capybara

The Prizewinners' choices are announced here: http://www.prixdelausanne.org/the-prize-winners-2017-their-choices/ Two dancers heading for the RBS and one securing an Apprenticeship contract with the RB.

Firstly, to answer (in part) the previous post, it was announced during the Bolshoi's live relay today that they will open the cinema season with Le Corsaire and end with Coppelia. It was a delight to see Etudes again, although I think that the version given may have been a longer one than that shown by ENB. That's the way to end a triple bill on a real high. The programme was a well-balanced one. The Cage (Robbins) is 'interesting' but mercifully short (15 mins). I think maybe that one needs to be Russian to appreciate The Russian Seasons (Ratmansky). It seemed more straightforward in its 12 episodes than The Human Seasons but it felt like a series of folk-like dances which didn't really go anywhere or have any depth. Yet again, there was a need to intervene to persuade the cinema to adjust the frame of the projection to ensure the audience could see dancers' feet. Success achieved by the time Etudes started!

And he (Steven) is scheduled to dance both Rubies and (for the first time) Diamonds.

1999 - Ananiashvili dancing in Don Q (with Andrei Uvarov) at the Coli during the Bolshoi's Season in London. Breathtaking!

I know the feeling zxDaveM. With emotionally draining works, I find I need a number of viewings to let them seep into my soul before I am able to gather my thoughts and utter anything remotely coherent.

The 'public' reaction of David Dawson to the reviews The Human Seasons has been receiving is one he will surely come to regret. After all, critical appraisal is part and parcel of all artistic endeavour. A second opportunity to show this work at the RB within 4 years was a wonderful gift for Dawson and, perhaps, a chance to revisit the piece to give greater clarity to his 'message'. He has also been given just about the best casting (both casts) that a choreographer could possibly dream of. He's a very lucky man, not a hard-done by one.

The orchestra needed more space to protect their hearing from the sound of the instruments themselves. Some of them are still wearing monitors in order to assess the levels. Some wear headphones or ear plugs when playing. Damage to the hearing of orchestral players is a real issue.

I think that the removal of the Stalls Circle Sides seats near the stage was negotiated for the ROH Orchestra because of issues with the effect of noise on the instrumentalists' hearing.

With regard to casting for ENB's Triple Bill at SW 23 March - 1st April, the TBCs shown above are now given as Precious Adams on ENB's website. Really nice to see her getting the chance to dance a featured role.

I'm 'enjoying' this thread with a heavy heart.. The waste of Polunin's talent is distressing. I wonder what he is feeling about it all?

I dear, I've put my foot it in. I should have said "would" as I have no inside knowledge and no right to speculate. But I do think that ENB has within its ranks two most extraordinary contenders for the Jeune Homme role.

Both Yonah Acosta (who danced the role to great acclaim in two previous runs) and Cesar Corrales will be wonderful - and YOUNG.

Thank you, Bluebird! I don't understand why the thread I opened has been locked, however. [Mod's note: moved to this thread from the ENB 17/18 season announcement thread.]

Apologies. I started a new thread for the casting for the upcoming Triple Bill without realising that it was on this one. [Mod's note: moved to this thread from the ENB 17/18 season announcement thread.]

Casting is now up as follows: 23 Mar 2017 – 1 Apr 2017 In the Middle, Somewhat Elevated Thursday 23 March 2017 Laurretta Summerscales, James Streeter, Tiffany Hedman, Precious Adams, Cesar Corrales, Crystal Costa, Isaac Hernández, Madison Keesler, Sarah Kundi Friday 24 March 2017 Laurretta Summerscales, James Streeter, Tiffany Hedman, Precious Adams, Cesar Corrales, Crystal Costa, Isaac Hernández, Madison Keesler, Sarah Kundi. Saturday 25 March 2017 Tiffany Hedman, Isaac Hernández, Alison McWhinney, Laurretta Summerscales, Fernando Bufalá, Rina Kanehara, Barry Drummond, Anjuli Hudson, Jung ah Choi. Sunday 26 March 2017 (4pm) Tiffany Hedman, Isaac Hernández, Alison McWhinney, Precious Adams, Cesar Corrales, Madison Keesler, Fernando Bufalá, Anjuli Hudson, Jung ah Choi. Tuesday 28 March 2017 Laurretta Summerscales, James Streeter, Tiffany Hedman, Precious Adams, Cesar Corrales, Madison Keesler, Fernando Bufalá, Anjuli Hudson, Jung ah Choi. Wednesday 29 March 2017 Tiffany Hedman, Isaac Hernández, Alison McWhinney, Laurretta Summerscales, Fernando Bufalá, Rina Kanehara, Barry Drummond, Amber Hunt, Sarah Kundi. Thursday 30 March 2017 Laurretta Summerscales, James Streeter, Alison McWhinney, Precious Adams, Cesar Corrales, Crystal Costa, Barry Drummond, Madison Keesler, Sarah Kundi . Friday 31 March 2017 Tiffany Hedman, Isaac Hernández, Alison McWhinney, Precious Adams, Cesar Corrales, Rina Kanehara, Fernando Bufalá, Amber Hunt, Sarah Kundi. Saturday 1 April 2017 Laurretta Summerscales, James Streeter, Tiffany Hedman, Precious Adams, Cesar Corrales, Crystal Costa, Barry Drummond, Madison Keesler, Sarah Kundi. Adagio Hammerklavier Thursday 23 March 2017 Fernanda Oliveira and James Forbat Laurretta Summerscales and Fabian Reimair Tamara Rojo and Isaac Hernández Friday 24 March 2017 Fernanda Oliveira and James Forbat Laurretta Summerscales and Fabian Reimair Tamara Rojo and Isaac Hernández Saturday 25 March 2017 Katja Khaniukova and Fernando Bufalá Alison McWhinney and Aitor Arrieta Laurretta Summerscales and Emilio Pavan Sunday 26 March 2017 (4pm) Katja Khaniukova and Fernando Bufalá Alison McWhinney and Aitor Arrieta Laurretta Summerscales and Emilio Pavan Tuesday 28 March 2017 Fernanda Oliveira and James Forbat Laurretta Summerscales and Fabian Reimair Tamara Rojo and Isaac Hernández Wednesday 29 March 2017 Katja Khaniukova and Fernando Bufalá Senri Kou and Ken Saruhashi Laurretta Summerscales and Emilio Pavan Thursday 30 March 2017 Tiffany Hedman and Cesar Corrales Alison McWhinney and Aitor Arrieta Laurretta Summerscales and Emilio Pavan Friday 31 March 2017 Fernanda Oliveira and James Forbat Laurretta Summerscales and Fabian Reimair Tamara Rojo and Isaac Hernández Saturday 1 April 2017 Fernanda Oliveira and James Forbat Laurretta Summerscales and Fabian Reimair Tamara Rojo and Isaac Hernández Le Sacre du printemps (The Rite of Spring) TBC http://www.ballet.org.uk/triple Edited to add that I didn't see that Bluebird had already posted this on ENB's Autumn/Winter Season 2017/18 thread

