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Everything posted by Sophoife

  1. 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?
  2. 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).
  3. !!!! 😱 Surely anyone who lacks technique to that extent, in a company such as ABT, shouldn't be a principal!
  4. 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.
  5. 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!
  6. ...and of course there was the famous Beryl Grey début on her fifteenth birthday In 1942...was the company ranked then, though?
  7. 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 😀
  8. Where is the Piazza Terrace Bar? From the photo I think it may be the amphitheatre terrace?
  9. 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.
  10. 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).
  11. @Bruce Wall I tried to send you a PM but it said you cannot receive messages...I have a q for you that is irrelevant to this thread...please PM me? Thanks.
  12. Miss Cuthbertson prepared her shoes "normally", i.e. what we often see on dancers' social media feeds. Miss Osipova, on the other hand, carved chunks off the outsole, slashed the platform with a knife, beat the thing to death, cut the vamp to a deep V, carved bits off the shank...they looked about a hundred years old before she'd danced a step in them. @Geoff, I thought I had the video saved but can't find it; I'll PM you if I do!
  13. (re: Miss Osipova) Did anyone else catch an Instagram live feed from Miss Cuthbertson of herself and Miss Osipova preparing their pointe shoes? O. M. G. No wonder Miss Osipova's shoes all look as though they've been prepared by Edward Scissorhands!
  14. Paris Opera Ballet certainly does! Definitely the most emotional promotion to étoile I've ever seen (on video or live) was that of Ludmila Pagliero, at the end of a cinema broadcast in which she had danced Gamzatti for the first time in a couple of years, at short notice due to injury, and Madame Lefèvre said "A cause de son talent, son courage, son courage artistique..."
  15. Oh I would love to see Serenade live again... Australian Ballet hasn't done it since their Balanchine homage programme in 2004 (Serenade, Symphony in C, Agon). The Jiří Kylián Soldiers' Mass isn't in AB's rep at all. Sounds like a wonderful programme, wish QB could tour everything!
  16. Just for the Alice season...you may have them back after that 😂
  17. For example elsewhere, Australian Ballet had six female principals last December, before Lana Jones and Leanne Stojmenov retired. Now they have four: Robyn Hendricks, Ako Kondo, Amy Harris and Amber Scott. Both Harris and Scott are on maternity leave: Scott's daughter with fellow principal and husband Ty King-Wall was born last October and we are told she will be back on stage "mid-year", Harris' child with husband and senior artist Jarryd Madden is due in June so she's unlikely to be back before 2020. This means we currently have only two female principals so the senior artists and soloists are getting lots of chances; this year so far the company has performed eight Wheeldon Alices in Brisbane, 11 Ratmansky Cinderellas in Melbourne, 20 of the mixed bill Verve in Sydney, 20 Maina Gielgud Giselles in Sydney, four shows of a slightly different mixed bill at the Joyce Theater in New York City, and is about to perform 17 Alices in Melbourne. That's 80 shows with two female principals and the only guest was Céline Gittens of BRB as Queen of Hearts in Brisbane for two shows.. Perhaps you'd like to lend us, say, Miss Stix-Brunell, Miss O'Sullivan and Miss Kaneko? 😉
  18. Oi! My favourite new short work from AusBallet in the last few years uses Einaudi...and every time I listen to the playlist I made, I see the movements in my mind's eye. So I like a bit of Einaudi 😉
  19. 🤣🤣🤣 Somehow I didn't think you'd respond to my very long, carefully considered post in any other way. (Sorry mods in advance) By the way, I must congratulate you on your relentless pro-Polunin trolling in this thread. Any further posts from you I think I'll follow @bangorballetboy's example...😫
  20. Re the above by paragraph: 1. Really? If he's a principal dancer that says he works regularly with a company, and it's usually the company director who either commissions or choreographs new works, it's not left to the dancers to arrange. If he's freelance he's not a principal. Semantics but let's be specific. 2 & 3. Not quite the case. At the very kindest interpretation, Mr Polunin has allowed his name to be used as a selling point on a number of occasions of which I'm aware, for none of which he had any intention of showing up. When he was employed at the Royal Ballet, it was his job to show up, what he was paid to do. We show up at our paid jobs every day, but it's not necessarily a "pretty big statement of commitment" unless in my case my commitment to eating and sleeping with a roof over my head! 4. Bad example to use Marguerite and Armand in 2017. For months it was TBC on the cast list, then it was Mr Polunin, then just a few days later it was again TBC, soon replaced by Vladimir Shklyarov (and the ins and outs of why it wasn't a Royal Ballet dancer are not for this particular thread). 5. The Royal Ballet is a "rigid classical company"? News to me, and I'm sure to Wayne McGregor, for one! Meanwhile, dancers from companies all over the world have been guesting all over the world for decades. Dame Beryl Grey danced with the Kirov and the Bolshoi, in the Soviet Union, in the late 1950s. Dame Margot Fonteyn danced anywhere with anyone (largely to support her **** of a husband), particularly supportive of and dancing with the Australian Ballet in its early years. Li Cunxin originally went to Houston Ballet as a guest before defecting. His second wife Mary McKendry was dancing with London Festival Ballet when she guested in Houston. David McAllister and Elizabeth Toohey guested with both the Kirov and the Bolshoi in the mid-1980s. Et cetera, et cetera, et cetera. 6. Many movies? Modelling? Foundation fund? Interviews? All done by many many dancers. He's certainly not unique. 1. So you saw every performance by every principal in the Royal Ballet in 2009? Wish I had your budget! Added to which you've watched every performance by the Stanislavsky AND Bayerisches Staatsballett since Mr Polunin started dancing with those companies? Because you can't (shouldn't) make the claims you are unless you have. 2. Really? Sweeping statement or considered opinion after watching every Royal Ballet performance since Mr Polunin joined the company? 