balletyas

I’ve just had to return my ticket for tonight’s Insight to the box office. So sad to miss this and hope someone else can get it. 

Hi I’d be very interested in the ticket. Is it an e-ticket or paper? Can you Let me know if it’s still available? Thanks. Balletyas 

Sadly prevented by illness - 2 SC B92,93 for sale £56 each.  DM me please ASAP. 

I’ve just had to return a Stalls Circle ticket to the box office for tomorro matinee of Giselle . £64.  It’s showing on the website right now. Really hope someone picks it up as a sad waste and bound to be wonderful. 

Hi I would be very interested in this ticket - is it still for sale? 

Hopefully somebody will still want to buy my ticket as it's a better seat than those remaining... row A 

Yes I've got a spare balcony £22.00 I'll be there by 330 so could handover in foyer. Let me know. 

Hi I'm interested in the rehearsal ticket. I will be at the ROH this coming Monday so could meet you there if that was convenient? Thanks, yasmina 

I have an eticket for SC B84 for tonight's triple 18th October at 730 pm. Please pm me if interested. 

I'm so eorrry but I turned the ticket into the box office yesterday around lunchtime.might be worth checking to see if it's still there. Good luck! 

I have a Stalls Circle 33 ticket for the 10th June that i can't use.  Does anybody have a similar ticket for any other performance that they'd be interested in swapping?

PM me. 

  THURS 25 MAY:  STALLS CIRCLE RIGHT B 93  £38.00 FOR SALE.  DM ME IF INTERESTED.

2 hours ago, balletyas said:

I'm very interested in this but cannot confirm for another hour...

I definitely want this and am sending you a DM! 

Yes thank you Ian - I thought it would be behind the paywall but in fact it wasn't so thanks for the nudge.. 

Sadly missed this article and wondered if anybody is wiling to photograph it and post it....long shot i know... 

I'm very interested in this but cannot confirm for another hour...

Thinking about Rudolfs in waiting I am beginning to think that this role is like Giselle for the girls.  You can't rush it but you can't leave it too late either.  It requires the dancer to have hit that magic moment when physical stamina and technique are still there but emotional maturity and experience have begun to kick in.  At the Edward Watson Insight Eve, Ed talked about this mismatch that dancers have to deal with throughout their careers and that the moment when these to different things intersect is pretty fleeting...

On a side note, so frustrating to me that both Osipova and Hayward have arrived late in Ed's career as they are both so good with him in this and Manon(proven in Hayward's case from the last run).  

7 hours ago, RuthE said:

In the hypothetical situation that they HAD filmed it, there were some significant mishaps along the way (Romany Pajdak's costume incident on first night... somebody's train getting trodden on tonight at the very opening of Act 1 and nearly causing a pile-up... and did I imagine that Osipova briefly slipped tonight during the scene with Larisch and the cards?) so there might have been a little patching required from alternative filmed performances! I don't recall anything too memorable going wrong with the middle one.

Yes I think they would obviously have had to film it twice in the usual way - partly because of all those dress hazards and yes Osi did slip...

2 hours ago, Bruce Wall said:

 

Surely, balletyas, you jest - or - in any event - exaggerate.  The last RB Sleeping Beauty (the king of all narratives) was on Tuesday, 14th March of this year and the first Mayerling (and some have argued - even here - that its narrative is over-stuffed) was on Saturday, 1st April.  By my calculation that is less than two and a half weeks apart.  Moreover, there are those I believe who would argue that there are narratives (i.e., "meaningful tales of human interaction") aplenty carved into Balanchine's Jewels.  It's just that they are not stitched in a strictly linear fashion so as to demand a page and a half explanation in the cast sheet.  

 

Agree Osipova incandescent last night.   The searing spectre of her rolled back 'Willi' eyes at the tag end of the penultimate scene had the shutters of  my own fluttering.  Not soon to be forgetten.  Watson went out in glorious style - and I thought I caught a flash of understandable relief at the rise of his own solo call.  Cowley, Campbell, Nunez, Yanowsky and all four of those obstinately dogged Hungarian officers cauterised the imagination in their vividly dramatic goosing of our heart ducts. Hayward and Avis went beyond that admirable marker in giving even fuller and eloquent flesh to their stated character's skeletons.  In all: HIGHLY memorable.  

