Odyssey

8 hours ago, ajf said:

There is a piece by Akram Khan called Xenos which was created around the centenary of WW1. It is for a single dancer, Khan, and has specifically composed music. I saw at Sadler’s Wells and thought it was the most moving dance work I saw that year. I do not know if it was ever filmed but it was supposed to be the last piece that Khan ever made to be danced by himself so maybe. 

If this is the piece, you can find more if you search more specifically on YouTube Xenos Akram Khan.

13 minutes ago, Scheherezade said:

Reunion of their souls/spirits? Victory through and beyond death. 

That to me is the most satisfying ending. I

The music has always suggested this to me.

Something that often occurs to me, and was certainly in evidence in the beautiful curtain call photos Rob posted yesterday, is how happy and appreciative the soloists and members of the corps de ballet are towards the principal performers as they receive their applause/ flowers. You can tell from the expression on their faces, they are genuinely caught up in the celebration of the achievement of their peers. It’s another lovely aspect to the close knit unit the Company appears to have been able to foster. 

That is indeed a gorgeous photo ofYasmine. Thank you.
 

I have been looking to see if there was a review of the Singapore performances. The only one I managed to find is The Straits Times and it’s a paywall. Judging by the clips which feature on the various participating dancers’ Instagram accounts, it seems to have been a success and extremely well received. The venue looks very well suited for dance. Lovely to get a glimpse of Xander Parish who said on his Instagram page how much he enjoyed being on stage with so many friends from his time with the Royal Ballet. The Masterclasses which also accompanied the event also seem to have been very popular. 

That means Plymouth was her third performance - one more than a RB principal would typically get in a run and two more than a first soloist as Beatrice is currently this season - I haven’t looked to see if she’s scheduled to dance in Bristol or Sadler Wells. 

On a not unrelated note, I found it interesting listening to Alexander Campbell talking fondly about his time with BRB and the opportunities it gave him to develop as a dancer. (The link this interview is on the farewell/ appreciation of Alex thread).

Yes, it was the gold glitter confetti that falls at the point of the final tableau just as the curtain falls. There’s always plenty on the floor as the dancers take their bows, and Tzu- Chao scooped some up. 
Incidentally, odd flakes frequently fall during a performance, and I like to see how they are surreptitiously removed if they are deemed to be in a place which is potentially dangerous for a dancer to slip. This happened on Thursday before one of Beatrice’s variation. 

I first saw this production in Birmingham during its inaugural season as BRB  ‘back in the day’. I loved the splendour of it then, with its sumptuous costumes and recreation of the court of Louis XIV, and I have continued to enjoy it over the years - and Thursday evening’s performance was no exception. I refute the suggestion I read in one review that this production is old fashioned and showing its age. I can’t imagine anyone not feeling the magic or appreciating the quality of the design. Some of the notable decisions made by Sir Peter Wright, such as making the Lilac Fairy a non-dancing role, setting the first interval after the Prologue and the curtailing of some of Act 3 still make sense to me.

Like Tony, I was excited to witness the onstage promotion of Beatrice Parma to Principal which was warmly received by a packed theatre . I think Carlos Acosta is so right in making these announcements public in this way. I wish Kevin O’Hare would do the same. 

I found Beatrice a very promising Aurora whose confidence blossomed as the performance progressed. I saw her in rehearsal, coached by Darcey Bussell, on the BRB website, so it was interesting seeing, what I believe was, only her second attempt at the role.  Understandably a little tentative in the Rose Adagio balances, she nonetheless displayed a secure technique with gorgeous shaping and movement of her upper body. In the following variation she visibly relaxed, and the exhilaration of a young girl who finds herself the centre of attention at a ball, held in her honour, came through. I thought she showed a nice contrast in the vision scenes of Act 2 where there was a suitably serene and softer quality to her dancing. Her Prince was Tzu Chao Chou, whose partnering was exemplary and who, from the moment he awakens Aurora , right through the whole of the final act, looks like the cat who has got the cream!  The Wedding pas de deux, particularly the first variation, was clearly well rehearsed and rather splendid - the fish dives were impressive and the parallel arabesques beautifully together. 
Elsewhere, I would single out Olivia  Chang Clarke as the Fairy of Song and Yu Kurihara  as the Fairy of Joy, who successfully captured the spirit of their respective characteristics, both evidently, comfortable in the technical demands of their variation. Reina Fuchigami was a lovely Princess Florine - definitely a dancer to watch .

A mention to, to the wonderful Kit Holder as Gallison ( the Prince’s aide). Like the very best character dancers, he squeezed every ounce out of this relatively small role and entertained us with his prissiness. 
I was slightly disappointed with Gabriel Anderson’s Carabosse. Although he demonstrated the carriage and stature of a haughty and potentially menacing evil character, his mime didn’t convince me and at times he seemed to be playing, rather than inhabiting the part. But I do have fond memories of both the wonderful David Morse and Marion Tait in this role.

The Royal Ballet Sinfonia were at their magnificent best, with Paul Murphy setting a pretty spirited pace throughout. 
Altogether a lovely evening.

You pipped me to it Tony. What a lovely and well deserved surprise. Will write about the performance tomorrow . 

3 hours ago, Jan McNulty said:

 

Coincidentally there is a feature in Links today about what Pacific North West Ballet does with used pointe shoes.

As I noted above, that’s  the reason I started the thread Janet!

