Jane S
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Footnote: It's just occurred to me that it was particularly appropriate that the Flower Festival pas de deux should be included in this programme as it was also item 2 on the bill at the matinee in this same theatre which introduced Nureyev to London in 1961. The dancers were Niels Kehlet and Solveig Oestergaard, and they also closed the programme, with other RDB dancers, with - of course - the pas de six and tarantella from Napoli. (It was the first Bournonville I'd seen live and I loved it.)
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BALLETS BASED ON REAL LIFE
Jane S replied to capybara's topic in Performances seen & general discussions
Joe Layton also made a piece called O.W., about Oscar Wilde, for whatever the touring RB was called in 1972 - the New Group, I think. -
BALLETS BASED ON REAL LIFE
Jane S replied to capybara's topic in Performances seen & general discussions
Also, Peter Darrell made a Mayerling ballet (long before Macmillan's) - for the Royal Winnipeg Ballet in 1963. And the RDB's Caroline Mathilde (chor. Flemming Flindt) is based on the life of the English Princess of that name. -
BALLETS BASED ON REAL LIFE
Jane S replied to capybara's topic in Performances seen & general discussions
Mary Queen of Scots - by Peter Darrell for Scottish Ballet -
RB Mayerling 2022 casting discussion
Jane S replied to LinMM's topic in Ballet / Dance news & information
And he was himself a very good Rudolf! -
Hail and Farewell in Copenhagen
Jane S replied to Jane S's topic in Ballet / Dance news & information
Another new solodanser - Canadian Ryan Tomash was promoted to the company's top level after the last performance of the season. It's been a rapid rise - he joined the corps de ballet in 2017 and was made a soloist only last year - but from the video of the occasion, it's a very popular promotion. Nikolaj Hubbe says Tomash reminds him of Henning Kronstam, which is quite a compliment!- 5 replies
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Sophie Martin to leave Scottish Ballet
Jane S replied to Sharon's topic in Ballet / Dance news & information
I've never forgotten the wonderful Song of the Earth she did when the company came to Sadler's Wells in 2011 - as beautifully danced and as moving as any I've seen. -
Memories of Covent Garden in the 20th century
Jane S replied to Mary's topic in Performances seen & general discussions
It's hard to find a photograph of the old amphi/gallery, but whilst looking I found these two interiors, both taken in 1948: The crush bar The door in the centre led into the Grand Tier and the twin staIrcases went up to the Balcony Stalls The 'vestibule' This area was changed quite a bit before the big rebuild, but at this stage you can still see the performance box office - not much more than a big cupboard by the looks of it - at the foot of the stairs, where there was also a board which showed any major cast changes. Out of shot on the right there was a bookstall, managed by the elegant Stella for most of the time I remember, and also a little winding staircase to the Stalls Circle. (This was 'my' Covent Garden and although I do like some of the improvements, any emotional attachment I had to it ended with the rebuild!) -
Memories of Covent Garden in the 20th century
Jane S replied to Mary's topic in Performances seen & general discussions
We had a discussion some years ago about the old amphi and gallery - this link jumps into the middle of it. -
LIKE WATER FOR CHOCOLATE: RB June 2022
Jane S replied to capybara's topic in Performances seen & general discussions
The. casting for both of tomorrow's performances is up on the ROH site -
Royal Ballet's Swan Lake (Spring 2022)
Jane S replied to MJW's topic in Performances seen & general discussions
It's a sweet gesture but whever I see this I wonder what the person who sent her the flowers is thinking?- 1,276 replies
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I just came across this Dancing Times article by Daniel Pratt of the Sarasota Ballet: he writes about Scenes de Ballet from a dancer's point of view in a way I find really illuminating. https://www.dancing-times.co.uk/dancing-scenes-de-ballet/ (And notice that he /describes it as 'demanding' rather than 'difficult'!)
