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SheilaC

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  1. Thank you so much, DanJL. I did manage to do it in the end- but might forget, so will be glad to turn to your advice next time!
  2. Although I bought a full subscription I just can't work out how to access the streaming. Any tips? (SFB do give some advice but I still can't work out what to do!)
  3. I endorse what Jan says, it's well worth the £10 cost to rent, with the final viewing date for renters now extended to 15 February. The programme is a varied range of pas de deux, with a mix of music as well as choreography, from Gershwin to Malcolm Arnold. (If I remember correctly, the premiere of The There Musketeers was on the day that Arnold's death was announced, a sad coincidence). Anyone who was able to see the recent very interesting London Ballet Circle interview with David Nixon will especially enjoy seeing some of his best work, including an excerpt from the ballet he said woul
  4. I've just checked the announcement that Alison has helpfully posted. The ballets listed in the latest announcement are the same as listed in June, but the order is very different eg Midsummer Night's Dream is Jan 21 - Feb 10, Jewels is April 1 - 21, R&J is May 6 - 26, Swan Lake is May 20 -9 June. The composition of the mixed bills varies too: Feb 11 - Mar 3: Rhoden, Thatcher, Morris Mar 4-24 : Ratmansky, Rowe, Possokhov Apr 22 - May 12 : Tomasson, Marston, Dawson
  5. The article doesn't seem to cover the impressive digital season the company is offering from 21 January to 9 June. There will be 7 separate programmes. They include 2 full time Balanchine ballets (Midsummer Night's Dream, Jewels) and 2 full length productions by Helgi Tomasson himself (Romeo and Juliet, Swan Lake) and 3 triple bills, including world premieres ( Myles Thatcher, Danielle Rowe, Cathy Marston- 'Mrs Robinson'), all on separate programmes. Other choreographers represented include Mark Morris, Ratmansky, Possokhov. Subscribers paying for the full season can watch each progr
  6. I don't think anyone has mentioned the streaming of a programme devoted to Nureyev's choreography, presented by the Theatre du Capitole, Toulouse. It started last night and is available until 15 January. It's free- not even a request for donations. There is quite an interesting selection of pieces- and not a Nutcracker in sight! It opens with six dances from the Hungarian act (3) of Raymonda. That's followed by pas de deux from first, the balcony scene from Romeo and Juliet, then Sleeping Beauty, then Cinderella and ends with the Black pas de trois (yes, 3, not 2- von Rothbart joins Odile
  7. I'm afraid I disagree with John S. Far from thinking that BRB's Drosselmeyer is too creepy I regard Jonathan Payn's performance as way too genial. After all, the character is based on the Hoffmann story. Nowadays productions such as Nutcracker and Coppelia, although based on Hoffmann, are often far too sanitised. And the BRB production is a wonderful testament to Diaghilev's views that ballet should combine wonderful design, music and choreography where the whole comes to more than the sum of the parts. The designs are truly magical.
  8. Paul Marque is only 23 but, according to Danses avec la plume (DALP), his promotion has been expected for a year, most probably after a performance of Raymonda, which got cancelled due to the strike. Apparently he won the Golden medal at Varna in 2016 and the following year was voted by AROP (the Opera organisation, a bit like the Friends of Covent Garden) as dancer of the year. He is especially strong on classical roles, having chosen to dance Siegfried in a key promotion competition. As DALP states, the current preference under Dupont, the director of the ballet company, is for neoclassical
  9. There was a change in the cast for the third act. Instead of Pagliero as Nikiya it was Myriam Ould-Braham, who is Mathias Heymann's usual partner. I first saw them dance together in Fille when Alexander Grant mounted it for Paris: and very fine they both were in that. She wasn't entirely on form in Bayadere, and the standard was a bit variable across the company, but it was lovely to see the company dance the ballet, despite some of the out-dated elements in Nureyev's production. But one of the highlights came after the ballet had finished when it was announced on stage that Paul Marque,
  10. This is absolutely wonderful news. He is such a thoughtful man, with strong values and a lively creative and innovative impulse, that he is capable of moving Phoenix on at a time when all companies are fighting for survival. I spoke to him early this year, when I bumped into him at ROH, asking if there was any chance of him performing in Leeds again, and he indicated then (somewhat to my surprise!) that he was keen to be more involved in Yorkshire but that a performing contract had prevented him to take up some opportunities that had been mooted. My only query is whether he will continue
  11. I've now checked the streaming of Paris Opera Swan Lake. It seems to be an old filmed version, presumably a 'Live' film. It costs £7.99 and you can watch for 30 days - whereas Bayadere is only available for 7 days. Odette/Odile: Amandine Albisson Siegfried: Mathieu Ganio Rothbart: Francois Alu Pd3; Leonore Baulac, Hannah O'Neill, Germain Louvet Neapolitan: Melanie Hurel, Emmanuel Thibault
  12. Paris Opera will be streaming a filmed La Bayadere for £9.99. It starts on Sunday, 13, at 2.30 (I presume that's GMT, it's the time I was given in statements in English- although live matinees at the Opera on a Sunday start at 2.30 local time which would be 1.30 here). It's Nureyev's production of course; his final production- and one that the Paris Opera took to Salford to open the Lowry. The cast is studded with etoiles as there are different principals for each act (Nureyev's production only has 3 acts). Nikiya: Dorothee Gilbert; Amandine Albisson; Ludmila Pagliero Solor
  13. Apparently New York City Ballet has announced the death of Sara Leland. She was a remarkable dancer in the last years of Balanchine, very fast and with a great personality, creating roles in Dances at a Gathering and Symphony in Three Movements, amongst others.
  14. Has anyone managed to see Sylphide? Jeannette's link didn't work for me and none of my attempts to find the screening on the RDB website has worked, either.
  15. It's impossible to exaggerate what an important contribution Marion made to SWRB and later BRB. An amazing dramatic dancer with great theatrical presence, no matter what role she was playing. Several years ago I read through 9 years of Dance and Dancers, from late '60s, for some research I was doing on the company that is now Northern Ballet. Of the many patterns of British ballet that I noticed, the most marked was how frequently Marion's performances, in a wide variety of roles, were highly praised. I am convinced that the rich repertory that her company used to boast was partly due to her c
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