Two Pigeons

19 hours ago, li tai po said:

I wholeheartedly welcome the comments of Floss above, but I would like to add another neglected name to the list of heritage choreographers - Leonide Massine.  

 

Dame Ninette did much to embed his work in the repertoire of the Royal Ballet.  He came in person to mount his Diaghilev successes of La Boutique Fantasque and The Three-Cornered Hat in 1947 and danced the miller himself with great success, partnering Margot Fonteyn.  He also danced the can-can in La Boutique Fantasque with Moira Sheaer and later with Alexandra Danilova.  These were the only Diaghilev ballets to be premiered in London, rather than Paris or Monte Carlo, but their centenaries in 2019 went unnoticed, notwithstanding a plaque on the wall outside Masala Zone in Floral Street, recording that Picasso painted the scenery for The Three-Cornered Hat in that building.

 

Massine came back at the end of 1947 to revive his later ballet, Mam'zelle Angot with Fonteyn and Alexander Grant.

 

Madam invited Massine back again in 1962 to revive another of his Diaghilev ballets, The Good-Humoured Ladies, with Diaghilev ballerina, Lydia Sokolova, returning to make guest appearances as the elderly Silvestra and with Anya Linden leading the cast as Costanza.

 

The last Massine seen at the Royal Ballet was Costanza's solo at the reopening gala in 1999, presumably coached by Anya Linden.

 

These ballets often featured in the programmes of the touring company and more recently BRB performed The Three-Cornered Hat.  The ballets were immensely popular with audiences, but Massine sadly seems to be so far from the taste of current ballet managements that his ballets are all but forgotten. 

Please don't forget that Sir Peter Wright revived Massine's Choreartium for BRB with very considerable success.

On 22/03/2021 at 13:39, capybara said:

I find it odd not to have received an e-Mail.

But I am far more tempted to attend such an event online than I would be in the flesh. It’s a great idea.

I haven't had an e-mail either but I will endeavour not to hold it against the company.

1 hour ago, Lizbie1 said:

Why no Pineapple Poll yet? 

The Company has performed this a LOT over recent years.

1 hour ago, Jan McNulty said:

Thanks for reminding me ... I'd forgotten about that one!!

Was that ever due to appear in Birmingham?  I thought it was Sadler's Wells only but am more than happy to be corrected.

Has anyone told Janet?

14 minutes ago, AnneL said:

Thank you for sharing this,Jan. I first saw Marion Tait in 1968 in a cut-down version of Giselle performed by the RB touring company, as it was then. I still remember it well - she was my first Giselle, a year before Fonteyn!  This article/ interview gives a great summary of Marion’s career to date. I think she’s a real treasure. 

I do so agree.  I feel myself highly blessed  to have been able to see her in so many roles.  She is so intelligent in her approach to her work and it really shows.  I cannot quite bring myself to talk about her in the past sense as she still seems so real to me.

I know that she was very keen to dance Manon and was very upset when it didn't happen.  I was very sorry we didn't have a chance to see her as Bathsheba Everdene in Far From the Madding Crowd as I feel she would really have made something of that role.

It has been rare to see someone who was so equally at home with the works of both Sir Fred and Sir Kenneth.  For me she has only one equal over the last 40 years, not least in terms of utter versatility, and that is/was Lesley Collier.

I consider myself hugely privileged to have seen so much of both of them.

This may be based on the fact that there were erroneous rumours a few years ago that he had died.  It was a great relief that he hadn't but it is now the case that he has.

Such a loss of such a performer and a young age.  Sounds as if his later life was pretty tortured since his car crash.

Farewell Patrick and thank you so much for all the wonderful memories.

2 hours ago, Two Pigeons said:

I saw him once with the POB, playing Puck in A Midsummer Night's Dream and a number of times with LFB/ENB, especially in Etudes.

 

He was just stunning and when you knew he was about to come on stage I got so excited I could barely breathe.

 

He danced like no one else and I have never forgotten him.  Truly a sad loss but I have such wonderful memories of him.  He was utterly unique.

I have just been watching him in Etudes with Kevin Pugh and Kathy Healey on YouTube.  I had almost forgotten his utter joy in entertaining the audience.

I saw him once with the POB, playing Puck in A Midsummer Night's Dream and a number of times with LFB/ENB, especially in Etudes.

He was just stunning and when you knew he was about to come on stage I got so excited I could barely breathe.

He danced like no one else and I have never forgotten him.  Truly a sad loss but I have such wonderful memories of him.  He was utterly unique.

Even if I hadn't loved Miyako from the very first time I saw her, about 1984 as I remember, I would love her all over again for her clear love of Ashton's Cinderella.