I’m finding it difficult to believe that companies haven’t made statements in recent years regarding the disposal of the shoes. It’s an awful lot of shoes for landfill.

I’ve seen several small initiatives, similar to the one described in the article in the Links,where artists have made use of them in installations, but I’m surprised it’s not something that is used as a fund raising stream.

There’s an interesting article in today’s Links drawing attention to the many thousands of used pointe shoes and highlighting several initiatives by Pacific North West Ballet which aim to up cycle them. I wonder what the situation is here in the UK, and what happens to the vast numbers of old pointe shoes disposed of by major companies. I am aware of appeals to support the cost of new shoes, but have never seen anything about the recycling implications of old shoes. Perhaps someone can shed some light.

22 minutes ago, TSR101 said:

 ‘Caravaggio’ 

Ah thank you. That figures as they have performed it together during the Bolle tours. Interestingly, Melissa indicated that it’s the first time the two of them have performed together in London. 

I have never really found myself responding to Swan Lake through becoming immersed in the emotional psyche of the characters and their narrative development.  For me it is simply about the sublime beauty of the choreography and that gorgeous score. I enjoy seeing the ways in which choreographers bring fresh ideas to the narrative, and can revel in the spectacle and lavishness of the set and costume designs. But give me a superbly rehearsed corp de ballet and two accomplished principal dancers who are clearly responding to the music and to each other, and then it becomes transformative.

Melissa Hamilton has posted today that she will be dancing with Roberto Bolle as suggested further up this thread, but no news of what they will be dancing .

Yes, it is Sopholife, and the wonderful Iain Mackay and Marion Tait.

I really enjoyed the Insight. I’m struck by just how special the coaches are at RB . Both Darcey Bussell and Ed Watson demonstrated in spades the productive, informal and mutually respectful  relationships they have with the dancers they coach. It’s something you regularly witness in other Insights with coaches like Laura Morea, Gary Avis and Christopher Saunders. It was a joy to watch two talented and intelligent dancers in Marcelino Sambe and Melissa Hamilton responding to input about the impulse or the physicality of a movement. The discussion afterwards was a further treat with a dream panel who between them had such a wealth of knowledge and experience of Macmillan the man and the choreographer . Lady Macmillan’s final comments regarding the generosity of previous dancers in willingly passing  on the torch to the next generation as being rare in the arts, was something which I had never considered before and made me feel rather warm and fuzzy! 

It does seem a shame that they couldn’t mark this occasion by scheduling a performance of Manon today, and a missed publicity opportunity- but currently they don’t seem too good at that.  I think there is a reference on the ROH Instagram .

I saw Yoshida quite a few times when she was with SWRB. In my novice opinion she fully deserved the rank of Principal. I agree she was very consistent and extremely watchable- not flashy, but had a fluidity and lightness to her dancing that made quite difficult solos seem effortless.
Sir Peter appears to have rated her very highly. 
I have never quite grasped why Darcey Bussell was considered to be unworthy of the rank . Is this view held about the whole of her dancing career or regarding her early promotion?

Interesting reading people’s comments about dancers who made principal with limited experience or reputation in the classical repertoire but who have excelled in twentieth / twenty first century choreography. It really  makes me wonder about Hamilton and why she has been unable to progress her career with the Royal to the highest rank. 

I think this has been expected for some time given the state of finances . We have certainly discussed this in a previous thread when the Council first  announced bankruptcy . I am hoping BRB has been future proofing for a little while now. 

Yes, I meant to draw attention to it when I came across it in the links. Good to see Melvyn Bragg still making such an eloquent and forceful argument for the Arts. (Always grateful to  the Links people who uncover  out these interesting articles and galleries which would otherwise go unnoticed by most of us here). 

I have had ear-worm all morning. I understand, when the ballet premiered, there was initial criticism of the score as being weak with one very esteemed critic being bored with Massenet! 

Previous posts have said much that I would want to echo. This was the Royal Ballet showing what it does best.  Every single member of the cast dancing their hearts out of their respective roles.  
To think the Company can field multiple principal casts that have, and can, bring wonderfully, honed, individual interpretations  (including two first soloist) . What riches !

That’s very interesting Jan.  I hadn’t been aware of this.  He must have had a Damascus experience!  

I stand to be corrected , but did Carlos Acosta actually say he wouldn’t stage heritage works? I’ve searched some of his original statements both when the announcement about his taking up the post of director was made, and from when he was first appointed , and I cannot find any direct statement of this kind. 
I also think it’s important to read what he says on his official website. 

https://www.carlosacosta.com/birmingham-royal-ballet/

 

16 hours ago, SheilaC said:

A mod may want to move this to a different thread but I don't think anyone has commented that BRB will be dancing Cinderella next spring. Presumably Peter Wright's.

Priority booking has been announced for the Mayflower Theatre for February 6 - 9 (only 1 matinee, the Saturday at 2pm).

Presumably the company is sensibly trying to encourage people going to that, and other regional, theatres to watch Sleeping Beauty, to book a year in advance.

But I don't think it's yet been announced what they'll be doing in the autumn, just the Nutcracker in Birmingham and London (RAH).

They did this last year when they toured Don Quixote - promoting Sleeping Beauty for the following year- and it seems to have worked judging by Janet’s comments about Plymouth sales earlier in the thread.

I would be very surprised if the production of Cinderella wasn’t Bintley’s. It’s very good and popular. Although I only saw  it in Birmingham, I assume it adapts well for touring.