Nina G.

To be fair Floss, the first comment read out by Emma Barnett came from a man calling himself an "ordinary working class bloke who was introduced to ballet years ago by his Martial arts teacher" and said he absolutely loved the ballet.

The interview starts at about 1:51 into the programme http://www.bbc.co.uk/programmes/b09qd8b2

This is beginning to look rather serious now that the Arts Council has asked the ENB to investigate all allegations against its leadership. Rightly so I think. ENB receives £6.2 million a year of tax payer money so they have a duty to objectively and impartially report back to those who fund them but (and I agree with the above post) what good is it that the investigation is conducted by the ENB management? This surely should be done by an independent body.

ENB's AD Tamara Rojo's salary is a quarter of a million pounds???? Far above Kevin O'Hare, Director of The Royal Ballet and David Bintley, Director of Birmingham Royal Ballet, and close to the CEO of the ROH Alex Beard (just catching my breath here). Who pays her salary? I mean where is that kind of money coming from? The Tax payer? The Arts Council? Who funds their salary?

It really saddens me to read that dancers, who are after all in the weakest position, should "shut up" (because they have spoken out anonymously). They'd risk their career and livelihood if they revealed their identity!!!! Why are the weakest individuals in this whole story "vilified" for not revealing their identity? Who would do so in their right mind if they'd risk not getting roles any longer and being sidelined? No one for a moment has criticised what Tamara Rojo has brought in terms of repertoire and financing to the ENB. What The Times article highlights above all is seemingly "mismanagement" of the dancers. Management may think they are doing the right thing but apparently they are not (or not doing enough??); as it has been pointed out before, so many dancers left last season and it is obvious that there are dancers whose problems and deep concerns have not been seriously addressed (or not sufficiently). The issues the ENB dancers seem to have may be at risk of being "brushed under the carpet" because "...Tamara Rojo has done sooooo much for the ENB.....". Great! Fabulous! I admire her for that but let's not forget the dancers in the first instance who are asking to be listened to, their concerns acted upon and their problems dealt with - whatever they may be.

Personally I am not too bothered about ENB Artistic Director Tamara Rojo having an affair/physical relationship with a much younger man who is half her age and who happens to be a subordinate dancer at the ENB. I am far far more bothered reading about the silent cry for help by many ENB dancers, who spoke out about their working conditions and the counterproductive atmosphere at the ENB. This now all comes op top of the many dancers who have left ENB over the past years, Corrales the most recent one.

Indeed not. I only said "...complaints dancers had.."

Quote from Gramilano report: " ....the (ENB) organisation’s executive leadership said that “quick fixes” were needed". Departures have been taking place since before the Summer... where are the "quick fixes" the executive leadership said were needed? (To me it sounds like a "similar" scenario to the Board not acting upon the many complaints dancers had about Peter Martins' behaviour and turning a blind eye...).

An article about ENB with a headline "Bolshy ballet riven by affair of director and her leading man" (??)

I'd add Liam Scarlett's Asphodel Meadows, a very beautiful creation and I wish the RB would bring it back.

Many of the top opera singers charge a fortune per performance. The RB dancers are on a salary and I have no doubt that the RB Principals are paid far less than the hired top opera singers.

Very very interesting indeed to read the other sign of the coin, many thanks! We may all want to see this or that, and complain about this or that, but the reality is: ROH is a business and the RB and the ROpera have to bring in the money (I have been told it is the RB who keeps the ROH afloat!)

"Up and coming dancers" to me are those dancers who are still in the Corps but stand out, and maybe also those who have just made it into the Soloist rank.

I'd love to watch other companies outside London but at my age I just can't travel far any longer. I do sometimes go to Sadler's Wells when the BRB are performing there, sometimes a friend invites me to accompany him to ENB but that's rather rare nowadays. The RB company for me is the easiest follow.

I cannot remember a time when there was so much special talent in the various ranks, be it at the RB, or BRB,ENB,NB, and Scottish. The UK is awash with talented and dedicated ballet dancers and this should be celebrated. I hope the government takes note!!! (which European country can boast the same?)

I didn't see this performance but it is admirable that Mr O'Hare has given this young dancer such a great opportunity. I believe Benjamin Ella has struggled with recurrent injuries since he joined the RB and to be able to make a come back as Albrecht is just wonderful.

Thank you zxDaveM for all those gorgeous rehearsal photos of Yasmine Naghdi/Matthew Ball. The last photo already has me in tears. Can't wait to see their performance on 10th February.

Indeed, Isabella Gasparini stands out in the RB Corps de ballet. I always enjoy watching her!

https://britishballetnowandthen.wordpress.com/2018/01/19/giselle-now-and-then/ Interesting article about "Giselle" (including a description of the difference between Naghdi's and Hayward's style of dancing) Jan Parry also described the difference in their style of dancing (Act II) - http://dancetabs.com/2017/12/royal-ballet-the-nutcracker-london-4/ We are very fortunate to have many wonderful dancers (male and female) in the company, be it in the Corps de ballet, at Soloist level and amongst the Principals.

The Sugar Plum Fairy is only a short (approx. 10 minute/ish) performance. Swan Lake is 3 hour long ballet with various solos and pdds and technically far more demanding on the Principal than dancing the Sugar Plum Fairy.

I assume because three new female Principals were appointed over the past two Seasons there is no longer any need for Salenko to guest. McRae is now often seen dancing with Takada and sometimes has Lamb as his partner too. If Salenko were to keep guesting she would take opportunities away from the other Principals.

As has been remarked upon by other posters in the past "who is (a) more senior (Principal)" doesn't really matter at the RB, what matters is the ability to dance a role really well, in this case a super classical tutu role. Mr O'Hare surely knows his dancers best and Miss Hayward will perhaps be given the opportunity to dance it when SL is next back in the rep.

Sure. & I didn't say a strong technique = multiple turns or super high extensions. A strong technique should serve a dancer to have total control over their movements, and that combined with artistry makes for me a superb dancer.

I see what you mean Betterankles but for me a solid, great technique and artistry go hand in hand. I call a dancer great when he/she has both. Yes some dancers do get away with less perfect technique but when I watch a ballet I want to see dancers who have a superb technique as well as artistry. Having a great technique allows a dancer to be free to interpret the role and music, especially in the great Classics.

Marianela Nunez is celebrating 20 years with The Royal Ballet, she is the most senior ballerina of the 6 ballerinas cast to dance Odette/Odile so she gets an extra performance. I am absolutely thrilled Yasmine Naghdi is dancing Odette/Odile, and with an experienced, established Principal who has the princely look necessary for this role. I think Ball is paired with Osipova in order for him to gain more partnering experience. I would have loved to see the Naghdi/Ball duo but it must be for a good reason Mr O'Hare has given them each a different partner.