Scheherezade

Echoing everything that has already been said, thanks to the mods for their generosity, time and commitment and to everyone who posts for being enlightening, informative, amusing, sometimes controversial but always sincere. 
Hoping you all had as wonderful a Christmas as mine and that 2024 will bring a basket of wonderful things to everyone. 

26 minutes ago, capybara said:

Although all these changes are unprecedented, at least it appears that there is an undisclosed need to swap casts rather than any injury or other problems.

The difficulty is that audience members might become wary of booking for a specific artist in future. ENB is at a point where it needs to build up a fan base for its wonderful leading dancers and what is happening is not going to help that cause.

 

Agreed. And can’t fathom why this is happening. 

18 minutes ago, MAB said:

has there ever been a more uplifting work than Alvin Ailey's revelations?

It is one of those works that I never tire of seeing. 

And Arielle Smith’s Jolly Folly has to be one of the most uplifting post-Covid pieces that I have seen. 

Shifting back to angst, both Alvin Ailey and Ballet Black manage to present serious issues in a manner that is thought provoking and engaging without being preachy. 

I’m not tall, Cescablue - just under 5’4” - and have been happy with the D1-4 block. That said, I may have been particularly lucky with the people in front, who have angled their seats so as to restrict my view as little as possible, or I have been able to move more to the side. Fingers crossed you will also be lucky. And the proximity to the stage does give an extra degree of intimacy. 

8 hours ago, bridiem said:

I think that there's also a sense especially in contemporary dance that it's terribly important to be serious and to be seen to be serious.

You are being very diplomatic, Bridiem. I would call it preaching, and sadly there seems to be no escape from it these days. 

Viola Pantuso - just gorgeous!

28 minutes ago, Lizbie1 said:

 

I am definitely getting old because In the Middle was performed there less than six years ago - sadly no longer "a very long time ago" in my book.

Anything pre-Covid feels like a lifetime ago to me. 

1 hour ago, Emeralds said:

Concertante and In the Middle, Somewhat Elevated have been performed at Sadler's Wells a very long time ago, by different companies, so they are both due a revival!

True to a point, although it seems increasingly the case that the longer the gap since the last performance, the less likelihood of the work ever being revived here in the UK. 

1 hour ago, Emeralds said:

That's a wonderful combination of ballets! The Balanchine ballet is joyous fun!

All of which makes the tedious selection we get over here seem even more dire.

Echoing everything that has already been said, LinMM, and here’s to a successful operation. Rest up, get well, make sure you’re waited on hand and foot and have a wonderful Christmas notwithstanding your broken wrist. 

Nostalgia. The warmth of a remembered hug and the chill of overwhelming sadness at one and the same time. 

57 minutes ago, Blossom said:

Am I the only person who just generally does not get on with Wheeldon choreography? To be honest, I'm not sure if it's actually the choreography or the music. I'm not a fan of Joby Talbot and wish Wheeldon would work with someone who creates pieces which are pleasant to listen to and become more compelling when attached to the choreography.

You’re not the only one, Blossom. And I couldn’t agree more about Joby Talbot’s music. 

Afternoon of a Faun and The Firebird. There you are, Dawnstar, two very agreeable additions to your animal themed triple. 

1 minute ago, Fonty said:

 

I think you are right, but perhaps it should be?

 

I’d absolutely agree with that. I love Etudes, as does my daughter. 

Think how lucky you are, Sophoife,

to have had so many luminaries! 😊

20 minutes ago, Fonty said:

 

Incidentally, has the RB ever done Etudes?  I believe the last time I saw it was with ENB (?)  Wouldn't mind seeing that as part of a triple bill.  Oh, and the Lesson as part of a triple as well?

 

I have a feeling that Etudes isn’t in the RB rep but stand to be corrected. 

10 minutes ago, Anna C said:

I liked his portrayal too.  Nobody will ever beat Gary Avis’s Drosselmeyer for me, but I was pleasantly surprised by Thomas Whitehead.

Agreed. Especially when coupled with Gary Avis’s fully fleshed out portrayal of Dr Stahlbaum.

1 hour ago, Sim said:

I also agree with this.  Heritage is not elitist unless you make it so by depriving the majority of it.

Wouldn’t you think that would be obvious to anyone with half a brain? Sadly we are increasingly in the realm of the brainless and the tactically and deliberately blinkered. 

