capybara

54 minutes ago, Sim said:

I have heard that there were bouquets of flowers backstage, but that no ushers were around to distribute them onstage.  So, no debut photos for Will, Yasmine and Anna-Rose surrounded by bouquets.  That's why the stage manager had to dash in front of the curtain to give Yasmine one of her bouquets.  For a triple debut night, I think it is very, very poor not to have had anyone at all able to take some bouquets onto the stage.  

I didn’t want to interrupt the reviews by referring to the situation with the flowers (or, rather, their absence); but, since others have…….
I felt really disappointed for the dancers as being surrounded by bouquets is part of the ballet tradition, especially for debuts. But there would also have been fans who would have appreciated seeing their tributes presented and having, perhaps, a personalised photographic record from a simply wonderful night.

I did wonder whether the single armful of white roses might have had something to do with the ballet’s anniversary but, alas, the departure from the norm was borne of inexcusable inefficiency. 
 

(‘Proper’ comment to follow - maybe after 3rd Feb. because there is so much to try to do justice to and I’ve booked for Giselle this afternoon!)

22 minutes ago, FionaM said:

Cesar Morales has been appointed new AD at Santiago Ballet from March 2024

 

https://www.instagram.com/p/C2TYHSwMTgO/?igsh=MXBwNnN1MWc1NDZlZw==

 

 

This move is not surprising as Cesar has obviously been preparing for his transition away from performing for some time.

Best wishes to him in his return ‘home’.

20 minutes ago, Dawnstar said:

 

Oh dear, now I'm going to regret not seeing that cast. I was already regretting not seeing Ball, as I thought he was very good in 2019. The problem with the Ballet Forum is that it feels like every cast I don't/can't see always seem to get reviewed as giving amazing performances so I feel disappointed & envious that I can't see them all.

One can only do (afford) ‘so much’ and take from what we see in our own way.
Indeed, the comments about casts I haven’t booked for can often help me think afresh about the interpretations which I am seeing. 

I believe it has been said before that the passage of time and changes in life experiences result in individual dancers offering us renewed character revelations in runs later in their careers - and changes of partner can make a fundamental difference too. By the sound of it, such factors are already making these Manons extra interesting.

@Bruce Wall

And just why are either SFB or Boston ‘better’ companies in which Daniel McCormick should flourish?

ENB is a significant presence in the ballet world with a new AD intent on taking it to new heights. Please don’t let us diminish it - especially not after this stunning run of Giselles.

I am actually not as convinced as others might be that DM’s early promise (so evident still in ‘featured’ roles) is yet revealing itself when he dances at a more Principal level. But ENB will surely help him on that developmental journey. One only has to look at the roster of ‘home team’ and guest Repetiteurs  to feel reassured about that.

(Apologies for this slight diversion from topic.)

Thrilled that the amazingly entrepreneurial  Ivan Putrov is mounting a second Gala for Ukraine.

The amount of work involved behind the scenes for a small charity such as his (Inspiration in Motion) must be astronomical but he always manages to deliver in spades.

Hoping that, individual resources permitting, everyone on here will show their support for the aim and the programme.

More later overall but I find myself still, this morning, much affected by the two evening debuts yesterday.

The dancing and portrayals from Shiori Kase and Angela Wood (Myrtha) were everything one could wish for - and more.

Due to earlier injuries, Shiori has had a  very long wait to become Giselle and Angela has  been a corps de ballet stalwart since 2010. Both shone brightly as students at the RBS (Angela ‘starred’ in The Lilac Garden alongside William Bracewell), graduating in 2009 and 2010 respectively, and that makes it a particular joy to experience their artistry now.

28 minutes ago, Sim said:

I am not sure that the RB didn’t take any elite dancers due to lack of funding.  They are already top heavy with principals and the first soloist rank is full. They just don’t have room for any more dancers.  The existing ones don’t have enough stage time as it is.  Drafting in more dancers would have exacerbated the situation.  

Quite; and the RB has elite dancers of its own (not all  fully recognised for the stars they are) whereas Dutch National obviously had more leeway.

9 minutes ago, Sophoife said:

 

They dropped the Mistress, and tweaked several other bits I am told.

 

His Nibs only did five Des Grieux at the ROH. It was our last London theatre before departing for Australia.

 

Twenty years later, on return to the ROH, Mr Rancher (with fur and tiny dog) signed my 1974 programme with some astonishment after playing the Don in the Baryshnikov Don Quixote, with Sylvie Guillem and Oliver Matz.

“His Nibs” ?????

16 minutes ago, LinMM said:

Would love to have seen Erina Takahashi and Cesar Corrales together in Giselle!! 

Special in so many ways.🤩

38 minutes ago, CCL said:

I think it was about eight years ago, maybe? IIRC it was post-Nutcracker and in a double bill with Le Jeune Homme et la Mort?

