Terpsichore

Ann Williams Here are the links to Cineworld and Picturehouse. I saw Spartacus at Wakefield Cineworld on 20 Oct 2013 and much preferred it (as a transmission) to the Royal Ballet's Don Quixote that I had seen earlier. Here's the ad for the Royal's Sleeping Beauty which is shown at Odeons. I hope to see Jewels but I shall probably be on the motorway on the way back from Covent Garden the night before.

I was at that gala and I blogged the event in "More Things I do for my Art - Autumn Gala of Dance and Song! 30 Sep 2014. Similar events had previously been held in York which I had supported and I was a bit miffed about having to traipse down to London - hence the first 7 words of the title. My late spouse and I had celebrated our silver wedding anniversary in 2007 by attending that event. That was the first time that I noticed Xander Parish and the only time I have seen him in the flesh as opposed to an ultra high definition television screen in a cinema. Even 7 years ago he was special. Turning back to the gala at Sadler's Wells the performances that stuck in my memory were Dane Hurst who is one of my favourite male dancers - he made my evening a few weeks later when Rambert came to The Lowry - and Elizabeth Harrod who is one of my top women. Sergei Polunin was there and indeed top of the bill but although he did his stuff to thunderous applause I can't really remember much about his performance. I can remember every step of Hurst's as though it were recorded on video. It was good to see Batley, Morgan and Gervasi from my beloved Northern Ballet in Tindal's Bitter Earth as well as Harrison and Martin from Scottish who were my first love in ballet. Anyway, you can read more in my blog post. The fact that I didn't go a bundle over Polunin whereas I regularly wax lyrical over Sarah Kundi (who I think was in the audience but not on stage) exposes my woeful ignorance of ballet but I don't care. I have never been a ballet snob and certainly not a ballet insider. I know what I like and if we all liked the same thing the world would be a much more boring place, don't you think. I hope to make the London Ballet Circle AGM and party tonight and I shall report in Terpsichore whether it turns out to be a colossal waste of tyre rubber or a great evening. Ciao bambini. Terps

I am looking forward to seeing Peter Darrell's Nutcracker next year. It is years since I last saw one of his ballets. He died far too young. I shall also see Romeo & Juliet when it comes to London.

I am glad that my mention of Sandra Madgwick at Chelmsford Ballet was of interest Janet McNulty. Talking of Sandra Madgwick has reminded me of Birmingham Royal Ballet's Fille and in particular the clog dance. The bloke I represented yesterday was a clog maker would you believe. It is always a thrill to be taught by a leading dancer. As a Friend of Northern Ballet you will know Christopher Hinton-Lewis. Imagine how I felt when I actually attended his class.

Here is some news about advanced classes in Chelmsford on the first Sunday of every month. I have today become an associate member of Chelmsford Ballet which was founded in 1947.. Doreen Wells and Christopher Marney are its patrons. As you can see they are taught by people like Sandra Madgwick. I can't even dream of grade 6 and I live 200 miles from Chelmsford but these classes may be of interest to some of you in Essex, Suffolk and London. I am looking forward to their Nutcracker at the Civic Theatre in March.

Trying to change the subject, I just saw a lovely poster which I think comes from Étude Ballet Boutique on the London Ballet Circle Facebook page: "You can't buy happiness. But you can buy ballet classes and that's kind of the same thing." Isn't that lovely? And isn't there more than just a grain of truth in that sentence?

