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Sophoife

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About Sophoife

  • Birthday February 15

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  • Gender
    Female
  • Location:
    Australia
  • Interests
    Arsenal, ballet, books, food, France, music...

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  1. Mmm yeah @DD Driver sad to say the AB ones that most excite me are Alice's new piece, Month (and I bet you we get Hallberg for that), and Molto Vivace plus Chroma which to my surprise I enjoyed last time round. Never liked Anna Karenina from when I first read it. Both QB and WAB are doing Beauty, Nutcracker and Dracula - you would think Li Cunxin and Aurélien Scannella might at least have chosen slightly different full-length ballets! 😉
  2. West Australian Ballet 2020 season - starts with a mixed bill at the Quarry Amphitheatre (Krzysztof Pastor's In Light and Shadow, an extract from Graeme Murphy's Air and Other Invisible Forces, Wubkje Kuindersma's Architecture of Hope - a co-production with HNB), then a mixed bill of new works by company members, then Javier Torres' Sleeping Beauty, another mixed bill featuring the full Air and Other Invisible Forces plus Pygmalion and Galatea and Garry Stewart's Reincarnation with contemporary dance company, Co:3 Australia, followed by Pastor's Dracula (also on QB's slate), and finishing with seasons of The Nutcracker and a "Gala" which will run in a repertory-style season.
  3. Have to say when Hallberg first guested with AusBallet in I think 2010, company dancers were telling me I must fly back from Hobart to Melbourne to see him, and raving about his feet. It was the Sir Peter Wright BRB Nutcracker and I did come back and he was marvellous. As he was every other time I saw him pre-injury. Since his long injury and rehab layoff, I've seen him several more times down here and he's not quite the same.
  4. Hmm yes. The Australian Ballet uses a subscriber model for the majority of its seats. We have to buy our next year's package in September/October immediately after the season announcement, with zero casting information. For 2018 my brother and I paid 17% more than for 2017, for 2019 30% more than for 2018, and for 2020 we will pay 11% more than for this year. High up far away seats that five years ago cost under $40 each now cost from $78 to $100 depending on the programme. The prices are even higher in their second home of Sydney because the venue capacity is smaller (2,079 in Melbourne v 1,507 in Sydney). Unless a person is rich (or doesn't ever have to pay for doctors, dentists, medicines, car insurance, clothes, food, and useful things like that) and doesn't have to travel, seeing more than one or possibly two shows of a run (usually 10-12 shows over 2 weeks in Melbourne) is financially impossible. I live 3½ hours' travel (train or car) from the nearest Australian Ballet venue, and the last train home leaves at 8pm - half an hour after curtain up. So I stay in a hotel. More money I'd rather spend on a performance. AD and CEO are aware there are quite a lot of subscribers in similar positions but don't seem to care that we stalwarts are being priced out of regular attendance. Currently TAB receives approx 12% of its income from various governments (state and federal), so that's lots to raise from box office and what they call "other revenue streams" - philanthropy, corporate sponsors, tacky marketing ventures...there is nothing special about a pair of signed pointe shoes you've paid for. Or a children's clothing collection at one of the major cheap department stores. Part of the problem is that the company has no ownership in any of its performance venues. Oh it's nearly five in the morning, anyone wants more detail, PM me 😉 😴
  5. The Australian Ballet 2020 season - A Month in the Country makes its TAB début, Alice Topp from strength to strength, co-productions with the Joffrey and American Ballet Theatre...David McAllister's final season as AD. Queensland Ballet 2020 season - Dracula was a success in WA, Stevenson's Nutcracker now a company staple, and new work including one from HNB principal Remi Wortmeyer. West Australian Ballet has not yet announced their 2020 season but I will add it here when they do.
  6. Here's a radical thought: the announcement of Sambé's [deserved, inevitable and welcome] promotion was deliberately timed for before the Japanese tour, certainly the size and location of the printed article do not appear to indicate a stuff-up, in fact I wouldn't mind betting that The Times was carefully given an exclusive. Certainly in this day and age it is doubtful that the article would have been as prominent if the company press release had already been in the public domain. I am also guessing here, but in the general announcement of promotions, joiners and leavers, some well-deserved moves in the lower ranks may go less noticed by the wider public with a more passive interest in dance in the excitement of who might have been promoted to principal. Perhaps this is an attempt at making those promotions more prominent?
  7. Oh no, @Jan McNulty I was not casting any aspersions on NB dancers, far from it, and I do hope that's not how you read my comment. I was responding specifically to @Jeannette and her comment re ABT principal(s).
  8. !!!! 😱 Surely anyone who lacks technique to that extent, in a company such as ABT, shouldn't be a principal!
  9. This episode was on SBS in Australia tonight (seen by accident, never seen the show before) and I was trying to work out how to find out who that coach was! So I dove in to the forum's Search function. The girl's name sounded like Freya, and she didn't sound native-speaker English...? The archivist obviously has so many fascinating stories to tell, pity that odd man in very red trousers didn't spend more on-camera time at the School! Daria Klimentová was also seen, teaching a group of girls, but was not spoken to or interviewed on camera. And I agree, the Liberty segment was fun, especially the photo of the lady cicerone in her "mediaeval" gown.
  10. Oh @Ian Macmillan, thank you! I was in need of a good laugh and doubled over on reading "[Lang Lang] treated the audience to some improvisations on Brahms' Hungarian themes. Had I ever wondered about the sound of a sewing machine on crack, I should wonder no more." It encapsulates my own opinion of Mr Lang!
  11. ...and of course there was the famous Beryl Grey début on her fifteenth birthday In 1942...was the company ranked then, though?
  12. Such a lovely person, very kind to my nieces when we saw Arcadia two years ago. I wish Miss Brill all the best, noting the press release quoted her as saying (my emphasis) I look forward to seeing/hearing about her future work. I hope the encouragement she received as a budding female choreographer at BRB is continued under Carlos Acosta 😀
  13. Where is the Piazza Terrace Bar? From the photo I think it may be the amphitheatre terrace?
  14. I do hope the search is as wide as possible - he will have been in post for 20 years, the ballet staff is entirely made up of former company members with whom he danced or who danced for him, and I'm sure he would be the first to agree that an infusion of new blood can only benefit the company as it moves forward. Of course, I exclude the rehabilitation staff from that clear-out. Paula Baird-Colt and her colleagues are world-best at what they do - after all, it was they to whom Mr Hallberg turned in order to be able to dance again.
  15. Pretty sure they do. Reid Anderson and the repetiteur(s) that is. If they don't want someone in a particular role even the company AD has very little chance of getting that person into that role and vice versa (I was told by a dancer who was cast despite his AD's apparently clearly expressed preference for someone else). Ashton repetiteurs have a strong position in casting too (when setting Ashton on "outside" companies, or so I was told by Australian dancers the last time we saw any...some people cast in lead roles or Symphonic Variations then have barely danced a solo step since).
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