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Just had another look, Alison, and it was actually Christopher Carr who said it (Vanessa Palmer just said that she agreed with him) and he was definitely talking about the women. Another thing about this run (which I'm not seeing this time round) - so far the role of Vera in Month in the Country has been done by quite senior dancers (O'Sullivan and HIngis) and it's been cast like this for a long time now but - with absolutely no disrespect to these dancers - I still miss the effect from the early days of having a complete untried unknown from the corps de ballet - Denise Nunn originally, then Gillian Kingsley - dancing the role. (Maybe there aren't any untried unknowns these days?) On the other hand I'm pleased to read that the costumes for Scenes de Ballet are seen as attractively chic this time round, rather than dowdy and dated as they've been described sometimes in the past!
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Christopher Carr said at the insight evening that there was only one cast for the women's corps de ballet and he implied that it was partly because it is so difficult.If you look at the online data base you will see that it's always been like this - one or two dancers may be swapped in or out but mostly it's the same team for a whole run. and what really surprised me when I checked this was the quality of the dancers used - very often there are at least 3 future principals and several future soloists - you could almost say that if you wanted to know the next generation of stars you should look at the team in Scenes de Ballet! Also at the Insight Vanessa Palmer, who danced in it herself (and was a nice Ashton dancer), said that it's almost soloist work rather than the usual corps de ballet thing.
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Deanne Bergsma at 80 - and beyond
Jane S replied to Jane S's topic in Ballet / Dance news & information
Keith, you will see from the number of people who have already 'liked' your post that Deanne Bergsma is remembered with admiration and affection on this forum - we had a conversation about her a year ago, also on her birthday, and it showed that people still think of her as THE Lilac Fairy. (And, assuming you are THE Keith Rosson, the first time I saw her in Swan Lake, you were her Siegfried!) -
Hail and Farewell in Copenhagen
Jane S replied to Jane S's topic in Ballet / Dance news & information
Apologies - her name is Emma Riis-Kofoed. (Which I know perfectly well - fingers/brain link problem, I'm afraid)- 5 replies
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Royal Ballet's Swan Lake (Spring 2022)
Jane S replied to MJW's topic in Performances seen & general discussions
Going back a few pages, to Rothbart's machinations: in the current Royal Danish Ballet production, he really is the power behind the throne and among other things he 'turns' Benno from Siegfried's close friend to a part of the conspiracy against him - it's an interesting approach, let's say, and the recording of the production is still online and currently not geo-blocked. And Alban Lendorf is Siegfried.- 1,276 replies
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The Royal Danish Ballet is currently dancing Balanchine's Jewels and at last night's performance Nikolaj Hubbe appeared on stage twice - after Rubies, to promote Alexander Bozinoff to Solodanser (Principal), and after Diamonds, to do the same for Emma Riis- Cofoed. She has been very obviously headed for the top ever since she joined the company in 2017, whilst Bozinoff is a bit more of a surprise - Hubbe describes him offstage as a 'still water running deep' personality and he has quietly built up quite a repertoire of leading roles. The press release claims this a first for a double onstage promotion but I'm fairly sure that Alexei Ratmansky and Thomas Lund were also promoted together, after a performance of Swan Lake (Prince and Jester respectively). But that was long ago, and at the end of this month Thomas Lund leaves his post as Director of the RDB school after 10 years. His successor is Anne Peyk. until now the director of the Tivoli Ballet School. The press release announcing her appointment describes her previous career (via Google Translate): 'Anne Holm-Jensen Peyk comes from the position as innovative artistic director of Tivoli Ballet School and also has 13 years of experience as an instructor and teacher at the Royal Ballet with strong results in organizational, talent and staff development. Her ability to act in the Danish ballet school environment is seen, among other things. through initiatives such as the establishment of the ballet competition The Danish Ballet Prize and the association for dance medical knowledge Dance Science Denmark. Anne Holm-Jensen Peyk is herself a former dancer and has a strong national and international network in the professional ballet environment as well as the ballet school environment, i.a. Ballet Chemnitz, Tivoli Ballet Theater, The Royal Ballet, American Ballet Theater, Finnish National Ballet and Hamburg Ballet.'
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