I must congratulate you on your erudition, Amelia. I see about 20 ballets a year and although I can think of several where the heroine comes to a sticky end harps and daggers are not ringing any bells yet. I also have a reasonable knowledge of classical and modern history and literature from which I have been able to guess some of the answers to the previous questions in relation to ballets that I have not yet seen. I will continue to interrogate my memory. When you publish the answer I am sure I shall kick myself and exclaim "of course". Regards Terpsichore

Just returned from London to find some particularly interesting posts: one from LinnMM about the 6th position another from Michelle_Richer about the improvers' class in Leeds a third from Balleteacher about "the things which adult dancers struggle to learn or are the steps that make your heart sink because you feel you have never quite mastered the essence of the step." The discussion of the 6th position reminds me of an amusing little ballet danced by Daniel Montero in Amsterdam called "Ballet 101". Montero made his way through the 100 positions before gyrating apparently into pieces. The stage strewn with body parts was "position 101". I reviewed the ballet in my article on the Dutch National Ballet Junior Company's mixed bill on 28 Nov. According to Montero the 6th position is feet in parallel which, I think, others have said. In response to Michelle_Richer's post yes I agree the improvers' class is a nice class. I have attended that class only twice so I do not know the other students very well. I have not yet stopped for a coffee with the students of that class or indeed the beginners' class. That is probably because I pay for only 90 minutes parking and I have to dash to my car immediately after class finishes. Also there are usually lots of emails and voicemails screaming for attention after class. If you come on the 25 Feb I shall try to take that class too. If I make it maybe we can have a coffee then. In answer to Balleteacher everything in ballet is hard work for me. I was not made for ballet. However I am game for anything and when I do get pose pirouettes right I get the same sense of exhilaration as I do with skiing. Balance is my main problem. I wobble like jelly when I in arabesque or attitude. I guess that is because my core is so flabby. Too many good dinners and too much port I'm afraid. And I'm not getting any younger. Night night all :-)

Michelle_Richer I showed my nose in the "improvers" class at Northern Ballet Academy on Tuesday because I have to go to London today and stayed for the choreography class which turned out to be a continuation of the improvers class (where incidentally I made a complete fool of myself by landing flat on my face trying to do pose pirouettes which I had not really mastered). Anyway while waiting for one class to end and another to begin I was talking to one of the other students who remarked that I must be quite dedicated coming "all the way from Huddersfield" (I actually come from Holmfirth which is further). I said that was nothing, I knew of one student who came all the way from Lincoln. This lady appeared to know you and was impressed by your enthusiasm and energy. I mentioned that you and I communicate through an internet forum on ballet and that you had said that you had not been too well lately though I did not go into details. She was very sorry to hear that and sent her wishes as do I. I don't know her name but she was one of two students with a Scottish accent. I hope you enjoy Le Corsaire on Saturday, I must say I envy you that though I will be at another ballet event, namely the AGM and party of the London Ballet Circle where I hope to meet some other people who don't switch off when I want to talk about ballet.

A bit of a long shot, I know, but I seem to remember that in La Bayadère Nikiya plays some kind of stringed instrument just before she gets a bunch of flowers that hides a snake. The reason that scene springs to mind is that I was warned to look out for nasties in flowers when I visited Australia.

Interesting. The synopsis of Bintley's ballet (which I hope to see at The Lowry at the end of the month or otherwise The Coliseum in March) seems to differ from Cranko's and indeed Macmillan's although both are based on Benjamin Britten's music. If and when I get to see it I will review it in my blog.

Today for the first time in my life I did nearly 3 hours of ballet: the over 55 improvers class at Northern Ballet Academy between 10:30 and 11:30 today a shorter extra class called "improvers creative choreography" which turned out to be a continuation of the improvers class, between 11:40 and 12:20, and my usual Tuesday evening class at The Base in Huddersfield between 18:30 and 19:35. I really enjoyed those classes and am quite ecstatic. But I am also s-o-o-o-o exhausted. Before I go to sleep tonight I have to draft a computer services outsourcing contract and prepare a cross-examination for a trial on Thursday but the thoughts aren't flowing. If only I had read Anjuli_Bai's amusing little post Good Fuel In - Good Energy Out where she refers to the advice of the Sybil at the oracle of Delphi μηδὲν ἄγαν which she has paraphrased as "all things in moderation.." I had better get back to my contract. Or maybe the cross-examination.

