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Nina G.

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About Nina G.

  • Birthday 01/03/1955

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  1. Similar to notsoballetlover and Jamesrhblack. I have decided after many years reading the Forum and enjoying it not to post my thoughts anymore, this is likely to be my last one too; especially after that "Snowflake, - no not another..." debate which frankly annoyed me greatly so I stopped reading it. Personally I felt communicating on the Forum became increasingly unpleasant compared to many years ago. I belong to a different generation and we communicated very differently. Many many thanks to the wonderful moderators who always do their utmost best to keep this Forum a civilised commun
  2. On social media DanceTours also announced the http://www.royalelegancenight.com taking place in Tokyo with Royal Ballet dancers Lauren Cuthbertson, Vadim Muntagirov, Yasmine Naghdi, Matthew Ball, Akane Takada, Ryoichi Hirano, Ricardo Cervera, Alexander Campbell and Joseph Sissens. Can't figure out the date. I don't know if this runs alongside the WBForum?
  3. ROH Summer Season 2018 Friends booking went really smooth and I got what I wanted: a Nunez/Muntagirov performance and two Naghdi/Kish performances.
  4. The "problem" is that there is now a considerable amount of talent lower down the principal rank. I remember those years at the RB that there was not that much to be excited about in the First Soloist/Soloist rank or in the Corps de ballet. One would go to the RB to only see a particular principal full stop and I would book a performance solely to see Alina Cojocaru dancing with Kobborg, or Tamara with Acosta or Guillem with Cope etc., not to see a particular Soloist or First Soloist. However I have done so in the last few of years. Whatever talent there was in the lower ranks in t
  5. I think that may be the reason why. Wasn't she twice absent for a great length of time for reasons of injury and/or illness. I recall her return to the stage after her illness was much celebrated and covered in the press. I assume another reason why the two youngest Principals do get a bit more coverage is that the ROH nowadays does a lot of Outreach work , ROH encourages new families to attend (via the Taylor Family Foundation) with the purpose of cultivating a new generation of ballet goers, there is now also the facility of social media interaction, there is the Student Ambassad
  6. Agreed, and to dance two debuts in a matter of 72 hours is no mean feat for any Principal let alone for a dancer who is only months into being a First Soloist.
  7. The Royal Ballet has four British, White Lodge trained, Principals: Edward Watson (made Principal in 2005), Lauren Cuthbertson (made Principal in 2008), Francesca Hayward (made Principal in 2016), Yasmine Naghdi (made Principal in 2017). There was a gap of eight years between the promotion of the last British, White Lodge trained Principal and the next one. Much has been written about it in the press asking "Why so few"? Francesca Hayward and Yasmine Naghdi rightly got press coverage when they were promoted to Principal, and their British training was rightly celebrated. Akane Takada, when pro
  8. The more I admired them, to have to dance such an important debut without much of a practice run; at least the Hayward/Campbell cast got two audience runs (the General and a School's Matinee) before dancing their debut, and Campbell is already a very experienced dancer compared to young Matthew Ball.
  9. The Telegraph (Mark Monahan) and the Guardian (Judith Mackrell) gave column space to the Hayward/Campbell cast so I doubt they'd be that generous giving the Naghdi/Ball cast column space too. Jann Parry also reviewed the Hayward/Campbell cast. Perhaps a Naghdi/Ball review will appear in one of the weekend papers? Would be great if the critics could alternate publishing a cast review whenever they dance the same role. (after all we got plenty of audience reviews here on the Forum, no need to allocate column space ).
  10. I have seen Tamara Rojo make a terrible slip and fall, remaining a few seconds down on stage, I have seen Carlos Acosta drop Marianella Nunez in "Fille" during that famous one-handed lift, I have seen so many of the greats slip, trip, fall, stumble, etc. it's not even worth mentioning. What matters is how they carry on as if nothing has happened and I feel strongly a tiny mishap or a bit of initial nervousness should not be highlighted when reviewing a dancer's performance. It is of no importance.
  11. Thanks for those GIFS Aliceinwoolfland. Timmie, to analyse and observe Yasmine Naghdi's and Francesca Hayward's style of dancing, and their technic is just fascinating. It is in no way, and of no use, to compare them in any sense of the word, both are very talented ballerinas and unique in their own right. They each give their audience great pleasure in varying ways. Some will of course be more moved by Hayward, others will be more moved and connected to Naghdi. Appreciating the Art of Ballet is a very personal matter after all. What is interesting to know is that they
  12. Well, exactly the same happened when Naghdi/Ball made their "Romeo&Juliet" debut as well as other debuts. The critics seem to be given tickets by the RB Press to attend Hayward/Campbell's/Golding (R&J) performances but not to theirs, or perhaps on Saturday's the critics simply vanish into the country side
  13. I really have no intention to get into any further argument but may I ask you what makes you think it is untrue? What if everything is NOT fake?
  14. Goodness me, how sad. I do not see any reason why dancers would invent what they stated in this article. This really changed my perception of Tamara Rojo. How is this possible in a 21st century ballet company?
  15. That's correct, Yasmine told me at Stage Door when I asked her, that she and Matthew Ball had only had the Pre-General closed rehearsal leading up to their debut. I didn't detect any nerves from her, maybe it took her a moment to really get into the role after a three week gap.
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