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  1. I thought it was like the other 'on demand' ballets ('Corsaire' etc.) they are currently offering, that you can renew the licence every three days. As these have been specifically made for hire, there doesn't seem to be a cut-off date listed, unlike the archive films shown earlier in the year which copyright holders agreed could be shown for free for a very limited time period. I hope I am correct about this.
  2. What an exhilarating celebration of dance to witness on a grey Monday (and Tuesday!) morning! Most of the dancers have not set foot on a stage since mid-January and their joy at finally performing again, albeit in a studio and with no audience, was almost palpable and certainly infectious. I was very pleased that ENB decided to launch its digital season of new dance works with a piece by their associate choreographer and winner of the NDA emerging talent award this year, Stina Quagebeur. I started following her choreographic career about eleven years ago and the vitality of this new work rem
  3. As she has now publicly announced it on her Instagram page, I can confirm that Jurgita Dronina is seven months' pregnant, so she would not have been able to participate in this season until the spring,. However, I know she is hoping to return as a guest artist at the first opportunity.
  4. Just to inform people that Estonian National Ballet will be showing a rehearsal on their Facebook page tomorrow at 8.30am our time. This is a rehearsal of Act I of Mary Skeaping's "Giselle" which was recorded last week as the company has placing calls onstage tomorrow so cannot participate 'live' in World Ballet Day. Their Facebook page is Rahvusooper Estonia.
  5. I have to say that I booked on the afternoon of 3 September and had no problems whatsoever getting my ticket for the Saturday morning or making a donation - and I am neither a Friend nor a Patron so perhaps I was just extremely lucky! At half an hour, it is rather a short event but worth it just to be inside a theatre again!
  6. With regard to Sergeyev staging the classics for the Sadler’s Wells Ballet, I had a delightful conversation with Julia Farron a few years ago. She was in the company at the time and she remembered these rehearsals. She said that Sergeyev was rather unmusical when it came to teaching variations etc. so, unbeknownst to Sergeyev, when he had left the rehearsal room for the day, De Valois would keep the dancers back and ‘clean them up’ musically.
  7. I am rather surprised that the press release only mentions the years given to the company by Maria José Sales and Fernando Bufalá since their return to ENB round about 2014. Both dancers took a break from ENB for around five years but, previous to that, they both gave many years of wonderful service to the company, with Bufalá dancing a number of principal roles. Sales was definitely in the company in 1998 so has clocked up at least sixteen years with the company! Having worked on Mary Skeaping’s “Giselle” with all those who have left, including Joshua McSherry-Gray and the lovely Crystal
  8. These performances so far are only advertised on the DistDancing Instagram page and can happen on Saturdays or Sundays. The organisers hope to keep them going until October. On the information page, attendees are asked to socially distance, wear masks and not to block the pathway for passers-by but obviously there is no-one to police this so one hopes that all will behave responsibly. The Instagram page also contains films of some of the performances and it is interesting to see that, as well as Japanese television, shared by Naomi above, Brazilian and Italian television have also reported
  9. The film was based on Maurice Maeterlinck's play, "The Blue Bird of Happiness" (1908). I remember seeing this film on its release, mainly because it featured Nadezhda Pavlova (then tipped for great stardom) and other members of the Kirov Ballet (as it was then called). It had an all-star cast, including Elizabeth Taylor as the mother and, in one of her first screen appearances, a very young Patsy Kensit as Myltyl. I do remember Cicely Tyson being a deliciously wicked cat! There was an earlier version, made in 1940, which was on television a few years ago. It starred Shirley Temple as Mylt
  10. Zizi Jeanmaire, inoubliable interprète de « Mon truc en plumes », est morte Muse du chorégraphe Roland Petit, Zizi Jeanmaire a bouleversé les frontières traditionnelles de la danse, de la chanson et du music-hall. Elle est morte à 96 ans. Le Monde avec AFP Publié aujourd’hui à 11h27, mis à jour à 14h40 Temps deLecture 4 min. Partage Partager sur Facebook Envoyer par e-mail Partager sur Messenger Plus d’options
  11. I expect the version on Youtube is the Dutch National Ballet production by Wheeldon which was adapted (and enlarged!) for the Royal Albert Hall. ENB performed Wheeldon's proscenium version at the start of their autumn (2019) tour.
  12. I see from the date given in the credits at the end of the recording of Christopher Wheeldon’s Cinderella-in-the-round that it was filmed during the dress rehearsal on 5 June 2019. I was at this dress rehearsal and I vaguely remember cameras being dotted about the vast auditorium. This was surely the most challenging ballet to film and edit to capture all the action. I remember being disappointed at the rehearsal and subsequent performances by the standard of the choreography, especially in comparison with the company’s previous productions and, of course, the Ashton masterpiece, which very
  13. In total, I saw twelve performances of “Manon” during the 2018/2019 season and I remember being underwhelmed by Alina Cojocaru and Joseph Caley in the leading roles, just as I was when watching this streaming on Wednesday evening. Compared with almost all the other casts, I found their performance a bit too careful, lacking in spontaneity and missing the rapturous abandon in the first two pas de deux which was so thrilling in performances by the other casts. Of course, Caley’s dancing is beautiful but I did not feel it was infused with emotion in the same way as the dancing of others taking o
  14. Unfortunately I had no idea, as Khan's version is far removed from Mary Skeaping's production which I look after. However, I have asked my good friend Stina Quagebeur, who created the role of Myrtha in the Khan version, and she said Khan wanted them to have weapons as they seek revenge and he thought that holding them in the mouth made them belong to another world, not the real world. Of course, the need for them to have weapons is completely contrary to the original legend of the Wilis, who were meant to ensnare their victims with their beauty (which is why in the Skeaping production des
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