7 hours ago, Jamesrhblack said:

Thanks for these links. I greatly enjoyed listening to Patricia Ruanne, who had a gloriously eclectic choice of music, and spoke with a sardonic elegance and eloquence that was a joy to hear. Happy memories of her glamour on stage too. Will explore further anon...

Recently I invested in an annual subscription to Medici TV and was thrilled to see the double bill of The Sanguine Fan and Graduation Ball.

For all that both works looked very dated now I really enjoyed seeing the dancers of the old LFB.  Andria Hall was always a favourite of mine, ditto Lucia Truglia etc.  I always admired Patricia Ruanne, I long cherish the memory of her last Tatiana.

So, to see her again in the Sanguine Fan was a really treat.  Faintly silly ballet but the Elgar score was just glorious.  As was she.  The last word in expressive elegance.

I apologise If this sounds very snobbish but what a novel experience these days.  Lists of music which primarily consist of pieces I have actually heard of and know.

These days the programme seems to consist of music which is entirely unknown to me, much of which I would happily never listen to again.

16 hours ago, Odyssey said:

Couldn’t agree more Janet. He has such a relaxed persona in this type of interview. When you look at what he has managed to achieve with BRB in this most difficult of years, you realise how fortunate we are to have him at the helm. If anyone can bring BRB through this awful period, Carlos can.

Hear, hear!

16 hours ago, annamk said:

I can’t see this mentioned anywhere here yet but would be grateful, mods, if you could move this if I have missed a relevant thread.

 

Mariinsky did a live relay of Don Q on 4th Feb 2021 still available on Medici TV to subscribe or rent - for a week - I think. 

 

https://www.medici.tv/en/ballets/

 

Even if you’ve seen many performances of Don Q this is one to warm the heart: superlative artists Viktoria Tereshkina and Kimin Kim at the top of their game in the terrific Mariinsky production.

 

Some fine performances in the supporting roles and the entrance of the matadors is guaranteed to lift spirits jaded by months of lockdown and loss of live ballet. 

I saw Tereshkina as Kitri at the Birmingham Hippodrome in Summer 2008 when some junior members of the Kirov visited.  

We called it Kirov Lite.  However, there was nothing 'lite' about her performance.  I regard it as being the 3rd best ever in A leading classical role I have seen.  I will be subscribing just to see her.

Many thanks for pointing this out.

P.s.  I forgot to mention with appreciation seeing the ever gorgeous Wolfgang Stollwitzer as Clara's father.  Brought back some very happy memories of seeing him with the Company since 1996.  Gosh, 25 years and he has matured with utter distinction.

Any comment Janet?

5 hours ago, Jan McNulty said:

I went to the matinee yesterday afternoon!

 

I loved watching this cast too.  Rory Mackay is a master of eyebrow choreography and I love his portrayal of Drosselmeyer.  I particularly liked his almost flirtatious look with Clara's Mum when he was introduced to her.  I think he has a more sinister interpretation than Jonathan Payn.

 

Laura Day was just sublime as Clara and Tyrone Singleton was her perfect Prince.  Samara Downs was just gorgeous as Sugar Plum.

 

Students from Elmhurst performed the Kingdom of the Snow.  They really were magical and it was hard to believe that they did not have several years of company membership under their belts.  The young lady who was the Snow Fairy (Amelia Thompson) was, IMHO, outstanding.

 

This streaming didn't have the introduction and interval events but it did have a film of the wonderful Marion Tait talking about her career at the end of the streaming.  I was ridiculously over emotional watching this section and it is worth the ticket money just for this short 7 minute section.

 

Anyway, BRAVO BRB!!!  I will be watching this again!!

 

Here's the programme:  https://issuu.com/birminghamrb/docs/nutcracker__the_rep_january__revised_

 

I bought the original streaming but had huge issues trying to watch it.  Unfortunately, by the time I had secured the services of someone considerably more techno savvy than me, not difficult I do admit, my ticket had expired.  I wasn't that bothered as I am not a huge fan of Momoko Hirata but I was sorry to have missed the contributions of Samara Downs and, especially, Marion Tait.  Marion represents so much of my ballet going history.  To my mind she is equal only to my other ballet goddess, Lesley Collier.  I may have seen better ballerinas but these two have an unrivalled place in my affections.

Learning that the second performance starred my favourite current Clara in Laura Day and two of my very favourite principals ( with the added bonus of Brandon Lawrence in the Arabian dance) I was determined not to miss this one.

It was very interesting to see how the production had been tailored for a smaller theatre and I endorse the opinion stated previously that this could prove a useful basis for a touring version.  

For the performance, much as I admire Cesare Morales - and I do, for me it's Tyrone every time.  Not as classical but he just gets to me in just about anything.  I was very impressed with Samara, but then I always am.  I was disappointed with the transformation scene but appreciate fully that the recording was the best that could be expected in the prevailing conditions.  For viewers who wish to experience the full effect it is axiomatic to say that you need to see it at the Hippodrome.