 

Yes Bruce I was indeed exaggerating - of course we have just had the marvellous SB but its narrative is hardly very intricate and doesn't give that much scope to the great dance actors in the company although it does of course demand the finest dancing.  I suppose my mind was wandering back a bit to what has felt like a slew of beautifully danced, very contemporary but slight one acts that don't engage the average non balletomane in quite the same way as Mayerling.

I just felt that the audience was genuinely excited and that has to be a good thing. 

Finding myself feeling really sad and bereft after this last performance of Eds. I can't quite believe that this cast wasn't filmed - seems quite ridiculous to me especially now that live screens are such a great way to bring in a new audience and Mayerling is surely the jewel in the crown? The atmos in the Theatre has been electric and I get a real sense that the audience is loving a proper narrative ballet to get their teeeth into after months and months of plotless triples...Mayerling is so beautifully constructed and so satisfying choreo graphically and theatrically - I think the ROH missed a trick in not broadcasting this.

53 minutes ago, FLOSS said:

Anyone with any sense will hold onto their tickets as the choreographic substance of the Ashton mixed bill is in the first two ballets on the bill.I doubt that casting Muntagirov or Clarke is  a real option as it puts the casting of subsequent performances of Symphonic in some doubt and it is by far the most important ballet in the triple bill. Symphonic may be short but it is a real test of stamina and mental concentration as once the cast is on the stage they are there until the ballet ends.As a result I don't think that either Muntagirov or Clarke are likely to appear as Armand.

 

 Don't you think that it would be a rather sad end to a season which has gone remarkably well  if the company which is supposedly celebrating its founder choreographer is forced to call in someone with no connection with the company to dance Armand? To cast  Mr.Ball  would confirm management's faith  and commitment to the next generation of talented dancers. A satisfactory alternative for management would be to try to borrow Xander Parrish which I think would be interpreted by many regular ballet goers as a welcome and extremely acceptable solution to the casting problem that has been created by Polunin's decision to withdraw..In real life Polunin's replacement could well turn out to be Hirano 

Im going with Ball - no brainer and surprised if he isn't already being prepared..

9 hours ago, FLOSS said:

I think that there appear to be a lot of Hamilton performances because she is appearing in the Judas Tree which is being performed as part of the nationwide "MacMillanfest" as well as getting her ration of SPFs I don't think that you can read anything into the casting for the first booking period. The company is only performing four programmes of its own during that time, Alice, Sylvia a mixed bill and Nutcracker.It does not exactly amount to a wide or representative range of its repertory. 

 

As far as casting and debuts are concerned I am far more interested in Giselle with its 14 performances, and Manon with its 15 performances. Will Naghdi or Hayward be given an opportunity to dance Giselle and who will they dance with? Will Naghdi and Ball dance Manon together? Who will dance with Hayward in Manon? What roles will Bracewell be given during booking period 2 ? These are the really interesting questions to me, not how many SPFs each female dancer has been allocated. If Scarlett settles on a text for Swan Lake which includes a lot of Ashton's accretions  such as the pas de quatre there will be plenty of opportunities for junior dancers to shine. 

Yes of course and I would hope that Hayward will get both Manon as she did so brilliantly in before and I think she could do Giselle. Not so sure about Nagdhi for Manon  - although Ball would be perfect for DG.   She was rather wonderful as Juliet and I wonder when that will be back...

9 hours ago, alison said:

 

I think that was Monica Mason's decision: as a tall dancer herself, I think she saw an opportunity to cast some of the taller ballerinas who might not have been dancing some other leading roles during the season.

 

 

I suspect the autumn season, from what I can recall of it, probably plays more to Hamilton's strengths, and that for the sort of roles I'd expect to see her in Naghdi may be having to form an orderly queue behind other dancers who have a prior claim   Anyway, since she's a Rose Fairy par excellence I would expect to see her in a lot of Nutcrackers, one way or the other.

Yes I think that's probably true regarding the orderly queue and hopefully she is working towards the big parts for the following season but I'm still surprised by all the Hamilton casting - I don't think she has lived up to her potential of late, although it must be said that I didn't see her in Jewels so maybe Im being a bit harsh...

Noooooo! What happened? So predictable....

What a pity re Lamb too - by far her best role and Im going tomorrow for final hit of EdW!