Looking forward Sho Yamada and Michaela dePrince were impressive in a pas de deux from Diana and Acteon You can see snatches from that ballet in the clip to this post and you can see Yamada and dePrince individually in this clip. Yamada and dePrince danced that same pas de deux as part of the Dutch national tribute to Mr Mandela which says something about their talent. They will of course graduate from the junior company soon but I hope they stick together because they are good, Looking back, I have never seen anything to compare with Dowell and Sibley - not even Nureyev and Fonteyn. Dowell and Sibley danced as though they were one creature,

LinMM I love your last post especially "Fonteyn had such expressive eyes and an animated face and really engaged with others on stage not just her main partner. There was just something very endearing about her difficult to put into words." So you saw it too. Coming from Yorkshire I never threw flowers but I loved the ritual of the liveried footmen presenting their bouquets to the ballerina, the ballerina's selecting her choicest bloom and presenting it to her partner, her partner's lifting the flower to his nose and savouring (or at least pretending to savour) its scent and then all those carnations, chrysanthemums and other cut flowers that you and your chums showered on to the stage. I don't think you are in the wrong thread. The topic has evolved from the more distressing episodes in Fonteyn's life to an appreciation of her brilliance on stage and our affectionate memories of her.

I was a Young Friend of Covent Garden until I was 26 and the main benefit of being a Young Friend were the sheets of ticket vouchers which could be used in part payment for tickets to the amphitheatre. The discounts were quite generous. I remember that I was once able to get into a matinee for Giselle for 10p which was not a lot of money even in 1971. Thus I saw a lot of ballet and in particular a lot of Fonteyn. However, everybody saw a lot of Fonteyn in the 1950s and 1960s - not just those who could afford to go to Covent Garden. During the second world war Fonetyn like a number of other dancers toured the country entertaining troops and essential workers. Many had their first experience of ballet through those tours. Those shows contributed to keeping up morale. Fonteyn was often on television. Not just in full length ballets. A pas de deux was often included in other shows. TV audiences in the 1960s and early 1970s were massive because there were then only 3 channels and no VCRs. Seeing Fonteyn on stage was quite different from seeing her on screen. She commanded the stage and charmed audiences in a way that I have seen no other dancer before or since. It was not just her form and line. She had the most expressive features. Fonteyn had an enormous following. Before the flower, fruit and vegetable market moved to Nine Elms many members of the audience bought bunches of cut flowers from the market next door to throw at their favourite ballerinas as they took their curtain calls. Each star attracted bouquets from their fans but when Fonteyn danced the stage seemed knee deep in flowers.

Ian Macmillan I missed Hexenhatz when it came to England which is a pity in view of what you say. The YouTube video, which has excerpts from the ballet and some comments from the choreographer, is very interesting. On the subject of witch hunts I seem to remember that Scottish Ballet have recently staged Arthur Miller's The Crucible as a ballet though I have yet to see it. I wonder how they compare or indeed whether they are even comparable. I was in Geneva for work a few weeks ago and asked about ballet in Switzerland. There is a lot going on which is impressive given the small population of the confederation. I believe Bejart is there.

Michelle_Richer It appears that you are making progress which is the news for which I had been hoping. I am glad that you were able to do your shopping and that you should be able to attend Le Corsaire on 11 Feb. I hope you enjoy the show and that you will soon be able to resume your classes and other activities. Kind regards Terpsichore

I do not follow the personal lives of dancers very closely. I was vaguely aware of Fonteyn's marriage to Arias, of his paraplegia and that she got into hot water in Panama but I had no idea that she had financial difficulties or died in poverty and I am very sad to learn that. However, I did follow her very closely as a dancer. I saw her on the stage several times towards the end of her career in the 1970s. I think she danced with Nureyev on all the occasions that I saw her on stage. Fonteyn was certainly the dancer I most admired though I actually liked Sibley more. The last time I saw Fonteyn was not on the stage but as a guest at Grand Day at Lincoln's Inn. That is when the benchers of the Inn invite individuals who have distinguished themselves in the arts and other activities outside the law. I can't remember the exact date but as I was called to the Bar in July 1977 and left the Bar briefly to work for a US company in 1984 it must have been some time in the late 1970s or the early 1980s. Usually benchers and their guests are greeted in silence with a bow. There is never any clapping. When Fonteyn bowed, however, the whole hall erupted into applause just as if she had taken a curtain call after the last Act of Swan Lake.