Touring, also at the Coli in Jan. 2018 alongside Le Jeune Homme.

Is that Charlotte MacMillan next to Frankie in the second photo down?

If so, presumably on stage in relation to the 50 year birthday celebrations for Manon?

A brief but nicely judged tribute from Kevin O'Hare front of curtain before the General Rehearsal today. He mentioned that the opportunity would be taken to remember and celebrate Anthony Russell Roberts in the context of the Ashton Season this coming summer.

14 minutes ago, Scheherezade said:

Me too. Very pleased as I haven’t booked for this cast so was hoping it would be them. 

Me too 😊

10 hours ago, PeterS said:

Both the ROH & Sarasota Ballet websites say tickets available soon. No other details given. So, keep an eye out. 

 
Lots of different booking dates given in the magazine. The key ones perhaps are: Friends from 6th March; Public from 27th March. 
So a while to go yet.

11 minutes ago, MJW said:

I thought that Laura Morera mentioned in last week's Insight that Will Bracewell and Yasmine Naghdi would be performing in the General tomorrow. Hopefully that will be the case, as I'm not booked to see them otherwise.

It appears from social media as if that cast has already had its final Stage Call.

9 minutes ago, alison said:

The really frustrating thing has been how well this season has sold …..

But this is fabulous for the Company and, maybe as well, a signal from the paying public that they want to see CLASSICAL ballet.

I know that others have expressed their appreciation but, thanks to Irmgard and others, this thread really is enhancing our appreciation of Mary Skeaping’s Giselle in a way which is probably unique to BCF.

Loving all the additional information.

Oliviera was really lovely; but so was Takahashi.

And we got Gabriele Frola!

It’s amazing to think that Erina, who is in her mid forties, danced Giselle last night  as well.

Both these ballerinas are ENB gold.

Fumi Kaneko has posted a series of images from her stage call yesterday on her IG account which hold the promise of a great Manon from her.

We really do have luxury casting to look forward to in the title role.

1 hour ago, Sim said:

The occasional guest star does still appear with the RB.   For example, they are bringing in Roberto Bolle to dance with Marianela in Manon.  They brought in Alessandra Ferri to dance in Woolf Works.  

Neither necessary in my view, although Ferri is an extraordinary artist (requested by McGregor) but now contributing more widely to the RB’s output. 
 

Generalisations about the overall atmosphere in a Company are tricky. But best not to ‘go there’.

3 hours ago, Geoff said:

Thank you for an interesting post. Just on this point though, am I the only person who misses the preBrexit time when it was easier (and cheaper) to bring in occasional stars from overseas? 

Please NO!

The RB’s Principals get far too few shows as it is and, at this moment in time, having guests could appear to devalue the Royal’s illustrious roster.

Reference is made above to the RB’s stars not being ‘names’. They never will be if ‘outsiders’ are shipped in. 
 

No quite ready to set down thoughts about the performance (my first one was this afternoon) but, in the meantime, congratulations to ENB for the Giselle programme. 

It’s packed full of interesting and helpful production-related information, including some lovely photos from previous runs.

AND it’s a handy size for popping into a bag.

7 hours ago, Irmgard said:

Just to answer a few questions, Fernanda Oliveira unfortunately is indisposed but is planning to do her performance this Sunday.  Francesco Gabriele Frola is fine!  Due to the company's punishing "Nutcracker" schedule with so many double-show days, by this evening, there had been four stage calls of "Giselle" in three days (including the dress rehearsal) to cover this week's casts.  With both the Lee/Haw casts and the Takahashi/McCormick casts having their first performances tomorrow, the decision was made this morning, when it was clear Oliveira was unable to perform, to ask Khaniukova and Arrieta to step into the breach which, in my opinion, they did brilliantly, especially as it meant they had danced the complete ballet three nights in a row!  

 

With regard to Berthe's mime of the story of the Wilis, there is a full explanation in the programme of the gestures.  In the Royal Ballet's current production, it is longer than Skeaping's as she edited it slightly.  Tamara Karsavina was the source for both versions.

 

Albrecht's solos in Act 2 are not set in stone by Mary Skeaping, as each dancer is allowed some freedom, as long as they remain in the Romantic style and do not perform the 32 entrechats six, which Skeaping abhored.  The series of 32 were first introduced into the UK by Nureyev and are certainly not part of the Sergueyev staging for the Camargo Society or Sadler's Wells Ballet.

 

 

Your updates and additional information are very much appreciated, @Irmgard

Laura Morera tonight as the coach. Simply wonderful.

She could dance the whole ballet, every role.

Very much looking forward as well to the three upcoming debuts.

On reflection, it’s surprising that Joseph Sissens is the only new Lescaut (I think).

25 minutes ago, Sim said:

This will be well worth watching for the rehearsal.  Just saying!

No prizes for guessing the main dancing participants, then 😉😊