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17 hours ago, Quintus said:

 Having discovered BS-B's sense of humour on her Instagram however, I now find it difficult to watch her without expecting one of her sardonic commentaries!

 

Her Instagram posts really are hilarious!

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A couple of questions on the RB segment:

 

Is it normal for rehearsals for the corps, or already "opened/performing" principal/soloist combinations, to continue rehearsal during a run of performances, as we saw here in the Caterpillar and Cards sequences from Alice? Or did they stage these rehearsals purely for the benefit of World Ballet Day, even though the run is already underway?

 

Have we seen Elizabeth Harrod back in any featured/non-corps roles since she came back after having her second child?

 

Have we seen Laura McCulloch, who I spotted in class, back on stage since having HER second (or indeed her first) child?

 

Where did Chisato Katsura get that fabulous leotard (not that this information is of any practical use to me...)?

 

And a random one: who's the very pretty female dancer with the very blue eyes who was immediately behind Ryoichi Hirano at the barre? I'm assuming a recent addition to the company whose name I've not yet put to her face.

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Not a hundred per cent sure but it may have been Julia Roscoe behind Hirano on the barre!! 

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11 hours ago, RuthE said:

Have we seen Elizabeth Harrod back in any featured/non-corps roles since she came back after having her second child?

 

 

Yes, she was Moth in The Dream and has been a lead flower and lead card in Alice.

 

11 hours ago, RuthE said:

Have we seen Laura McCulloch, who I spotted in class, back on stage since having HER second (or indeed her first) child?

 

 

On stage a few times after her first child, but not (so far as I can remember) after her second.  She has been undertaking ballet mistress activities though.

 

11 hours ago, RuthE said:

And a random one: who's the very pretty female dancer with the very blue eyes who was immediately behind Ryoichi Hirano at the barre? I'm assuming a recent addition to the company whose name I've not yet put to her face.

 

Julia Roscoe (White Lodge & Upper School).  AJYD last season, but had danced with the company many times as a student (particularly memorably as the young girl in La Sylphide).

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28 minutes ago, bangorballetboy said:

Julia Roscoe (White Lodge & Upper School).  AJYD last season, but had danced with the company many times as a student (particularly memorably as the young girl in La Sylphide).

 

Thanks BBB - I actually wondered if it was her, as I heard Olga address "Julia" at one point and I'd recognised most of the other ladies' faces.

 

You don't know where Chisato got the leotard, then... ;)

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1 hour ago, bangorballetboy said:

 

Yes, she was Moth in The Dream and has been a lead flower and lead card in Alice.

 

 

Elizabeth Harrod has also been one of Alice's sisters in the current run.

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Talking about dance wear I loved the variety of leotards/ skirts worn by the female dancers....the only thing I dont like and luckily nobody in the RB did it ......is the wearing of pink tights over the top of a leotard ....this just isn't a good look....no matter how good a dancer you are!! 

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The Bolshoi's official website is showing:  http://media.bolshoi.ru/play/

World Ballet Day 2017

«Le Corsaire» ballet live (trailer)

Bolshoi Ballet in cinema 2017-18 (trailer)

VK Live: Interview with Artem Ovcharenko

Green Room - Lyudmila Semenyaka

Edited by Amelia
Added the link

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15 hours ago, Amelia said:

The Bolshoi's official website is showing:  http://media.bolshoi.ru/play/

World Ballet Day 2017

«Le Corsaire» ballet live (trailer)

Bolshoi Ballet in cinema 2017-18 (trailer)

VK Live: Interview with Artem Ovcharenko

Green Room - Lyudmila Semenyaka

 

If you log in at the above link http://media.bolshoi.ru/play/ you can watch the whole 5 hours of footage from the Bolshoi, starting with the very interesting children's classes.

 

I'm curious about how World Ballet Day is coordinated.  It was a great idea to have a single site with the basic information of what's where and how to access it in real time and afterwards. But apart from displaying the live broadcast, the official site of the World Ballet Day at http://worldballetday.com/ doesn't seem to have been updated since before the day started, when the information given was quite inadequate. I do hope they will address this next year.

 

Edited by Yaffa
for clarity

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The first year Bolshoi girls are using mats for their floor exercises but there are no mats for the boys. Is this usual? 

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19 minutes ago, Yaffa said:

The first year Bolshoi girls are using mats for their floor exercises but there are no mats for the boys. Is this usual? 

