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newballetfan

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About newballetfan

  1. Congrats to all promotees! A shame Anna Rose O'Sullivan didn't get one this year but as many people have said, difficult decisions with so many talented dancers. Am I right that Amelia Palmiero is the only Aud Jebsen apprentice not taken on? My heart always bleeds for them when that happens even though I've no doubt they all know there is no guarantee. I hope she has somewhere good to go to.
  2. Awesome for the upper school grads! The apprentice scheme seems to be a thing that more and more companies are doing. I'm sure there are good reasons but it seems hard on those involved- of course it's fantastic to be taken on in any guise but I can imagine that if it were me I'd feel a little like asking what my peers with full contracts have that I don't. But then I also work in an industry full of temporary contracts and I am jaded by it! I wonder what Johanne Monfret will do next.
  3. LOL Taxi!! What gets me is that these continued debates are supposedly happening for people who are 'undecided'. This campaign has been going on for a year. Who could possibly still be undecided? Have they been walking around with their ears and eyes shut? I'm a historian, albeit not of modern history. The university departments I work in are horrified at the possibility that he might win.
  4. Oh sorry I didn't catch that it had already been posted in another thread!
  5. RB graduate Joseph Aumeer has posted on his Instagram that he has accepted a contract with POB for next season. (I hope this is ok to share here - Instagram is public)
  6. Wow I'm sad to see Josie Frick and Naomi Bottomer leaving - they only just joined! Anyone know what they're doing next?
  7. Oh absolutely - I'm sorry, I didn't at all mean to speculate about the students themselves. If anything I'm trying to speculate about the why the school states that it's 100% employment when it isn't yet. Why not wait until the end of the audition season and THEN put that up on the website?
  8. On their website the Royal Ballet School are claiming a 100% employment rate for their 2016 graduates. But that isn't the case; if you compare the names of those in the third year and those who have contracts, there's one who doesn't yet, so how can they possibly claim 100% employment? I don't mean AT ALL to pick at the individual in question or indeed the school with this comment, because there are tons of reasons why that might be - they might have decided to stop dancing, or been prevented from auditioning due to injury, or simply still be on the audition circuit, I've no idea. I just find the way that they appear to be manipulating statistics here annoying, and to be honest, isn't it also misleading? Those stats work as a form of advertising for the school, after all.
  9. This is all so exciting! Really glad O'Hare is making good his promises to foster talent within the ranks. I saw Hirano as the witch in Hansel and Gretel a while ago and I will never forget it, he was utterly creepy and I couldn't take my eyes off him, so I'm happy he's now a principal! I'm also really glad for Tierney Heap as I saw her Carmen and thought she was fabulous. Anna Rose O'Sullivan is also a favourite so yay all round!
  10. Unfortunately TV goes in waves of presenters - whoever is popular now is wanted for EVERYTHING. It works the same for history programmes (I've done research for them!). In the same way you find Lucy Worsley presenting absolutely everything under the sun whether or not she has any real expertise on the subject at hand (that ridiculous BBC4 thing she did on horses, for instance). I suppose at least Darcey does know what she is talking about when it comes to dance, although I agree that I don't think she's a very good presenter. I saw a biographical programme about her once and she was interviewed, and she was so much better and so much more natural that way than she is when she interviews other people.
  11. Would just like to echo others in saying how incredibly informative your posts are, FLOSS. I am not a dancer and know nothing about ballet except that I enjoy watching it. However, as an academic I know expertise when I see it and that's why I come to this forum, to learn. I so wish I could go and see this, to boost those ticket sales, but the prices remain too high for me even in the Amphitheatre.
  12. I went to the Saturday evening performance to see Tierney too - I love seeing the 'up and coming' young dancers! I thought she was great. I was up in the amphitheatre and didn't need binoculars to get the detail. I know nothing about ballet and would love to see an alternative cast for comparison, but on the other hand that would mean seeing Carmen again and for me the money would be better spent on something else. I agree with many of the comments here - it was unwieldy and a bit of a bizarre mish mash of stuff. I also think they need to differentiate the costumes between the two male characters in a more striking way, because from the back of the opera house they were hard to distinguish. I also felt the story was thoroughly unclear. I'm not familiar with the original story of Carmen but I have recently seen Matthew Bourne's Car Man. I have difficulty believing that the two were based on the same story frankly. No idea what the narrative actually was in Acosta's choreography, and the bit with the bull? Eh?! I laughed in a couple of places where I don't think I was supposed to - notably near the beginning where the whole boiling of them are on stage, a man walks across in a suit with a briefcase and gets shot dead, at which point the whole lot of them disappear noisily. It felt like a supremely clumsy and therefore comic way to clear the stage! Unfortunately I had it fixed in my head that the performance started at 7.30 and so I missed Viscera. However, Faun was my favourite of the whole evening. It was absolutely magical and Olivia Cowley and Matthew Ball were beautiful. So subtle and clever. The Tchaikovsky is what it is, it was impressive and glitzy but felt rather meaningless by comparison. Why is Carmen being treated as a sort of Acosta swansong when he is dancing in Elizabeth in the Linbury in January? Is it his final thing on the main stage?
  13. Nabbed some quite expensive tickets for Elizabeth, my partner's treat as I'm broke! SO excited - we are both historians of this period so it was a must for us. We're also seeing the mixed bill with Carmen in it at the end of this month, which I know wasn't part of the Winter season booking but I only just booked them so it feels as though they count. Luckily I wanted to see Tierney Heap rather than the first cast because I really like to watch the 'up and coming' dancers, and for that I also get Muntagirov! Acosta is pretty much sold out.
  14. I was there for Saturday's evening performance and LOVED it!!! Sechs Tanze was my favourite too, absolutely hilarious. Also really enjoyed the Scarlett piece for the White Lodgers - would love to know who the principle couple were in this as it wasn't given on the casting sheet. Rush fell a bit flat for me but I don't think it was the fault of the dancers. It just seemed rather disjointed. The future definitely looks bright.
  15. Also means she presumably hired the lovely Nancy Osbaldeston among others but won't be there when they actually start dancing with the company. I don't know anything about how these things work but when an artistic director leaves unexpectedly with this kind of timing does that impact the immediate future of those new dancers?
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