Fonty

Sad isn't it? I read the words "the Royal Ballet with be performing a new 3 act ballet" and I get all excited. Add in the word "MacGregor" and my enthusiasm vanishes. I wish he could be restricted to one act ballets, I might be tempted to go. But with 3 act ones? I'll wait and see what the general opinion is, and then I might try and get a last minute seat. In the meantime, the article in the Guardian says "the Royal's founder choreographer, Frederick Ashton, has his own moment in the sun." Yes, a moment indeed. A whole fortnight I believe? 10 performances in total, out of the whole year. MacMillan gets more than twice as many. I am not complaining about the latter, I am upset about the former, although a fortnight is certainly better than nothing.

So many of us have commented on the slow pace of the music. I am sure the original score is clearly marked with the speed at which the composer expected it to be played, and if by some chance it isn't, there are a fair few older recordings which must indicate the correct tempi. Surely it cannot be because the dancers prefer it that way? And even if they do, it is the old, old question as to whether this should be allowed? I know that some people said it could be because inexperienced dancers can cope better, and I can understand a certain amount of caution on the part of a dancer making their debut. But once someone has gained experience and got over the beginner's nerves, then I would have thought they would be expected to dance it "properly".

@Kerfuffle I think that should read "British ballet was known for its petit allegro...... That was the real thing I noticed when watching both Fonteyn and Seymour in the first Magic of the Dance programme. Their arms and hands were glorious, and I still can't get over how fast the Sleeping Beauty pdd was. All performed by Seymour looking as though it was the easiest thing in the world to perform at that pace.

Absolutely. I am told that today's dancers really don't like Cecchetti, and hate classes devoted to it. I don't know why; I did Cecchetti classes when I was a teenager and loved them. Been so long since I did them I can't remember exactly what was included, but I believe it was brilliant at correcting tiny errors in body alignment and placement. I really don't think today's dancers are better overall, just different. Yes, the majority of men can jump higher and do more spins that the males of the past. But as far as the women are concerned, broadly speaking athleticism seems to be the key attribute now, rather than artistry. Watching Fonteyn's Magic of the Dance programme only emphasises what seems to have been lost.

I never had the chance to see Makarova live, and normally I would say that if a composer has created something specifically for a certain ballet, then dancers should dance it at the the composer's pace. However, I agree that her exceptional talent meant she could get away with it and create something very special. However, her influence means that it now appears to be the norm to take things at a funereal pace. Several times I have watched a dancer in Swan Lake struggling with a very slow tempo, making the whole thing not only seem rather laborious and lacking in drama. The "crooked foot" is a particular dislike of mine. My teacher was a stickler for correct placement, and she used to shout at girls who may have done this , saying that the foot should form a perfect and elegant line with the rest of the leg. . It is considered a real fault to tip your foot up in arabesque, or it was in my day.

I had a feeling it was her who started the trend, but I wasn't quite sure.

@alison Maybe Geoff's post could come over as well?

Oh I am so glad a separate thread has been started for this. I watched the first episode last night, and thought it came out as fresh as a daisy. Fonteyn was a terrific presenter, allowing sufficient time on each segment without dwelling on the subject for too long or becoming too technical. I'd seen it before, but my partner hadn't and was slightly reluctant. He enjoys ballet, but thought it might be a bit above his head. Not a bit of it, he was as enthralled as I was. I kept fairly quiet because I was interested to hear his reaction to the various pieces. He thought Makarova was a very beautiful dancer, "but why is it so slow? Isn't it normally danced bit faster?" I wasn't actually timing it, but it felt slow to me too. Although I could enjoy her wonderful technique and exquisite arms, and the whole piece was very beautiful, for me it lacked drama. Sacrilege to say so, I suppose! His reaction to the Le Corsaire, which he was seeing for the first time with Fonteyn and Nureyev? "Oh my, now I can appreciate what all the fuss was about at the time." We both thoroughly enjoyed the Fascinating Rhythm piece, and he said it was "much better than almost all that new stuff I have seen at Covent Garden." Can I add that to the Wish List thread please? And finally the Sleeping Beauty pdd. "Wow. She was amazing, really exciting." For me, it was a joy to see Seymour in such a pure classical role. As there are so few clips available of her dancing anything, I could appreciate what a unique talent she was and why MacMillan adored her so much. Observing all the wonderful ballerinas - Fonteyn, Seymour, Makarova - I relished their style. Their arms and hands were glorious, and their feet were lovely, especially in the arabesques. No crooked foot on the end of the leg. Their extensions were beautiful, and there was nothing wrong with the height of their legs. And above all, the speed shown, especially by Seymour. It was so thrilling I could watch it over and over.

Didn't we do a wish list on another thread? Or am I imagining things after partying hard during the festive season? Anyway, would love ENB to perform Le Corsaire again. Lots of dancing, and it was certainly packed out in London when I saw it. If RB is not performing Nutcracker in 2024 as rumour has it, then I do hope Matthew Bourne brings back his version. I've only seen it live once, and I loved the costumes for the Kingdom of the Sweets. Please, no more new stuff by modern or contemporary choreographers. And no revivals with dancers in horrible costumes.

