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Jan McNulty

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  1. Genesia Rosato retires from The Royal Ballet after 40 years The Royal Ballet announces today that Principal Character Artist Genesia Rosato retires from the Company after 40 years. Genesia said ‘It is time, after spending my whole career with this wonderful Company, to retire from dancing. I have loved my life as a dancer, and I know I will miss working with the many talented and dedicated individuals who make up The Royal Ballet.’ Kevin O’Hare, Director of The Royal Ballet, said ‘Genesia has been an incredible member of The Royal Ballet for 40 years working with some of the most significant names in British dance history. Over her long career she has made a great contribution to the Company as a dancer and latterly bringing her dramatic gifts to a wide variety of roles in both the classics and heritage works, giving many memorable performances. We wish her well for the future.’ Genesia was invited by Kenneth MacMillan to join the Company in 1976 and was promoted to Soloist in 1982 and to Principal Character Artist in 1993. On joining she was selected to appear inGlen Tetley’s Voluntaries when it entered the repertory and created the role of Princess Louise in MacMillan’s Mayerling, a ballet in which she went on to perform the roles of Marie Larisch, Mitzi Caspar, the Empress and Helene Vetsera. Frederick Ashton created parts for her in both Rhapsody and Varii Capricci, and he also chose her to perform three of the roles he had made for Violetta Elvin – the Fairy Summer in Cinderella, Lykanion in Daphnis and Chloë, and Variation 5 in Birthday Offering. A highlight of her career came when he gave her the role of Profane Love in the Company’s first performance of his 1950 ballet Illuminations. She first danced Katya in A Month in the Country when Ashton was still rehearsing the ballet and later danced that ballet’s central role of Natalia Petrovna, coached by its originator Lynn Seymour. She also had the opportunity to work with the Company’s founder, Ninette de Valois, on roles in The Sleeping Beauty. Genesia’s numerous roles have included Myrtha, Bathilde and Berthe in Giselle; the Lilac Fairy, the Queen, the Countess and Carabosse in The Sleeping Beauty; Terpsichore in Apollo; the Siren in Prodigal Son; the Wife in The Invitation; Lady Capulet and the Nurse in Romeo and Juliet; and the title role in MacMillan’s one-act version of Anastasia. Her long career with the Company, from early beginnings with Macmillan, saw her work with all subsequent directors Norman Morrice, Anthony Dowell, Ross Stretton, Monica Mason and most recently Kevin O’Hare. The continuity of ballet has often allowed Genesia the chance to play several generations and types of characters within the same ballet, a rich experience that she has treasured. − ENDS −
  2. I've just had a look on my iPhone (niece confiscated iPad!). Open a message. On top right hand side there is a red button that says delete!
  3. Even as a non-dancer the linked article is really interesting. Thanks Kate.
  4. I came across this article on Facebook. I don't know if it will be of use to anyone: http://www.davidwolfe.com/34-pictures-muscles-stretching/?c=pwf&vp=dchop
  5. Lisa, I think this is more appropriate to Doing Dance (even though you are not asking as a dancer) so I've moved it.
  6. It was in the Friends' Newsletter. I don't think it's embargoed. The Lowry is getting a mixed programme of Wink, Moor's Pavane and The Dream 3rd week in September. I don't know when the tickets will be on sale yet.
  7. Hello MPpink98 and DJM and welcome to the Forum! There is plenty of discussion on adult ballet if you use the search facility on the Forum. I hope you will let us know how you get on.
  8. Hello Chloe, I've merged your latest topic with your recent topics on a similar theme. If you look back over the thread you will see that people have given you very sound advice on many aspects of running your own school from the need for CRB clearances to the need to build up a portfolio.
  9. Hello Baeballet and welcome to the Forum! Well done to your DD for getting finals.
  10. What fantastic news Meadowblythe; you must be incredibly proud.
  11. I saw a link to this on FB and signed several weeks ago. I would urge all our members to sign whether are opera fans or (like me) not.
  12. I don't know anything about ENO except that they are in dire straits and that they own the Coliseum. Do they do all their productions in English? Does the RO do all their productions in the original language (and WNO and SO come to think of it)?
