Odyssey

Has anyone on the Forum been fortunate enough to attend this event or read any reports about it? It is an impressive gathering of dancers including quite a few from our own companies from the present and past, The dancers take part in two programmes and include - Sarah Lamb and Frederico Bonelli, Melissa Hamilton (dancing with Roberto Bolle) , Tamara Rojo and Isaac Henandez, Alina Cojocaru ( dancing with Johan Kobborg) plus Alessandra Ferri , Iana Salenko . I have posted a link to the two programmes which include extracts from works by several of our home-grown choreographers. It would be interesting to know how it was received. https://www.nbs.or.jp/english/stages/2018/wbf/program.html

The live cinema performances have been a godsend in getting people to see a ballet for the first time - of course it's not the same as a live performance, but has so much going for it with the mini documentaries, the familiarity of the environment in which you watch the performance and the relatively low cost. I have introduced several friends in this way and they have left wanting more. Would that those responsible for public service broadcasting were prepared to provide more opportunities for people to see full length works on our mainstream channels. I genuinely believe that the combination of dancers demonstrating a fantastic technique, productions that are stimulating in their interpretation of themes and settings and choreography that can move you to tears can generate a significant, audience if only sufficient time and care were to be given over to regular programming of this most inspiring medium of performance art.

I came across the sad news that the former principal dancer, Diana Vere, has passed away. The ROH has a tribute to Diana on their website http://www.roh.org.uk/news/remembering-former-royal-ballet-dancer-diana-vere-1942-2018

Many years ago, I sent a letter to Australian Ballet asking about Ann Jenner and the roles she had danced since joining the company. To my surprise, a few months later, I received a warm and lengthy letter from Ann via airmail in which she outlined all what she had been doing since emigrating to Australia and she appeared to be genuinely touched that someone had wanted to know how she was getting on. Obviously, this was at a time that predates the Internet and Social Media so news about dancers was largely limited to what you read in the press, but I think it illustrates that dancers take real pleasure in receiving messages of support and interest in their achievements.

What lovely suggestions Vanartus. I was only thinking the other day, having re-watched the BBC drama adaptation of her life story from a few years back, that it would make a wonderful subject for a new ballet. A little late to be commissioned for the centenary, but you never know …

With regard to the interview process see below extract from the initial press release (with my underlining) The BRB board will be advised at each stage by the expert panel, who will also conduct the interviews of the shortlisted candidates and recommend a candidate or candidates for final interview by the board. The aim is to announce the new appointment by the end of the year.

Am I very much in the minority when I say I that despite the apparent exemplary way the search for a replacement is being sought, this makes me more worried for the future direction of BRB? I am not at all adverse to change, but when I see as the main 'mission' of the panel being to recruit someone who will take the company in a new artistic direction, alarm bells sound.

Interesting timing. I wonder if they had to bring it forward because of earlier leak. Congratulations to Matthew and the other promotions. Looks like some predictions here were pretty spot on!

It does rather make a mockery of any subsequent press release about promotions from the Royal Ballet (unless it appears today). Embargos used to mean just that.

I had mentioned her previously and people seem to think it unlikely. I realise there is a wealth of talent who could be regarded as being on the cusp of principal status, but I am surprised that she hasn't been given the opportunity to show how she may have developed as a result of her time as a principal in another company by being given a principal role other than in a Macmillan ballets which she has already proven as a strength Richard - I should have noted that comments about dancers in line for likely promotion are in a further thread under the general discussion forums, the title is something like Principal Pipeline.

Thanks for this. I don't want to miss this tribute - hope it's a sell out too!

Might one reason be that the ABT production has both a narrative and choreography that keeps more closely to Petipa and Ivanov. There is a great deal of discussion regarding the realisation of Rothbart and the ending which is in line with the discussion here. Obviously there is less discussion about the individual dancers - although it is good to see that Naghdi and Ball are gaining attention. Synopsis of the current ABT production https://www.abt.org/ballet/swan-lake-2/

Having read the posts several pages back from the member from the USA who was over here to see the production, the thread on the Ballet Alert forums is interesting for a more mixed set of responses. Hope MAB isn't leaving us. I think the hot weather in the UK has got a few people hot under the collar.

Thanks for this.background but I was just asking if Elmhurst ihad done something similar in the past.

What a brilliant idea. Hope it spreads to other cities in the UK in future years. Has Elmhurst previously done something similar ?

She has been a presence in the dance world for so many years, regularly appearing on documentaries , offering her considered and knowledgeable opinions on so many areas. It's hard to imaging she will no longer be around to contribute.

What lovely news. Hope they have a long and lasting partnership both in their personal and professional lives.

, nomination for the worst costume. This comes from a much loved ballet book that I have owned for many years. In The Art of the Royal Ballet by Keith Money, there are several pages of photographs depicting Robert Helpmann's 1963 ballet Elektra, with Nadia Nerina in the title role, partnered by David Blair in the role of Orestes. To say the costumes look amateurish would be doing a great disservice to the many excellent costumes designed and made by willing volunteers. I have always smiled at one particular colour picture captured by Money which states," David Blair is clearly beginning to get covered with dye from Nadia Nerina's costume." A glance at the picture reveals that this is no exaggeration. I have searched on line to find the said costume and found this, https://ballet.blogberth.com/2017/10/06/nadia-nerina-in-elektra-royal-ballet-1963/ But it really needs a colour shot to reveal the extent of the travesty. Incidentally, the costume is navy blue.

That's great news and I am sure that she will give her all to make it a successful appointment. I have so many happy memories of her when she used to dance with BRB

Poor Kevin he'd probably never considered that finding a replacement harpist would be more difficult than a principal dancer who is indisposed. Perhaps he should have made the announcement, " Is there a harpist in the house?"

Yes congratulations to both- so well deserved. But another opportunity lost to award David Bintley with a knighthood.

I am a great fan of the BRB Sleeping Beauty. I love the Philip Prowse designs with the golden tints and costumes suggesting the court of Louis XIV, the Sun King. Wright's decision to have the lilac fairy as a character role has divided opinion and might be regarded as a weakness, but it's logic as a counter to Carabosse as a representative of good , with greater emphasis on the mime works for me.

I wanted to add to my final sentence of my previous post "rewarding dancers ".. with a fulfilling career". Financial matters are of course important, but I think the former is upmost in a dancer's mind especially once they have reached first soloist level.

Who would be Mr. O'Hare with such a talented group of dancers? Xandra's post raises the conundrum of how to balance keeping your Principals fully occupied while maintaining motivation for those pursuing the 'top slots'. How many performance slots does the RB have nowadays in comparison to other leading companies? I think Floss's post about the pragmatics of being relatively injury free and able to be partnered by most dancers is an important one. I found the comment in the Claire Calvert feature interesting regarding the position of a first soloist ( see other thread). Perhaps they do indeed have the best of both worlds - but reaching the 'top slot' is an understandable aspiration and titles matter to many. Just to throw a spanner into the works - do the categories of dancers work for the company or might there be other ways of rewarding dancers?

I would like to think she is given an opportunity to prove she has grown as an artist following her time with Dresden.