capybara

But, as has been said here in previous years, “all sorts of factors” come into play in the decision-making.

When I copied and pasted from FB nothing could have been further from my mind than suggesting that BCF was at fault in some way. I was just rather surprised that the NDAs had apparently made their announcement via social media. Thank you for the full text, @Jan McNulty

Very surprised to see the list on Facebook before any press release or the usual notification to sponsors. Here are just the first few categories to whet appetites for 'debate': The Dance Section of the Critics’ Circle is pleased to announce the short-listed nominations for the National Dance Awards (#NDA24). The qualifying period for performances was between 1st January and 31st December 2023. The short-listed nominees are taken from nominations made by the members of the Dance section of the Critics’ Circle. In total there were 311 companies, choreographers, performers and other creative artists nominated, from which the short-listed nominees are: Best Male Dancer: William Bracewell – Paris Fitzpatrick – Francesco Gabriele Frola – Brandon Lawrence – Vadim Muntagirov Best Female Dancer: Sara Baras – Jemima Brown – Fumi Kaneko – Tiler Peck – Aishwarya Raut Outstanding Company: Alvin Ailey American Dance Theater – Birmingham Royal Ballet – Nederlands Dans Theater – New Adventures – The Royal Ballet Best Midscale Company: Acosta Danza – Ballet Black – Ockham’s Razor – Scottish Dance Theatre – ZooNation: The Kate Prince Company Best Independent Company: Drew McOnie Company – Pett I Clausen-Knight – Russell Maliphant Dance Company – Seeta Patel Dance – Tiler Peck and Friends Best Classical Choreography: Sara Baras for Alma in the Flamenco Festival – David Dawson for Four Last Songs by English National Ballet – William Forsythe for The Barre Project by Tiler Peck and Friends – Wayne McGregor for Untitled, 2023 by The Royal Ballet – Seeta Patel for The Rite of Spring by Seeta Patel Dance Best Modern Choreography: Kyle Abraham for Are you in Your Feelings? by Alvin Ailey American Dance Theater – Drew McOnie for Nutcracker by the Drew McOnie Company – Kristen McNally for The Limit at The Royal Opera House – Crystal Pite/Simon McBurney for Figures in Extinction (1.0) by Nederlands Dans Theater – Pam Tanowitz for Song of Songs by Pam Tanowitz Dance Outstanding Male Classical Performance: Gareth Haw in Four Last Songs by English National Ballet – Ryoichi Hirano as Espada in Don Quixote by The Royal Ballet – Brandon Lawrence in Liebestod by Birmingham Royal Ballet – Sooraj Subramaniam in The Rite of Spring by Seeta Patel Dance – Joseph Taylor as Gatsby in The Great Gatsby by Northern Ballet Outstanding Female Classical Performance: Sara Baras for Alma in the Flamenco Festival – Isabela Coracy as Nina Simone in Nina, By Whatever Means by Ballet Black – Mercedes de Cordoba for Si, Quiero in the Flamenco Festival – Fumi Kaneko as Princess Aurora in The Sleeping Beauty by The Royal Ballet – Tiler Peck for Turn it Out by Tiler Peck and Friends Outstanding Male Modern Performance: Harry Alexander in how did we get here? by Julie Cunningham & Company – Paris Fitzpatrick as Romeo in Romeo + Juliet by New Adventures – Yannick Lebrun in Dancing Spirit by Alvin Ailey American Dance Theater – Liam Mower as Edward Scissorhands by New Adventures – Charlie Stemp as Bobby Child in Crazy For You Outstanding Female Modern Performance: Cordelia Braithwaite as Juliet in Romeo + Juliet by New Adventures – Jemima Brown in Surge by Tom Dale Company – Aditi Mangaldas in Forbidden by Aditi Mangaldas Dance Company – Dada Masilo as the Chosen One in The Sacrifice for Dance Consortium – Constance Stamatiou in Cry for Alvin Ailey American Dance Theater Emerging Artist: Nicole-Lily Baisden, musical theatre artist – Jordan James Bridge, dancer and choreographer – Eric Pinto Cata, artist at Birmingham Royal Ballet – Joshua Junker, choreographer – Sae Maeda, soloist at The Royal Ballet