3. Agreed. 1. Are you saying Mr Polunin is now post-balletic? 2. First sentence is your opinion, which you are welcome to express. Second sentence is again your opinion, and you must allow others to disagree with you. 1. Glad you say 77% of the vote (it was 76.69% actually). Are you aware that only 67.5% of registered voters actually voted? Are you aware that registered voters are less than 75% of the eligible population? "Many in the West" is a turn of phrase most frequently used by those not "in the West", so here's where I start wondering where you're actually writing from... 2. Trump has three more elections to win and even more human rights to trample before you can compare him with Putin. Ignoring the Farage suggestion as it's hardly relevant or a similar situation. 1. Polunin had the same teaching and available mentoring at the Royal Ballet School as any other student. Cannot speak as to the situation when he joined the company. Yes it is good he seems to regard Zelensky and Kobborg as mentors or at the very least people to listen to, whatever he then does. 2. Irrelevant, both, as neither was in a similar situation 1. Debunked this myth of Royal Ballet dancers not being allowed to accept opportunities outside the company earlier on. 2. How big his role in the French film is, remains to be seen. As another poster pointed out, there are people of younger than 29 running their own quality dance schools while continuing to perform themselves. 3. If I were British, living in Britain, I'd certainly be reading the "English press" although I'm unsure if you're referring to English-language press or English-location press. Fairly normal for press local to a person to influence a person. Bugger the setting, what about the facilities and faculty and finances? And again, a curiously Russian "We in the West" comment. So basically now you're saying you've seen him on YouTube many times, and only seen him dance live once? When I was seven years old Antoinette Sibley came to my little ballet school and watched/taught several classes (she was friends with the principal). I can legitimately claim to have studied with her, at least for that one class. 1. At 21 he still had some time to develop his artistry. I think he may have exaggerated just a tiny bit there. 2. Kobborg and Cojocaru had danced with Australian Ballet in the mid-2000s as well. Galeazzi did not perform in any Australian Ballet gala in 2016 (they didn't do any galas that year), in fact she performed about ten years before that. McRae in fact trained at the Royal Ballet upper school and never danced with the Australian Ballet except as a guest, as has Alexander Campbell. Miss Benjamin trained at the Royal Ballet School as well and only ever danced with Australian Ballet as a guest, in 1987 and then in I think 2007. David Ashmole in fact started with the Royal Ballet where he reached principal rank in 1975, then danced with the then-Sadler's Wells Royal Ballet as a principal from 1976-84, only joining Australian Ballet after that. 3 & 4. It's not clear what you're saying about Miss Guillem. She couldn't guest out while in Paris? Or London? I notice you always refer to "Sergei" but that others are referred to by their surnames only or by both forename and surname. This, to me, smacks of an apologist. Thoughts, anyone? Also, yes, mods, with my much-loved brother's recent wedding fresh in my mind, a word in support of @Tatiana and the above request.
  21. Polunin left the RB in January 2012, and @FionaE suggests he was stifled, the RB wasn't allowing people out to guest, etc. As @alison said earlier, that's not accurate. Just down here with Australian Ballet, we've had Kobborg and Cojocaru for Manon (I think their last one together?), Benjamin, Fonteyn a gazillion times, McRae, Galeazzi, Ashmole...and more, all pre-2012. All these are off the top of my head, if I did some actual research I know there would be many more I suggest, dear Fiona, that you apply your research skills before making another such sweeping statement. 😉
  22. Australian Ballet has a similar award, the Telstra Ballet Dancer Award. Nominees used to be announced early in the year but now quite late, they have to prepare a written presentation, and they're assessed on the artistic quality of their work, the strength of a written submission, their personal development, and future potential. There's also a People's Choice award for which only the nominees for the main award are eligible. The main award is worth $20,000. Winners have been 2018 Jade Wood (current Senior Artist) 2017 Valerie Tereshchenko (current Senior Artist) 2016 Callum Linnane (current Soloist) 2015 Benedicte Bemet (current Senior Artist) 2014 Dimity Azoury (current Senior Artist) 2013 Christopher Rodgers-Wilson (current Soloist) 2012 Amy Harris (current Principal) 2011 Chengwu Guo (current Principal) 2010 Ty King-Wall (current Principal) and Dana Stephensen (current Senior Artist) 2009 Stephanie Williams (ABT corps) 2008 Kevin Jackson (current Principal) 2007 Daniel Gaudiello (former Principal) 2006 Gina Brescianini (former Senior Artist) 2005 Lana Jones (former Principal) 2004 Amber Scott (current Principal) 2003 Matthew Lawrence (former Principal, then BRB, then Qld Ballet) People's Choice winners have included Harris (three times), Scott, Williams, Guo, and Luke Ingham (current Principal SFB).
  23. Totally agree on this one - I find it hypnotic, engaging, and might say I am obsessed with it. Yet I don't like most of his other work. Must be the concatenation of the music and the choreography in my head.
  24. From her Instagram - a reply to a question I asked her - Australian demi-soloist Jessica Fyfe will be another Kronprinzessin Stefanie, with David Moore as Kronprinz Rudolf. She posted that her probekleid was shredded already 😂 so I asked which role(s) she was learning. Prinzessin Valerie is the other - possibly in that Vogel/Badenes cast.
  25. Thanks @jmb, I never find Kondo/Guo very much of a partnership, despite their real-life marriage...of course Giselle is the role that saw Kondo named principal back in 2015.
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