoi's star Svetlana Zakharova (duet from “Tristan” and solo from “Voice”). In May 2008 in Edinburgh, Pastor premiered his own original, cutting-edge version of Prokofiev's Romeo & Juliet with Scottish Ballet. Alongside his work for the Dutch National Ballet, Pastor has created ballets for many companies in other countries, such as the Royal Swedish Ballet, Ballet Opera Dresden, Israel Ballet, Royal Flemish Ballet, Ballet of the Polish National Opera in Warsaw (Górecki's Third Symphony, 1994), National Ballet of Lithuania, National Ballet of Latvia, Donau Ballet, Hungarian National Ballet, National Theatre in Brno, Ankara State Ballet, Australian Ballet, West Australian Ballet Royal and New Zealand Ballet. After years of artistic absence from Poland, Krzysztof Pastor was invited by the Polish National Opera in Warsaw to stage his Tristan to the music of Richard Wagner. Following the choreographer's first visits to Warsaw, the theatre's general director Waldemar Dąbrowski asked Pastor to accept the position of director of the Polish National Opera's ballet company, with the aim of giving the company artistic independence and elevating its position at the Teatr Wielki to that of the Polish National Ballet. Pastor took up his new post in 2009 while retaining his duties as resident choreographer of Het Nationale Ballet in Amsterdam. His newest work is And the Rain Will Pass... which was created specially for the Polish National Ballet (2011). In 2010 director Krzysztof Pastor received the prestigious Terpsichore Award which was presented by the Polish Theater Artists Union. In 2011 he was awarded by the Polish Minister of Culture and National Heritage the highest cultural award, the Gloria Artis Gold Medal for his choreographic achievements around the world and for his artistic and organizational effort to raise the prestige of ballet art in Poland. In 2011 Krzysztof Pastor took on the additional duties of artistic director of ballet at the Lithuanian National Opera and Ballet Theatre in Vilnius.
  14. Scottish Ballet's new production of Hansel and Gretel opens in Glasgow on 10th December 2013. I have started this thread so that people can record their thoughts on performances. In the meantime the company has issued some video links to whet our appetities! To see a special Halloween make up tutorial inspired by our Witch and created by MAC Senior Make Up Artist Caroline Donnelly visit: http://www.youtube.com/watch?v=Yy1Xqo6py-U Hansel & Gretel has been created with the input of the people of Scotland. To watch a short feature on this outreach project, Hansel & Gretel, and Me visit: http://www.youtube.com/watch?v=0PVsQPHgyQo This year, as part of the Hansel & Gretel tour Scottish Ballet will also present Wee Hansel & Gretel – a wee version of a big ballet for pre-school age, see a short trailer here: http://www.youtube.com/watch?v=V89O8WB9oBI (warning, it’s very cute!) J
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