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  2. I have been saying this for many years to those who base their opinions on what they read in the newspapers: "A few things you know well they report all wrong, why, therefore, you have trust in what they say about everything else?"
  3. Message me if interested. It's an eticket.
  4. Sylvie Guillem once said in an interview" ... talent alone is not enough to get to the top."
  5. There should be some exciting debuts in Swan Lake - and in other ballets next season.
  6. Good luck to your son in his new venture and hope you enjoy your new found freedom!
  7. Hi all, I’m selling the following ticket for the Royal Ballet Romeo & Juliet performance on the 22nd May, 7:30PM (this Wednesday - cast is Osipova/Hallberg). The person I purchased the ticket for is no longer able to attend, sadly. Seat info: Level 5/Door 5E/Amphitheatre Upper Slips. Seat CC2. Restricted View/bench seat. Cost: £11 Its an e-ticket so I can send it over ASAP, or I will also be at the performance that evening. Any questions let me know!
  8. Today
  9. Wow that is quite a bold prediction this far out, capybara! But why not...going by this clip, for example...lovely control and poise, I thought, at just 16.
  10. I wouldn't worry about the great classics not getting sold out fast as there are always numerous corporate bookings, tourist bookings,... and these people do not care who is dancing. They just want to see a classical ballet at The ROH, they go to any show they can see whilst in London.
  11. Which is understandable. The uncertainty so far out may mean the ROH won't be gaining as many front-loaded "Winter" bookings as they hoped.
  12. There probably wasn't much after that that he could be cast in, looking at the schedule and bearing in mind that other dancers were probably already committed to certain roles (although I hope he's been working on other things in the meantime).
  13. Do you have a teacher who is checking that what you are doing is correct as it would be pointless doing all those repetitions and gaining the wrong muscle memory?
  14. The dancers who I would tip for promotion are: To become Principals although not necessarily this year : Current First Soloists: William Bracewell; Cesar Corrales; Fumi Kaneko, Mayara Magri, Marcelino Sambe Current Soloists: Reece Clarke; Anna Rose O'Sullivan Current First Artist: Joseph Sissens Current Artist: Sae Maeda Current Aud Jebsen: Yu Hang To be promoted from their current rank this year: Marcelino Sambe; Anna Rose O'Sullivan; Teo Dubreuil; Romany Pajdak; Joseph Sissens; Lukas Bjorneboe Braendsrod; Ashley Dean, Leticia Dias, Leo Dixon, Sae Maeda
  15. Open to offers for these. I’d prefer them to go to someone who will use them rather than sitting in DD’s shoe drawer!!
  16. From the ROH website ☺️ Olivia Moxey responded on 20 May 2019 at 10:54am We're delighted to inform you that this performance will be released on DVD at the start of 2020. Best Regards, ROH Cinema
  17. In theory that is perfectly correct, Sim, I would add, though, that (in my view anyway) that the current state of City Ballet is very depressing, especially on the male side. I've never known the lack of talent at senior levels of that company to be so obvious. The current Spring season has been depressing - there have been performances where simply to get through to the end of a ballet has seemed like an achievement. At the same time, the younger male dancers show great potential. The women are stronger, if not great. Paradoxically, the presentation and preservation of an authentic Balanchine tradition seems secure with much more of the coaching back in the hands of distinguished former dancers (both male and female) This ties in with my view of the Royal, don't wait for people to "get experience"/"work through the ranks"/demonstrate an injury-free period" before promoting to principal level. The director should grasp the opportunity of having some younger dancers who are showing enormous potential at the moment and promote now.The Royal has, in my view anyway, some of the most promising young dancers it has ever had and I fear that if they are not promoted quickly, they won't develop fully and be stifled by dancing their umpteenth pas de trois in Swan Lake and we will be left to consider the "if only..." thoughts. If we worry too much about if someone is ready and opt for so-called safety by waiting for another year to give them more time, then we likely will lose some potentially great dancers. I believe there isn't a fixed number of principals - it seems to be a matter of finance. Historically, the Royal Ballet used to have rather more principals than has recently been the case and certainly the numbers of principals as a proportion of the whole company is far lower now than it used to be. Perhaps reducing the numbers in media, marketing and website development would help fund a few more principals (a joke, but I wish it were serious!). Additionally, I would also like to see a rejection of the idea that every principal dancer gets to dance the lead in every full-length ballet. It's one of the more-stupid ideas that seems to have developed recently. Apologies to have strayed (slightly) off-topic - but if you want names, my suggestions would be O'Sullivan, Gasparini, Stix-Brunell, Sambe, Corrales, Sissens and Hay - for starters.
  18. it also makes you wonder what else they are carelessly getting wrong in the rest of the paper
  19. Oops! that's what I get for copy pasting from a Facebook post like a lazy person 😉 regarding The Ballet Retreat, August tends to be very popular, they used to sell out within a few weeks but as they do a lot of year it's tended to fall back to 2-4 weeks before the event they book up. there are a lot of regulars on the TBR weekend, for the first few years I wen't to them all but last year I scaled back to just the Leeds ones, if you do come let me know & I'll say hello.
  20. These things are really shameful from august (well, used to be august) broadsheets such as the Times and the Telegraph. I've said it before and I will say it again: how hard can it be for these papers to find one person on their staff to ensure that these things are right? With ballet this is happening over and over again and it is an insult to the readers and the artists to keep getting it wrong.
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