  13. Hello Barnes2, I'm glad you finally managed to log on to post. As regards changing your password, I hate to say this but the technology is usually OK. Did you have caps lock on or something? In respect of the critics, because of the dire straits of the newspaper industry they are reluctant to send journalists out and about where it may involve overnight stays. I believe both BRB and NB offer matinees as press performances to encourage them. Doing the links I have noticed that there seems to be less and less press coverage of the arts full stop (internationally too).
  14. I was at both performances on Thursday. The Dream is absolutely one of my favourite ballets and I was really happy to be seeing it again. I enjoyed the performance in the afternoon with Momoko Hirata and Cesar Morales although I felt a little that their interpretations were a work in progress. They danced beautifully but my impression was that they hadn't quite got the depth of characterisation yet. James Barton is probably my favourite Puck ever - he just inhabits the role and was a total joy on Thursday afternoon. The lovers were ... just perfect!! Huge kudos to Brelia and Celiain (Brandon and Delia and Celine and Iain. On Thursday night it was my dream cast as Oberon and Titania in the shape of Chi Cao and Nao Sakuma. They both commanded the stage and it was all to easy to believe that they were the KING and QUEEN of the fairies. They have always had an amazing rapport on stage and look just wonderful together. Chi's scherzo was scintillating and the duet was beautifully moving. Tau-Chao Chou looked as though he was powered by internal rockets as Puck he moved around the stage so fast! I thought he was terrific. Again, the lovers were pitch-perfect so take a bow Yijing Zhang / Yasuo Atsuji and Ana Albutashvili /Tyrone Singleton. The fairies were spot on in both performances and I, like Two Pigeons, was thrilled to see Maureya Leibowitz back on stage after such a long break. It's many years since I saw A Month in the Country (could anybody tell me if my memory is correct and that I may have seen Altynai Assylmuratova?). I saw both casts on Thursday - they were very different and, I thought, equally valid. Samara Downs looked almost driven to distraction by boredom and dissatisfaction with her life. It was easy to see that she was clutching at straws when Beliaev turned up. I found Jamie Bond very moving in this role. His character seemed to lack confidence and he was bowled over by Natalia. Laura Day absolutely sparkled as Vera and Tzu-Chao Chou scintillated as Kolya. With Rory MacKay and Fergus Campbell adding gravitas to the piece it was a delight. I agree with every word Two Pigeons said about Delia and Iain and the rest of their cast. I was swept away on a sea of emotion. It was also nice to see so many Forum members and lurkers in the afternoon and I finally got to meet Alison. I hope the Forum members making the trek today enjoy their day as much as I enjoyed mine on Thursday.
  15. The article is not behind a paywall so anyone can read it: http://www.standard.co.uk/goingout/theatre/matthew-golding-the-brad-pitt-of-ballet-i-just-focus-on-the-show-a3184176.html
  16. Dame Gillian Lynne is 90 years old today. Happy Birthday Dame Gillian! http://northernballet.com/blogs/northern-ballet/16-02-19/happy-birthday-dame-gillian-lynne
  17. Angela, I can't believe I forgot about that one either! Although I have never seen it live I have seen it on the TV a couple of times. It is an incredibly powerful retelling. Thanks for reminding me!
  18. Hello Noobag06 - I've added a couple of tags to your topic. You can use them to search for similar topics. As well as any comments that members make on this thread you may find some other useful information already on the forum. Good luck to your DD.
  19. I'll let you know how wonderful it is when I have seen it in Liverpool in June!
  20. Sadly Fonty, the last time we were able to see this in the UK was 1998. We saw one performance in Oslo in 1999. It was performed in Milwaukee last year ... unfortunately by the time I found out I already had other things booked in this country. I know it was not to everyone's taste but it was very thought provoking. Given that it was the traditional choreography for Albrecht and Giselle I can say that the best performance I have ever seen of Giselle was in Cardiff in May 1998 with Charlotte Broom and Daniel de Andrade. It was absolutely overwhelming and, for me, has never been surpassed. I don't have many roles where I have a definitive dancer but my definitive Albrecht, who immediately springs to mind when there is a general discussion about Giselle, is Denis Malinkine who is now ballet master in Milwaukee.
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