bangorballetboy Posted October 9, 2017 Share Posted October 9, 2017 3 hours ago, RuthE said: You don't know where Chisato got the leotard, then... I think it's from Eleve Dancewear (but don't quote me on that) 2 Link to comment Share on other sites More sharing options...
Duck Posted October 9, 2017 Share Posted October 9, 2017 I found the following site (in French) useful in accessing the segments of the various guest companies on their respective Facebook sites https://www.dansesaveclaplume.com/hors-scene/450566-world-ballet-day-4-le-5-octobre-en-direct-des-coulisses-des-grandes-compagnies-de-danse/ 1 Link to comment Share on other sites More sharing options...
LinMM Posted October 9, 2017 Share Posted October 9, 2017 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!! 3 Link to comment Share on other sites More sharing options...
Amelia Posted October 10, 2017 Share Posted October 10, 2017 (edited) 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 October 10, 2017 by Amelia Added the link 4 Link to comment Share on other sites More sharing options...
Yaffa Posted October 11, 2017 Share Posted October 11, 2017 (edited) 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 October 11, 2017 by Yaffa for clarity 1 Link to comment Share on other sites More sharing options...
Colman Posted October 11, 2017 Share Posted October 11, 2017 50 minutes ago, Yaffa said: I'm curious about how World Ballet Day is coordinated. Barely. 2 Link to comment Share on other sites More sharing options...
Yaffa Posted October 11, 2017 Share Posted October 11, 2017 The first year Bolshoi girls are using mats for their floor exercises but there are no mats for the boys. Is this usual? Link to comment Share on other sites More sharing options...
bangorballetboy Posted October 11, 2017 Share Posted October 11, 2017 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 Link to comment Share on other sites More sharing options...
Yaffa Posted October 11, 2017 Share Posted October 11, 2017 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? Link to comment Share on other sites More sharing options...
_emeralds Posted October 12, 2017 Share Posted October 12, 2017 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!) 2 Link to comment Share on other sites More sharing options...
LinMM Posted October 12, 2017 Share Posted October 12, 2017 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. Link to comment Share on other sites More sharing options...
Tony Newcombe Posted October 12, 2017 Share Posted October 12, 2017 Belinda danced Aurora and Giselle from the major classics. She was a fabulous Lise in Fille and IMO her Swanilda was a masterclass in technique and stagecraft. 5 Link to comment Share on other sites More sharing options...
FLOSS Posted October 12, 2017 Share Posted October 12, 2017 (edited) 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 October 12, 2017 by FLOSS 9 Link to comment Share on other sites More sharing options...
alison Posted October 12, 2017 Share Posted October 12, 2017 I hope she reads this One of my favourite dancers too, and still much missed. 1 Link to comment Share on other sites More sharing options...
Sim Posted October 12, 2017 Share Posted October 12, 2017 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. 9 Link to comment Share on other sites More sharing options...
penelopesimpson Posted October 12, 2017 Share Posted October 12, 2017 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. 6 Link to comment Share on other sites More sharing options...
FLOSS Posted October 13, 2017 Share Posted October 13, 2017 (edited) 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 October 13, 2017 by FLOSS 12 Link to comment Share on other sites More sharing options...
taxi4ballet Posted October 13, 2017 Share Posted October 13, 2017 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. 5 Link to comment Share on other sites More sharing options...
Jamesrhblack Posted October 13, 2017 Share Posted October 13, 2017 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. 6 Link to comment Share on other sites More sharing options...
Ulia Posted October 15, 2017 Share Posted October 15, 2017 Watched a rehearsal of the Wind. And got another ticket on the 9th of November. Link to comment Share on other sites More sharing options...