The word is that Polunin received a very great deal of help, advice and support. And that is, of course, sometimes a problem in itself.

The 2016/17 RB run of Sleeping Beauty is now over. I'm exhausted, so goodness knows how the dancers must be feeling. So, in case anyone from the Royal Ballet reads BCF, thank you to everyone involved for a feast of treats. I cannot remember a series of performances before which has included so much wonderful dancing from all levels of the Company. Established stars have wowed us, rising stars have confirmed just why they are in the ascendancy; and yet more amazing talent has emerged to delight us. Thank you again

I’m afraid that my take on last night’s Gala is less benign than that expressed above. The very word Gala implies ‘celebration’ and ‘something special’ (certainly at the prices charged) and, while I hesitate to be critical, overall, I don’t feel that this lived up to its name. Firstly, the plusses. Unusually for these annual occasions, there was more than a passing nod to the focus of the evening, in this case the Ballet Russes, with several pieces firmly located in that era. The programme notes (by Clement Crisp and Graham Watts) were unusually good. The presentation was quite slick and there were no long-winded verbal introductions (thank goodness). The first half in particular was well-balanced and it didn’t feel (as it so often does) as if most dancers were simply presenting whatever happened to be in their current rep. There were some excellent performances: in order of appearance Vadim Muntagirov (Black Swan pdd); Lucia Lacarra and Marlon Dino (Light Rain); Xander Parish (Spectre with a none too easy to handle partner!); and Tamara Rojo and Isaac Hernandez (bravely essaying the Don Q pdd at after 10.20pm). But did we have “the cream of today’s finest dancers” as promised by Lilian Hochhauser in one of the many messages in the programme ? Not in my view. There were ‘big names’ a-plenty but some of them simply did not deliver. Indeed the dancing of some ‘top stars’ felt leaden and floor-bound when they should have been flying. Others came across as rather bland and, for me, the Robbins Faun lacked the essential sexual tension. The contribution from the Vaganova Academy was nicely done but its length made the audience very restless and talkative (around me at least). Am I so wrong in thinking that, with that array of world talent, I should have come away feeling wowed and uplifted? Some of the individual performances I have seen recently (at all levels) in the RB’s Sleeping Beauty have done that for me. But, save for the lovely offerings of a handful of notable exceptions, this Gala did not.

Having just returned from Japan, Putrov will be in Moscow, Kiev and Tokyo over the next three weeks. He ably mixes dancing with producing and some teaching. He has his Men in Motion in Kiev in April and he is dancing at a Gala in Luxembourg in May.

I agree, in general. However, it might be slightly different when someone has trained at a company's school and their talent and artistry are clearly needed. Think Muntagirov who seems to have integrated wonderfully into the RB and should arguably have been offered a contract there from the RBS.

Thank you, Janet, for your solo turn in keeping us informed about Casanova. It's good to have you as our 'NB correspondent' !

The list of dancers at post #53 (above) is definitely incomplete

Tickets now spoken for

Makes one wonder why the organisers cannot yet inform their audience (or prospective audience) who is performing. Disgraceful!

I understand where folks are coming from on this. But I think that other companies have similar schemes, don't they? For example, I believe that Patrons of Covent Garden may sometimes be able to get 'last minute' tickets for sold out shows? My approach with ENB is to book my 'must sees' in London more or less as soon as the booking opens. But, because the casting is often announced quite late (nothing yet for the SW Triple which opens on 20th March), I am sometimes grateful for the opportunity to see if ENB has anything available if I would otherwise miss catching a particular dancer. I think that the only thing which may have changed recently, and has thereby drawn attention to what has been a long-term practice, is the possibility that the demand for Khan's Giselle may have resulted in more tickets than usual being held back. I wonder what we would do if we were managing this aspect of ENB's operations? Not an easy thing to 'get right' methinks.