45 minutes ago, annamk said:

 

I love Leo Dixon although sadly I won't get to see his nephew this year. I know I'm in danger of repeating myself but I just don't understand why he hasn't been given an opportunity to dance the Prince or Lescaut in Manon. 

19 minutes ago, capybara said:

 

He's on his way.........!!!!! 😊 And his recent, very varied performances can have done nothing but help his steady rise.

I’m very much with both of you here, and I know that I’m repeating myself too, but he really is one of those rare dancers who always brings much more than just technique to whatever role he is given. 

1 hour ago, JennyTaylor said:

Picking up on the point of the character acting catching the eye, I saw Gary Avis as the father last Saturday and found I couldn't take my eyes off him.  What is it about that man!  Instead of orchestrating the whole show as Drosselmeyer, he orchestrated the party instead. There was so much going on!

Yes, I also felt this on Saturday: every little gesture, exasperated shrug, sweep of the hand … And Fumi and Will were absolutely magical on Saturday too. 

1 hour ago, Jan McNulty said:

Conductor Dr Martin Georgiev has made a brilliant post on IG:

 

https://www.instagram.com/p/C0xhF2zIVdC/

Oh, I so agree with this! Cultural vandalism at its very worst under the auspices of moral superiority and enlightenment. 

11 hours ago, alison said:

As it turned out, I was more surprised at Sarah Lamb's Marie Larisch, because it was so different from the roles I'd seen her in previously, and I hadn't envisaged her in it at all.

I find Sarah surprising in many ways. In my case, it was her superb comedic qualities in The Concert. I had not expected this. 

1 hour ago, Fonty said:

 

I agree about the last run of Cinderella.  Prior to that, for some reason it never really seemed to do it for me; I didn't find the music that appealing.  This time, I really enjoyed it, and wondered why I hadn't liked it before.

Can I put my hand up to join this particular club. Never liked the music, not particularly keen on the ballet but, wow, I loved it on every level this time round. 

2 minutes ago, selene said:

 

For what it's worth, Sarah did an interview with the Ballet Association back in 2018 where she spoke highly of Steve McRae and Ryoichi's partnering skills. 

I’d say it’s worth a great deal, Selene. 

2 hours ago, BeauxArts said:

It is very true that the potential in the Hayward Bracewell partnership has not been exploited and that is a shame. Their forthcoming SLs are therefore awaited with real anticipation. I also agree that Will’s naturalistic acting skills lend themselves to the Ashton répertorie, but also I would say to MacMillan. I find him elegant in the classical repertoire and an exemplary  partner. I am very keen to see him tackle Onegin, Mayerling and Albrecht. It is particularly rewarding to see his progression as an artist in every sense. 

Sorry if my post was misleading. By previously referencing narrative ballets generally, I had assumed that people would make the leap to Macmillan and others. I am less excited by the Bracewell/Hayward Swan Lake partnership since I find Hayward less suited to the classical Tchaikovsky ballets. I would love to see them reprise their Hamlet and Ophelia.

1 hour ago, Sim said:

As with others above, I didn’t say anywhere that I’m not looking forward to seeing Will and Fumi dance with different partners.

I do hope you didn't think that I was suggesting this; far from it. Nor was I, in any way, seeking to minimise the special connection that Will and Fumi so clearly share. Merely pointing out that they each seem to elevate whatever partnership they are part of. 

2 minutes ago, PeterS said:

Yet, at the same time a seemingly conflicting message in an email received from F. Bonneli of NB this morning:

 

Hello,     A huge and heartfelt thank you to all our wonderful supporters who contributed to the Big Give Christmas Challenge.        Thanks to you we’ve raised an extraordinary £16,666 enabling us to:   Fund experienced carpenters to rebuild and repair our historic sets Buy ribbons, chiffon, suede and leather to restore our beautiful costumes Purchase new pointe shoes for our dancers Support a proportion of the costs of our principal Sinfonia players, ensuring they can perform live at our performances in spring 2024.          This show is incredibly close to my heart, as I know it is to ballet lovers across the country.

‘To say I am happy about it being resurrected is an absolute understatement’ - Northern Ballet Benefactor

The Big Give campaign has given us a vital boost. However, the costs to restage and tour this landmark production with a full orchestra are incredibly high and we will be continuing to raise funds to cover our final costs over the coming weeks. So, if you’ve not given already, there’s still an opportunity to make a difference.

I don’t think it diminishes the point being made by Slipped Disc. I read it more as a thank you for the help provided by donors to The Big Give campaign.