Fonty Posted October 27, 2017 Share Posted October 27, 2017 (edited) I am a bit late watching this, and I have one or two queries if anybody could help? In the Royal Ballet class, were some of the dancers missing during the barre section, who then appeared for the centre work? For example, I didn't notice McRae at the start. Was he tucked away out of camera shot , or was he just not there. Who was the pregnant dancer? I thought her balance was wonderful, can't be easy when you are getting quite big. Who was the lady with Rocco's Mom written on her leotard? And finally, all the dancers seemed to be rather well dressed. There were some lovely skirts on the ladies, particularly the girl wearing the little black floral number. When I have seen other classes in the past, they seemed to wearing the most moth eaten collection of garments. Has the fashion changed, or did they just smarten up for the tv cameras? Edited to add apologies if some of these questions have been answered elsewhere, but I am having trouble searching the site. It keeps crashing when I try to do so. Edited October 27, 2017 by Fonty Link to comment Share on other sites More sharing options...
bangorballetboy Posted October 27, 2017 Share Posted October 27, 2017 24 minutes ago, Fonty said: In the Royal Ballet class, were some of the dancers missing during the barre section, who then appeared for the centre work? For example, I didn't notice McRae at the start. Was he tucked away out of camera shot , or was he just not there. McRae is at the back about a third of the way across (from the left as we look), beside Anna Rose O'Sullivan. That's his usual spot at the barre for class. 24 minutes ago, Fonty said: Who was the pregnant dancer? I thought her balance was wonderful, can't be easy when you are getting quite big. Tara Brigitte Bhavnani 24 minutes ago, Fonty said: Who was the lady with Rocco's Mom written on her leotard? Lara Turk 2 Link to comment Share on other sites More sharing options...
RuthE Posted October 27, 2017 Share Posted October 27, 2017 I spotted McRae from the start, but think there possibly were some late joiners - for example I didn't see Sarah Lamb until much later. Link to comment Share on other sites More sharing options...
capybara Posted October 27, 2017 Share Posted October 27, 2017 There seemed to be a few 'late joiners' , some 'positioning' for the cameras and the studio also seemed to get over-crowded. I wonder why Link to comment Share on other sites More sharing options...
Fonty Posted October 27, 2017 Share Posted October 27, 2017 It's a shame the dancers don't wear tops with their names on in large letters. Either that, or it would be wonderful if the production team could somehow place their names on screen as they flash past. Yes, I know, I'm asking for too much. It is just a bit frustrating to watch an individual do something particularly well, and then not know who it is. 3 Link to comment Share on other sites More sharing options...
_emeralds Posted October 27, 2017 Share Posted October 27, 2017 56 minutes ago, Fonty said: it would be wonderful if the production team could somehow place their names on screen as they flash past. The live stream of San Francisco Ballet did do this with some soloists and principals, which was interesting as I'm not very familiar with that company. Come on RB, for next year! 2 Link to comment Share on other sites More sharing options...
alison Posted October 30, 2017 Share Posted October 30, 2017 On 06/10/2017 at 19:05, LinMM said: Sounds like Ed Watson had a very busy day then as he was the one coaching the ENB dancers in Song of the Earth yesterday evening. I thought I'd seen this reference somewhere. Was this an insight evening rather than part of World Ballet Day? I couldn't spot anything appropriate on YouTube. Link to comment Share on other sites More sharing options...
capybara Posted October 30, 2017 Share Posted October 30, 2017 27 minutes ago, alison said: I thought I'd seen this reference somewhere. Was this an insight evening rather than part of World Ballet Day? I couldn't spot anything appropriate on YouTube. It was a Song of the Earth insight/masterclass at ENB. 1 Link to comment Share on other sites More sharing options...
alison Posted October 30, 2017 Share Posted October 30, 2017 Ah, so it won't be online, then I'd have used up the rest of my monthly allowance on it otherwise, but no matter. Was it interesting/enlightening? Link to comment Share on other sites More sharing options...
LinMM Posted October 30, 2017 Share Posted October 30, 2017 Well I found it very interesting and I particularly love these kinds of rehearsals as I think you learn more about the choreographers intent etc and what he based it on ( the inspiration for the ballet etc) Ed Watson was hypnotic ....he somehow manages to combine that really intense artistic purpose with approachability as a person. I will see on Wednesday whether some of his directions for Song have been taken on board or not!! ( joke) Link to comment Share on other sites More sharing options...
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