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Jane S

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  1. ... and now he's just danced Armand on the opening night of the RDB's revival of Neumeier's Kameliadamen. Astonishing for someone only in his second year with the company. .
  2. Does anyone know if it is still the case that the Stuttgart people either do the casting or at least have a power of veto?
  3. The most famous occasion was when Nunez, and then Cojocaru were promoted 3 levels in one jump - artists to first soloists. Simultaneous posting - sorry!
  4. Neither did she join the Royal Ballet, did she? - I remember her being listed as a principal guest artist, which presumably left her free to dance elsewhere as she wished.
  5. Thank you - it's always nice to see bits of ballet.co resurfacing!
  6. Christine Redpath, according to their Facebook page
  7. Flames of Paris. Also Albrecht's act 2 solo - they all did two solos and there were no pas de deux. The dancers had chosen their own repertoire, which according to Wayne Eagling was an important part of the experience for the nominees, who learn to take responsiblity for what they do rather than waiting for someone to tell them. (I know all this stuff because I wrote a piece about it for ballet.co!)
  8. Maybe they need both? Also, I'd disagree that the ROH has had no problem serving the audience till recently!
  9. Funny, I read this and thought 'great - they've understood they have a problem with understanding what their audience needs - maybe they've read about it here - and they're hiring someone to sort it out'. Agree about the 'real people' though.
  10. The 2011 winner was Shiori Kase, and the audience choice was Anton Lukovkin, who was not one of the 6 in the finals. (the other dancers in the final were Muntagirov, Ovsyanick, Summerscales, James Streeter and Max Westwell) I think the 2010 winner was Anais Chalendard.
  11. Next season's repertoire for the RDB was announced this morning: Queen of Spades (Scarlett) Blixen (new full length by Gregory Dean) Nutcracker (Balanchine) Ballet de Luxe - Act 3 of Raymonda/Ballo della Regina-/August 2.0 ("a respectful nod to August Bournonville, bringing the master's choreography into the 21st century" - arranged by Dinna Bjørn and Nikolaj Hubbe) Mahler's 3rd Symphony (Neumeier) Come fly away (Twyla Tharp) A Folk Tale (Bournonville) ... plus a number of smaller scale works and collaborations Interesting that Gregory Dean gets another big opportunity straight after this season's Cinderella - and from the publicity photo, another big leading role for Kizzy Matiakis! Full programme
  12. I thought she was astounding in the mirror pas de deux - totally fearless - and very good in the last act, but far too young in the first scene - she looked about 13.
  13. According to a poster on Balletalert, confirmed on the Mariinsky site, Lauren Cuthbertson is ill and will not dance Aurora tonight. She is due to dance Marguerite at the closing gala on Sunday, so let's hope it's something veryshort term.
  14. Flashback to the olden days: a disruptive drunk was sitting near us in the Stalls Circle and at the beginning of the first interval the chief security man (not Sergeant Martin, I think, but his successor) appeared with two of the younger male ushers, pointed to the drunk and said calmly "This gentleman is leaving". And, helpfully assisted by the young men, he left.
  15. I thought there was nothing at all in the calendar until I found that the button saying 'select' - or whatever it says - is covered up by the pop-up rating window...
  16. Interestingly, neither of the two things you're complainng about appears in the print edition of the Matthew Ball interview - the photograph with the 'toreador' caption isn't there at all and the main headline - the one in purple online - isn't there either. On the other hand, there is a little side heading saying 'Principal boy' which annoys me even more!
  17. On my desktop, the new layout has a pop-up ''rate this page' which gives an opportunity to make your feelings known, good or bad.
  18. ... though it's worth remembering that if Grant was "young and inexperienced", Shaw was even younger (by 3 years) and also, at the time of Cinderella's creation, much less experienced, having been called up shortly after the first run of Symphonic Variations and spending the whole of the next 2 seasons in the army, while Grant had been establishing his position in the company
  19. The start of Lynn Seymour's career coincided, verry luckily for me with the start of my own ballet-going - the first time she appears in the programmes I've kept, she was still listed as Lynn Springbett. She was just doing corps de ballet roles - a friend of Swnilda's etc - and the first solo i saw her do, a year of so later, was in the Swan Lake pas de trois (done as a divertissement - this was before the touring RB had the full length Swan Lake. Only 3 years later she was one of the company's stars, and I remember an amazing fortnight when I saw her 4 nights running in 4 different roles (Les Sylphides, Aurora, The invitation and Two Pigeons) and then the next week as Odette/Odile, the pas de deux in Les Patineurs, the Girl in Solitaire (twice) and another Aurora (much better than the first one - no one ever accused Seymour of being consistent!). And I have to say that if I could see one of those over again it would be Solitaire - she was so funny, way the best of anyone I saw in that role. (Also dancing with the company in those 2 weeks were Beriosova, Nerina, Sibley, Doreen Wells, David Blair, Donald Macleary, John Gilpin and Christopher Gable!) My best memory of Ann Jenner is from the coda of the Swan Lake pas de trois one night - one of those moments when the music and the dance become one and you remember it for ever.
  20. Injured, not ill - she tore a ligament during the first performance of Ashton's Don Juan, about a month before Cinderella opened.
  21. Just this once, I believe David Vaughan was wrong - Britton was not injured, he was ill (with flu) and had been out for some days. Britton actually danced the role for the first time at a matinee on March 18th, about a month after the premiere (by which time Gable himself was out, with a strained back). Clive Barnes said: "His dancing was very vigorous indeed, and had a pleasing virility and breadth of movement. ....However, although his conception of the role was more detailed and more varied it was at the same time less convincing than Gable's. He tended to over-stress the humour of the first scene and missed much of the lyric passion of the reconciliation pas de deux." (Incidentally, in the same article Clive Barnes scolds the RB for substituting another dancer for Svetlana Beriosova one evening - in a leading role - with no explanation or publicity apart from the substitute's name appearing in the cast list: "many of the audience must have especially booked [for Beriosova]" and " A poster of apology outside the theatre would not have come amiss in these circumstances" - sounds familiar...
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