Thanks for mentioning this event. I have a special connection with West Africa having been married to a Sierra Leonean for nearly 28 years and having looked after a young Sierra Leonean girl who is now married to a Ghanaian gentleman. I have blogged this event and plan to be there hopefully with plenty of Ghanaians.

LinMM and Ann Williams I do hope that you can get tickets for the event on 2 Feb. I am so lucky to get one and you bet I'm going. In the meantime I found this video which features Antoinette Sibley, Clement Crisp, Anthony Dowell and others at a lunch in April 2012 when Sibley retired as president of the RAD, I was lucky enough to see Anthony Dowell at Sadler's Wells at the Yorkshire Summer School Gala at Sadler's Wells on the 29 Sep 2013.

Michelle_Richer You poor thing! What a rotten thing to happen at any time but particularly this time of the year. I am so sorry. I hope to hear better news from you soon. With best wishes Terpsichore x

Janet McNulty I agree with you about Northern's Cinderella and Birmingham's Sleeping Beauty. I have yet to see Jewels and Le Corsaire. I saw Bourne's Swan Lake some time ago and while I appreciate it I prefer his Cinderella. I also love the dancers you singled out, particularly Moore and Leebolt. The highlights of the year for me were: Ballet Black's Mixed Bill MurleyDance's autumn tour the Dutch National Ballet's Junior Company's programme the Yorkshire Summer School Gala at Sadler's Wells Scottish Ballet's Hansel & Gretel Northern's Midsummer Night's Dream and Cinderella, and Stuttgart's Taming of the Shrew. My favourite dancers of the year were Sarah Kundi, and Michaela dePrince but I am looking forward to seeing my all time favourite dancer. Antoinette Sibley, on the 2 Feb. Actually I wrote a few notes in Frohes Neues Jahr which started as a review of the dance interludes from today's concert but went off on a tangent as my posts usually do. I relay to you and everyone else on this forum the Vienna Phil's greeting "Frohes neues Jahr."

This programme, which is organized by the London Jewish Cultural Centre at the Royal Ballet School on 2 Feb 2014, is the event in 2014 to which I am most looking forward. Even more than seeing Acosta and Osipova in Giselle on 18 Jan 2014. When I started to take an interest in ballet some 50 years ago there was a galaxy of great stars - Merle Park, Lynne Seymour, Svetlana Beriosova and of course Margot Fonteyn here, Carla Fracci and Maria Tallchief in the USA and Maya Plisetkaya in the USSR - but my favourite by a mile was Antoinette Sibley. Incidentally, the London Jewish Cultural Centre is based in Ivy House which was the home of Anna Pavlova. Unfortunately, the event is sold out but I was lucky enough to get one. I will tell you all about it afterwards,

I may be wrong but I think this is the first time that Northern Ballet have performed at Covent Garden. As a Friend of the company (and a Mancunian) I am very proud of them. For those who cannot make it down to London in May or want to see them more than once, the company is performing the same mixed bill in Leeds between 18 and 21 June 2013. I saw a similar mixed programme in Leeds last year which included Mark Godden's Angels in the Architecture to Aaron Copland's score for the Merce Cunningham and Martha Graham classic Appalachian Spring. As you can see from my review I loved that show, If you are interested you can book tickets for the Leeds season here.

Thanks. I am still feeling my way round this site. Before posting I did a keyword search on "ballet shoes" and "shoes" and could find no articles on the topic. I also looked through "doing dance" and couldn't find any relevant thread. I am glad that you and others spotted the NYT article independently.