 

The girls were doing gymnastic exercises; the boys were doing ballet exercises.  IIRC

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10 minutes ago, bangorballetboy said:

 

The girls were doing gymnastic exercises; the boys were doing ballet exercises.  IIRC

 

Not sure about this distinction... The girls' teacher indeed mentioned 'gymnastics,' but both the girls and the boys seem to be doing stretching exercises etc. on the floor. I've seen a lot of Vaganova Academy videos of girls starting their day with this type of work on mats. Do the boys not use them?

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On 09/10/2017 at 11:55, bangorballetboy said:

 

I think it's from Eleve Dancewear (but don't quote me on that)

It is - it's the Brooke Halloween Dot ready to wear style. It has now sold out...

So many beautiful leotards to admire that day (as well as the dancing of course!)

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One of the things I most enjoyed from the RB day was the coaching of the young White Lodge students by Belinda Hatley. I recognised a young lady in that class who was at YBSS in July and who really  caught my eye there but had no idea she was training at White Lodge then. It reminded me of the importance of the difference sometimes in what a dancer gives off with their actual physical presence as opposed to on film etc.

Talking about full circles I went to a student performance of the RBS quite a few years ago now and one of the the young dancers  I had  underlined in the programme was Belinda Hatley!! 

I must have thought she was destined for the top at the time but don't remember seeing her in a big role. I did have at least a ten year absence from going to the RB so don't know whether I've missed her or not.

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Belinda Hatley retired as a Frst Soloist on the same day that Bussell retired. She appeared in Symphonic Variations on the same bill. She danced a wide range of repertory which included Aurora, Swanhilda and Lise. I thought that she was an exceptionally musical dancer with beautiful epaulement and that she was a particularly fine exponent of Ashton's choreography. I know that she was my Swanhilda and Lise of choice because her performances of those roles were far more than the simple ever smiling soubrette characters which most dancers make them.     She made them charming and gave them a depth that you would have thought impossible. I agree about her providing "an object lesson in technique and stagecraft " in her portrayal of the characters she danced. She even managed to make the goddess she danced in the last act of Sylvia an object of quiet fascination and that section is little more than filler.

 

Soon after her retirement she gave an exceptional account of Ashton's Five Waltzes in the Manner of Isadora Duncan when she appeared in a Ballet Boyz programme at the RFH. She got far closer to achieving the same impact that Seymour achieved  than anyone else I have seen dance it. She was coached by Seymour and her account

was quick and lively as that of her coach. It certainly was not the slow and deliberate  account that I have seen others give.It was not marred by being slowed down by "acting" between each waltz.

 

On World Ballet Day it was interesting to hear McNally say that Hatley was the dancer whom many of her colleagues had said they wanted to emulate.I know that in an interview  which Morera gave to the London Ballet Association soon after she was promoted to Principal she said that she thought that Hatley should have been promoted rather than her. 

Edited by FLOSS

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I did a really good interview with Belinda a few years ago for ballet.co.uk.   Sadly that site is now defunct, and I can't find it anywhere else.  If I ever do, I will post it up again.  

 

I was at her farewell performance and needless to say it was very understated as she was completely swamped by the farewells to Darcey.  Apologies to Darcey fans, but I always rated Belinda as a much better dancer and actress.   

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36 minutes ago, Sim said:

I did a really good interview with Belinda a few years ago for ballet.co.uk.   Sadly that site is now defunct, and I can't find it anywhere else.  If I ever do, I will post it up again.  

 

I was at her farewell performance and needless to say it was very understated as she was completely swamped by the farewells to Darcey.  Apologies to Darcey fans, but I always rated Belinda as a much better dancer and actress.   

I felt the same about Viviana Durante who, for me was a magical dancer.

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The great thing about the Bussell retirement performance was that the works selected for the mixed bill were all of interest, two of them are masterpieces and the entire programme was shown on terrestrial television which means that it was made available to anyone with the remotest interest in classical dance. Who knows it may have kindled a more general interest in ballet in some who only watched the programme because Bussell was dancing.  It gave the television audience an opportunity to see  Yanowsky in Checkmate, one of Ashton's greatest works, Symphonic Variations, with an excellent cast which included Hatley, and MacMillan's masterpiece The Song of the Earth with Acosta, Avis and Bussell in the lead roles. 