Yes please.🦢

V A D I M 😁🤩 What we saw last night was a glimpse of a very special Leontes. If anyone missed his revelatory Rudolf, a ticket for his WT would seem to be a ‘must buy’. The coaching session (Act 3 pdd) with Edward Watson was a real ‘insight’ but, maybe, the Florizel/Perdita pdd with Chris Saunders which came later was at too early a learning stage for the occasion even though Sae Maeda and Luca Acri are lovely to watch.

Maybe we should serenade him (and you) 😉

Great that Yasmine is featured in this way. Along with other RB stars in their thirties she does not get enough coverage to cement her in the public mind as a really great dancer.

The ends of SW Stalls Row C have a really good view as far as I’m concerned. And Yu Kurihara (as well, of course, as Momoko Hirata) seems to be accumulating a lot of admirers. Choices, choices - always difficult but BRB really does seem to have a rich reservoir of Auroras.

This thread is headed RB but I guess the survey relates to everything about the ROH?

Isabella Gasparini substituting in Requiem shows what an absolute trooper she is too. 👏👏👏 Thank you to those who have given eye witness reports.

Both Corrales and Cuthbertson have recently posted themselves rehearsing TW’sT on social media so, hopefully, whatever ailed them is now in the past.

But, surely, dancers’ commitments to their home company should take precedence over guesting? (……….) I had done exactly that (i.e. booked specifically for the second cast tonight) but, completely coincidentally, had needed to return my ticket.

……. who was Alice when still ‘only’ a soloist but, IIRC, made such an impression in the role that many would have promoted her to Principal with immediate effect.

Not the way I look at it. The soliloquy between Acts 1&2 is gorgeous, his Act 3 variation can be spectacular. The rest is partnering an Odette or an Odile who completely obscures Siegfried from view for much of the time. @Mary’s version (see above) would sort the dancing issue for me nicely. But not the ending 🤔

I think it was established upthread that the announcement would precede the Patrons' Season Preview on the 1st May. That points to a Press Release on the 30th April.

At least, this run, the Siegfrieds don’t seem to be falling away from VR into a terrifying roll forwards which made the audience fear they would end up in the orchestra pit.

That’s not surprising. Cesar’s dancing as Juan Fernandez was something of a scene-stealer (to put it mildly)!

Cesar led the second cast of LWFC alongside Yasmine Naghdi and, together, they blew me away, transforming the ballet into something very special.

No doubt along with others, I first noticed Viola largely because, being small, she was often at the front in the corps from the moment she joined the RB. I have obviously enjoyed watching her when she has danced a role, sometimes well-matched against a shortish man. But I don’t yet ‘get’ why she is coming to be regarded as ‘extra special’. Maybe BCF members could help me?

Added to which we now have the initials MB on posts which can translate to both Matthew Ball and Matthew Bourne 🤯🤔

Agree of course but, at the time of the last run of Giselle, I don’t think that William was a Principal and I have a feeling (IIRC) that he was nursing a back injury.

I have advocated earlier for Principals to have more performances. My most recent post was on a different issue .

Well, many paid RAH prices for Vadim Muntagirov as Siegfried in ENB’s Swan Lake in the Round in 2010 when he was only just 20 and still not a full year out of ballet school. I caught Sergei Polunin as Solor in La Bayadere, The Prince in The Nutcracker, and more when he was in his teens. As to ‘value for money’ with the ROH prices as they are now ……there is usually added interest (for me) to be derived from experiencing new casts.

Now that’s a real pity for Lauren and us. I felt that she was gorgeous in Requiem.

Marco Masciari seems to be 'doing OK' at the RB but Stanislav W perhaps not so much; and hasn't this year's apprentice (Julie Joyner) already left.... It does appear that the really outstanding winners of the Prix (e.g. Antonio Casalinho) are electing to 'shop around' rather than join the RB on the bottom rung.