I was very taken with the commitment and sheer joy in performing shown by the students from Elmhurst and the RBS.

All in all I was very pleased with my purchase and will endeavour to watch it again.

To finish, I heartily concur with Janet about the film on Marion Tait.  So many memories, although I was slightly sorry that there wasn't an extract from her recording of Les Rendezvous, in the proper frocks!  

All in all, well worth £10.  I mucked up my attempt to get it for £5.  Sometimes I am just too blonde, but i don't grudge the Company a bit of extra cash.

14 hours ago, jmhopton said:

You and me both, Janet. 

No question for me obviously.  Two Pigeons all the time.

The clue is in my name!

We are so lucky he wanted the directorship of the Company.  It has resulted in more attention and publicity than the Company received in the previous 5 or so years put together.

1 hour ago, oncnp said:

 

Interesting...I wonder if it is akin to the "Winter's Tale" currently on Marquee TV - perhaps a cinema broadcast that was never made into a DVD? and which I've been able to watch for free when everything else seems to require membership. 

That sounds extremely likely.  I think I may have a bootleg copy of the other Winter's Tale too.  I really miss having a DVD recorder, not least one with an HDMI connection.

On 18/12/2020 at 19:58, oncnp said:

 

According to the Friends newsletter of today it is the 2017 version. I think it may be the only DVD of it they have. 

I have a bootleg copy with Sarah Lamb as Alice which I downloaded from Sky Arts a couple or so years ago so they had that at one point as well.

18 hours ago, alison said:

Along the lines of the "Darcey Bussell in Mayerling" DVD? (Courtesy Sky Arts, I seem to remember!)

Indeed.  Irek and Viviana were well down on the list of attractions.

She's as beautiful as ever!

I remember when she danced in La Bayadere with the Royal Ballet there was a quote from a major ballet star, I am sorry but I do not remember whom.  'God gave her to us to dance Nikiya'.

I was so lucky to see her dance with Ruzimatov and Sylvie Guillem as Gamzatti.  Trust me, that was ballet!

What a lovely, intelligent guy.  I am so sorry he didn't get to do Month in the Country at BRB as he so much a Dowellesque dancer.

Nice to hear him talk so fondly apart his BRB years and the people he remembered there.

I had far more success with this than I did with BRB's Nutcracker which I paid for but couldn't get to work.

I commend Young Dancers' Academy and thought this definitely worth £12.

On 28/12/2020 at 13:50, Dawnstar said:

 

Drosselmeyer transforms Clara into the Sugar Plum Fairy part-way through Act II (Clara first does the joining in with the divertissements as in the recent streaming). The mechanics of it are that Clara ducks under Drosselmeyer's cape on one side & the SPF emerges on the other side. Most of the company are on stage at that point so the SPF gets on stage by minging as unobtrusively as possible with them & Clara exits ditto. The swap back at the end was pretty much shown on the stream except that Clara usually enters unobtrusively during the last group dance before she is revealed being held by the Prince whereas on the stream she could be visible beccause he wasn't supposed not to be there, if that makes sense. As for the plausibility, I suppose that depends on how good you are at suspending disbelief! Personally I'm not very good at it. I can remember age 9, when I first saw the production on TV, being completely unable to belive that blonde, English Sandra Madgwick could turn into black-haired, Japanese Miyako Yoshida.  I didn't find it any more plausible last year seeing Rachele Pizzillo turn into Yijing Zhang live. I was pleased that the livestream didn't include the transformation, as Karla Doorbar into Momoka Hirata would hardly be plausible for me either.

When the production was first premiered in 1990 it was in the halcyon days when the publicity material included advance casting.  Oh, did I come to miss that over the last 25 years!  The booking leaflet listed a Japanese soloist with the company, I cannot remember her name, as Clara who it was planned would evolve into the peerless Miyako Yoshida.  The published second cast was Sandra Madgwick as Clara and Marion Tait as the SPF.

I never heard why officially but by the premiere Sandra Madgwick was Clara.  The opening night was such a resounding triumph that I don't think the incongruity of a Europen, blonde Clara turning into a Japanese ballerina bothered too many people.

When the transition does work it can be pretty staggering.  About 5 or 6 years ago we took our nephew and his wife to see the delightful Laura Day evolve into Karla Doorbar.  A near perfect match.  So perfect the wife couldn't believe it wasn't the same dancer and kept saying all the way home that she couldn't work out how it was done.

One of the slightly sad things is that you can only see a production for the first time once.  My abiding memory of that first night was the wonder of the transformation scene and right at the top of that glorious music the arrival of King Rat.  It was played by Kevin O'Hare.  Whatever happened to him?