 

While I accept that Bussell's  retirement may have overshadowed or even overwhelmed everything else that was happening on stage as far as the broadcast of that evening's performance was concerned I doubt that a programme with those three ballets would ever have been televised in any other circumstances. Can you imagine Song ever being televised except in the context of a newsworthy arts event such as the final performance of such a high profile,well loved personality and dancer?  While I don't think that Bussell or Acosta were outstanding interpreters of the roles they danced I am grateful that Song meant so much to Bussell and that the entire programme was televised. A friend of mine was able to record it so I am able to see Hatley dance in Symphonic from time to time.

 

What  I find strange is that no thought was given to issuing a DVD of the mixed bill. I am sure that it would have sold very well particularly if some of the footage from Bussell's farewell performances at Sadler's Wells had been included as extras such as the section in which a slimmed down Christopher Wheeldon partnered Bussell.

 

As far as the footage of Belinda Hatley teaching is concerned I think that the students at White Lodge are extremely lucky to have an artist of her quality as their teacher. As I watched her it struck me that she had been one of four RB dancers interviewed, I think, by the Observer about the career of a dancer with the RB which had been published at the time the press was having its latest bout of concern about the small number of British fully RB trained dancers at the top of the company. At the point at which it was published there were three RB trained Principals and there were suggestions made by some that the promotion of Cuthbertson and Penneyfather was more of a sop to the company's fans than a reflection of the quality of their dancing or their potential. Those interviewed for the article were Anya Linden, former Principal dancer, Yanowsky Principal dancer and two junior dancers Claire Calvert and Belinda Hatley. Calvert spoke about the stress of the annual assessments which had seen everyone with whom she had joined the school assessed out. Hatley said that she thought that the reason there were so few British dancers at the top was that they were always being told that they were rubbish. The effect on British trained dancers of such comments was to make them believe that they were second rate dancers. It was sad to read that Naghdi appears to have suffered from the same incredibly undermining treatment when she was a sixteen year old student.Perhaps the teacher who got under her skin was  someone who Hatley  had encountered. Perhaps it was simply another teacher in the same mold.

 

 

I know that you can't tell people that they are doing well if they are not  but there are ways of achieving improvement which do not eat away at a student's self confidence and undermine them. I should have thought that teachers would know that a performer deprived of their self confidence by their training will always question their ability and their right to be on stage and will always be at a disadvantage when they encounter those who have not been subjected to the same training regime. Such a dancer will never achieve their full potential and is going to struggle as a performer. Perhaps it is this lack of psychological understanding that lies at the root of the school's failure for decades to produce truly outstanding dancers. I don't imagine that Hatley will ever forget the adverse impact of her teachers' approach to teaching their students and correcting them. It seems most unlikely that she will follow in their footsteps  and apply their methods. 

Edited by FLOSS

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3 hours ago, FLOSS said:

Hatley said that she thought that the reason there were so few British dancers at the top was that they were always being told that they were rubbish. The effect on British trained dancers of such comments was to make them believe that they were second rate dancers. It was sad to read that Naghdi appears to have suffered from the same incredibly undermining treatment when she was a sixteen year old student.Perhaps the teacher who got under her skin was  someone who Hatley  had encountered. Perhaps it was simply another teacher in the same mold.

 

I know that you can't tell people that they are doing well if they are not  but there are ways of achieving improvement which do not eat away at a student's self confidence and undermine them. I should have thought that teachers would know that a performer deprived of their self confidence by their training will always question their ability and their right to be on stage and will always be at a disadvantage when they encounter those who have not been subjected to the same training regime. Such a dancer will never achieve their full potential and is going to struggle as a performer. Perhaps it is this lack of psychological understanding that lies at the root of the school's failure for decades to produce truly outstanding dancers. I don't imagine that Hatley will ever forget the adverse impact of her teachers' approach to teaching their students and correcting them. It seems most unlikely that she will follow in their footsteps  and apply their methods. 

This issue is something that still happens all the time - and continues to have an adverse effect on the mental health and wellbeing of students in training in the UK. It is common across the board and at all levels.

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Just catching up with World Ballet Day and so enjoyed seeing Hayward and Campbell rehearsing together. They seem to have a very special dynamic and I am astonished that they haven’t been cast together in Giselle (and that he hasn’t been cast at all). Particularly lovely to see them rehearsing something slow, lyrical and intense as opposed to the more obviously busy material that might be given to two such compact, physically fluent dancers.

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