I am assuming this is the complete series?

Goodness, where to begin? First of all, I also have no idea what Mr Monahan is talking about. What point is he trying to make? Why does he use the adjective "glossy" when describing the RB as a world class company? Makes it sound as though he thinks the company wants to be one with a gleaming facade but no depth. A case of "all fur coat and no knickers" as my aunt used to say. How on earth does that tie in with his comment about dramatic rep? And what exactly does he mean by "dramatic" in the first place? A ballet that expresses strong emotion of the tragic sort, or any piece that tells a story? For example, works such as the Nutcracker, Coppelia or Fille have a narrative, but I would hardly call them dramatic, at least not in the way I would define the word in this context. With regard to touring companies, they must have a very difficult time deciding what to take to places that get very little ballet. In London we are spoilt for choice, so we don't mind going to see something we know very little about. If I find myself watching people in grey underwear rolling about while someone bangs dustbin lids together for 45 minutes, I would just chalk it up to experience, knowing that next month I can book a ticket for something much more to my taste. Those who attend maybe once or twice a year are not as likely to spend good money on the unknown. They probably want something more familiar, such as good old Swan Lake. I seem to remember when the Opera House was closed, and the RB was performing in various places that they struggled to fill theatres at times. I know a friend of mine took her granddaughter to see something, and the only choice was a triple bill of some sort. She said it was ok, but the child was disappointed. She wanted to see the ladies in gorgeous tutus and pointe shoes, rather than the more modern pieces that were being offered. That is what ballet meant to her, as it does to so many people who don't go regularly. No idea what the ACE wants, but my perception is that they are keen to encourage the more experimental at the expense of the traditional, and allot funds accordingly. Whereas people new to ballet might be more tempted by the sort of fare danced at galas. Lots of variety with many definite crowd pleasers.

I noticed those as well, @zxDaveM They have been around for some time, and actually on the wall at the back, where commuters will face them while waiting for a train. Also quite clear what they are advertising, makes a change from some sort of meaningless squiggle.

Oh that is sad news.

I've only seen one Nutcracker, so I had nothing to compare it with. I did notice one of two very slight...hesitations, shall we say in the pdd. But if I thought about it at all, I assumed it might have been lack of rehearsal time, as Hirano was a late partner change for Lamb? Maybe if I had seen more performances I would have thought the same as you.

I actually thought it was slow from the start. You must be much more familiar with the pdd than I am. I didn't notice any issues.

I also saw them in the 22nd and I thought they were beautifully matched as a couple. Not sure what you mean by "the technique is weakening." I agree that perhaps Hirano isn't leaping as high now as some of the younger men, but I noticed how soft and controlled his landings were. I couldn't see anything weak about Lamb's technique at all. As I said on another thread, she has never been a flashy dancer, but I thought her Sugar Plum Fairy was smooth, elegant and poised. I thoroughly enjoyed her performance.

Nobody has responded to my comment about the speed of the music for the act 2 pdd or the spf solo, so I assume it must be played at that speed at all performances. I do know the music very well, though, and it definitely sounded a tad on the slow side to me.

It does look fantastic, though.

Really enjoyed the show this afternoon. Sarah Lamb is an exquisite Sugar Plum Fairy, and Hirano made a very handsome Prince. He isn't a showy dancer, but neither is Lamb, and I thought they were beautifully matched. Several things struck me. 1) The music for both the grand pas de deux and the Sugar Plum variation sounded a little on the slow side to me. Is that the speed it has been played at this season? I noticed it particularly for the latter because I watched the video of Darcey coaching it which someone put up (sorry, can't remember who), and I thought it was faster. Obviously the dancers were happy with it, as they glided serenely through it. 2) I've always been slightly puzzled by the repeated sequence of lifts towards the end of the pdd. The music builds up to a soaring crescendo, the Fairy is raised by her Prince...and the people on the left side of the auditorium are treated to a prolonged view of her frilled bottom. Every time I see it, I can't help thinking that something a little more elegant might be appropriate? 3) I noticed that Lamb did her wonderful fouettes with the arms in second. Is that part of the choreography or a personal choice, as I think it is more usual to bring the arms in as the dancer turns?

Lucky Queensland Ballet.

Thanks @Alison. I never thought of looking there.

Can I ask a favour? If it is possible, could people put the names of the dancers under their photos? I don't go often enough to be able to recognise everyone immediately, and I have to scroll back through the posts to see if the dancers performing different roles have already been named in conversation.

Although not about the ballet, it is sort of on topic. I went to a lunchtime carol concert, where there was a brass band quintet. Along with carols, they did various musical numbers. One was from the Nutcracker Suite. We were treated to variations of the Sugar Plum Fairy as performed by circus animals. The one for Nellie the Elephant was particularly amusing - rather slow, with lots of trumpet(ing). My husband said it was better than the real thing. But he never has been a particular fan of the ballet. I can't wait to see the real thing on Friday.

I am desperate to know how her Googlies went.

Interesting. I've always thought that step looks rather clumsy, and wonder why anyone would do it in the first place.