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  1. I have that book , a beautiful record of their partnership. I had never noted that the preface indicates that Leslie drew on a very much larger collection. Every now and again some individual photographs appear on eBay, but it would be wonderful if a new book were published. I imagine many of the photographs from that era which are displayed in the corridors and walls of the studios at the Opera House are also by Leslie E Spatt.
  2. This is a query that has been raised previously on several forums. It appears the book was never published other than as an online photo essay available on Keith Money’s website which is sadly no longer available. It would be lovely if someone could host it and make it available again as Money’s four books on Fonteyn and the Royal Ballet are exquisite. It strikes me how little is published in the way of ballet titles these days - other than hugely expensive volumes such as the recent Ed Watson title.
  3. Well at the risk of being very unpopular I am going to put forward the view that several of the younger dancers may have been given too many of major roles very early in their career. Much as I enjoy the dancing of Naghdi, Styx - Brunell and O’’Sullivan, when I look at the roles they have already danced in both established ballets and new work, I think it would have been both fairer and kinder to allow other dancers more opportunities to establish themselves in roles. It might be seen as a strength that the Royal Ballet can field so many promising Juliets and Manons, but how is this fulfilling in the long term for the dancers? To follow up on an earlier point, I find it ludicrous that Hamilton gets one school performance of Manon next season. A similar case could be put regarding some of the male dancers, although the number of injuries has had a considerable impact on the amount of new roles certain dancers have had to take on. Which leads me to a point about the impact this ‘packing things in at the start of a career’ is having on the physical and even mental well being of the dancers. I am all for fostering new talent, but I think that this has to be tempered by other considerations about keeping a balanced and healthy company with opportunities for dancers to steadily develop their careers.
  4. Superb performance for the live cinema relay. Everyone acted their socks or pointe shoes off. Not a weak link including the orchestra who played wonderfully. What a marvellous way to end the season.
  5. I hope you are right about Bintley, but then why would he already have accepted, and continue to allow, the use of the title CBE?
  6. I have followed this thread with interest . I think nearly every name at first soloist level, including dancers who have been at this level in the company for a while such as Clare. Calvert, and those who have been out for sometime with injury like Tierney Heap, but no mention of Melissa Hamilton. I know there will be replies saying she hasn’t proved herself in classical roles, but has she been given the chance since her return? I am curious why people think her progression in the company appears to have stalled and whether she will be given any new roles next season.
  7. Sky Arts is definitely ‘upping its game ‘. Three new to air and fairly recent performances from the ROH plus a new dance documentary series and the Osipova documentary to come. Does anyone know the reason for this apparent rediscovery of part of their original brief?
  8. Although it might be a subject for a new thread, I am wondering if there is an even spread of workload at the levels of principals and first soloists. It strikes me that with new work, choreographers presumably have the pick of the company which means that the repertoire of some dancers becomes very heavy loaded whilst others are under used. Plus, Kevin O’Hare seems quite generous in allowing his dancers to guest - a policy that is good in theory, but must put tremendous strains on the company, particularly if you need to call on second and third cast members to call on at short notice.
  9. Thank you so much for posting this, it brought back so many special memories. She is the most sublime Sugar Plum Fairy.
  10. Thank you for alerting us. I wonder if Sky Arts has struck a new deal - it used to regularly broadcast the ‘live’ screening performances about a year later, and we have had two ‘new’ RB productions in fairly quick succession after a long, period of repeats.
  11. I have just had the pleasure of seeing the film and can fully endorse all the praise it has garnered on this forum. The narrative is told in such an interesting way, successfully fusing the period of Nureyev’s defection, his childhood and mentoring by Pushkin. The editing at times is inspired - very moving when the film moved seamlessly between Nureyev staring out of his window in Paris to his Mother leaving the children at home while she went to gather wood. It’s a long film, but there is no extraneous scenes and the attention to detail is impeccable. As has been said previously here, the casting is inspired. Oleg Ivenko looks uncannily like Nureyev in the scenes at the airport. Fiennes is wonderful with a restrained temperament and inner calm that contrasts so well with the fiery outbursts from his prodigy. I noted that the film is partially funded by the BBC, so I think it will be shown on tv soon. I would definitely want to watch it again. Although a very different film, it is in my opinion, on a level with The Red Shoes as the finest ballet film that has been made.
  12. I too was hoping someone would post a report of their performance together on Saturday night. Melissa has reposted an image on her Instagram account which I think bangorballetboy took of the curtain call. It is a lovely photo showing a clearly emotional Melissa.
  13. 2017 live screening performance Nunez and Muntagirov with a supporting cast to die for.
  14. Unusually, Dame Monica Mason and Wayne Eagling were listed in the events details on the ROH website. Melissa Hamilton wasn’t , but she had posted that she was taking part on her Instagram page.
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