Jump to content


  • Content Count

  • Joined

  • Last visited

Community Reputation

1,128 Excellent

Recent Profile Visitors

1,142 profile views
  1. Lovely dancing from Carlos Acosta on Strictly to music from Carmen - showy and wonderfully executed.
  2. I share your enthusiasm for this production Janet. I was able to see it in its first season and remember the gasps and enthusiastic clapping for the transformation scene. I also have happy memories of Yoshida and Mukhamedov performing for the filmed performance a few years later with Sandra Madgwick as Clara, Ravenna Tucker as the rose fairy and Jo Cipolla as Drosselmeyer. I remember the shot fired by the nutcracker prince failed to make a sound and had to be dubbed in afterwards.
  3. Although I don’t post messages, I find Instagram is frequently the only way you can find out about what roles dancers are performing if they aren’t principal roles at the Opera House or if they are guesting in a gala etc. I’m not particularly interested in knowing about their personal lives (although I have to admit I have discovered relationships between dancers that I would have had no idea about were it not for their posts). If a dancer grabs your attention, it is perfectly natural to want to follow their career and there is much pleasure in learning about the new roles they take on. I think it should not be necessary for them to have to make this known but the profiles on the Opera House website are selective and often vague. So I can well understand why Instagram is popular as a source of information.
  4. Yes, I think this is the case. Sir Peter Wright actually refers to this role in the documentary that was made to celebrate his 90th birthday.
  5. I think the current production design and costumes have been around since 2006 .There is an interesting short video about their recreation as part of the much missed digital programmes that used to accompany screenings.However, I found this short video from five years ago which explains the historic nature of the production .
  6. Well the background to the current design, including the costumes is proudly promoted on the website Sixty years later, in 2006, the original 1946 staging was revived by then Director of The Royal Ballet Monica Mason and Christopher Newton, returning Oliver Messel’s wonderful designs and glittering costumes to the stage. The Messel designs are lovely in their own way, but are a little heavy for quite a few people's tastes. I suspect this may well be the last time they will be seen and The Sleeping Beauty may have a complete overhaul next time it is in the repertoire - just my guess of course
  7. Re : Fish dives. You might be interested in this rehearsal of Antoinette Sibley and Anthony Dowell by Michael Soames https://youtu.be/_k3g8DMOIOU
  8. I’m trying to recall if their were similar doubts when Nureyev took on Paris Opera Ballet. Was this at a time when he was also touring Nureyev and Friends and seemed to have endless performing commitments. This might not be a worthy comparison, but I’d be interested to know what others who are more knowledgeable might know or recall about the timing of his appointment in Paris. I am still optimistic that this is a good appointment both for BRB and Carlos Acosta.
  9. Just came across this review for this week at Sadler Wells. moderators may want to add to dance links. https://www.thereviewshub.com/acosta-danza-evolution-sadlers-wells-london/
  10. I have struggled with the back of the stalls. I don’t think the rake is that good. Much better, although further away, in the rear circle.
  11. I had hoped for there to be a performance thread about the UK tour of Acosta Danza. Now nearly at the end of the tour, and with just two reviews from Edinburgh in the Dance Links. I thought I’d post my appreciation. On a wet and windy afternoon in Birmingham last week, I spent two enjoyable hours immersed in a programme that exceeded expectations in the way it challenged, entertained and drew my admiration for this troupe of talented dancers. The opening piece, Satori, choreographed by Raul Reinoso, who is a dancer with the company, is a journey towards spiritual illumination. The score is a mixture of electronic and acoustic sounds that enveloped the auditorium ,while the billowing fabric that initially encased the dancers was gradually shed to reveal a raw, exposed ’essence ’ reflected in the wonderful physicality of the dancing of Zeleidy Crespo. The second piece, Paysage, Soudain, La Nuit is a celebration of a youthful Cuba - life enhancing and care-free. The dancers move to and fro amongst the grassy landscape in harmony with their surroundings and each other. Faun is an interpretation by Sidi Larbi Cherkaoui of ‘L’ Apres-midi’, originally commissioned as part of the centenary celebration, In the Spirit of Diaghilev, at Sadler Wells with a score that fuses Debussy with experimental music from Nitin Sawhney The pas de deux becomes increasingly intricate as the dancers begin to interact and gradually become enmeshed, mesmerising in their fluidity and sensuality. The performance finished in style with Christopher Bruce’s crowd pleaser, Rooster, and a much anticipated appearance from Carlos Acosta strutting his stuff as the red rooster. Altogether a stimulating afternoon, much appreciated by the vocal Birmingham audience, who already regard Carlos as one of their own in anticipation of his taking up his appointment in the New Year. Acosta Danza is wonderful company -there’s a clear unity of purpose that shines through in their approach. This latest programme is bold and reflects the versatility and capabilities of the dancers.
  12. Just to add to this appreciation of Madam is the tremendous foresight she saw in the possibility of establishing a regional base for Sadler Wells, namely Birmingham Royal Ballet . She was quite an advanced age but footage of her at the time keen to be part of the celebrations remain a fond memory. (Sorry to go off the main topic a little)
  13. Yes it would be much appreciated if this could be done by some kind persons throughout the run. As has been noted before, there is very little information from the ROH. I find I get most of my information from dancers’ social media accounts.
  • Create New...