Odyssey

I enjoyed the film but, as is often the case, I enjoyed the book more. I think Carlos’ life story is remarkable and as such the film is inspiring and has a wider appeal than for balletomanes. Having said that, I totally appreciate the point Fonty makes regarding the lack of substantial focus on the balletic qualities of his dancing .

I find it quite moving that so many of the Company have shown  such genuine support . The Royal Ballet appears to be in such a good place right now with a real ensemble feel to all they do . Obviously, we only pick up fragments from the communications we are able to read, but it’ also comes across in the way the whole company behave on stage, fully commitment evident right across the company.

I really hope Clare gets a second chance to dance this role. The quality of dancing from the first soloists ( and we’ve recently lost  two very talented females) is particularly high, with several very experienced dancers who regularly shine. I wouldn’t envy Kevin O’Hare in the difficult decisions he has , but he does seem to be able to keep his dancers interested and happy.

Like Janet, I have attended many of these evenings- for many years memorably  introduced by David Bintley. Without doubt, the anecdotes he used to entertain us with between the extracts was an important aspect of the evening. I’m not sure the guest compères have worked so well since. I always saw this as a celebration of the Company and its wonderful Sinfonia . The extracts were largely drawn from the current / recent repertoire and reflected both the riches in the Company’s ‘chest’ and the depth of talented  dancers. In recent years, there has been a little more focus on new choreography created by people within the company.  I think I’m right in saying that initially there was just a single performance which  proved so popular that it extended to a second show usually on a second consecutive night.  I last saw it at Warwick Arts Centre - on the occasion Janet refers to when it was staged outside the Symphony Hall. I’d be sad to see it go, but I always got the impression this was  an initiative created and shaped by Bintley and it was an important event in the BRB calendar.  It wasn’t a gala evening - nothing as grand as that, and as such had a unique quality. Perhaps there are other priorities now. 

21 hours ago, oncnp said:

I think it's this one  

🎭Andre (@dancersdiary) • Instagram photos and videos

 

also has a nice post SL from tonight. An incredibly talented man.

I couldn’t agree more. His tribute to Tierney Heap is also lovely. I’d love to see an exhibition of his work.

I wrote on this topic a few years ago when I recalled having had the wonderful experience as a child of seeing Fonteyn in Swan Lake at Coventry Hippodrome. I wanted to add here, that around the same time, my Junior School ran a couple of trips to Stratford Upon Avon - one was to see the D’Oyly Carte Opera  and the other, The Royal Ballet Touring Company which became SWRB, then BRB. I saw Monotones1 & 2 & Giselle ( you don’t get the luxury of such programming these days) with Margaret Barbieri as Giselle, Kerrison Cooke as Albrecht and Elizabeth Anderson as Myrtha. For those here who remember those days, you might be interested that the cast for Monotones 1 was Alfreda Thorogood, Brenda Last & David Wall, & Monotones 2 Jane Landon, Paul Clarke & Hendrix Davel.  My rather scrappy programme from all those years ago also tells me Christopher Carre, Sarah Conley & David Morse were part of the Pas De Six. Such riches! My point is how important  such school trips are in capturing youngsters’ interest in the arts. In my case, along with the fortune of seeing Fonteyn later in the same year - no doubt  after pestering my parents to see more dance as a result of that school trip, I began  a life long passion for ballet. I’ve since witnessed first hand the wonderful outreach work of BRB in working in schools and colleges, culminating in that vital experience of seeing ballet performed live on stage in a theatre/opera house. I’m just thankful to the farsighted teacher who took the time to organise those trips and wonder how many other appetites were whetted on that afternoon. 

Just moving off the current topic slightly, Andre Uspenski recently captured a wonderful moment from a performance of Romeo and Juliet  by Melissa Hamilton and Ryoichi Hirano . It’s on his dancersdiary Instagram,  but I haven’t seen it printed elsewhere. The image shows Melissa about to embrace Rio as his arms extend to greet her with his cloak which resembles a heart in how it has been captured. It’s a beautifully photographed moment which has been admired by many on his account including several current RB Principals. It would make an ideal ‘February image’  for the RB Calendar. I wondered if many folks here had seen it . Also wondering if Andre  sells prints of his work.

1 hour ago, zxDaveM said:

 

Yes indeed. Gary posted up rehearsal video from back in 2006 - makes that lift look all the more scary!

I’m fascinated that what would appear to be such a memorable opening to this pas de deux, would not have been part of the preparation of the first cast couple. Why would it be, what I think, is the third cast that were the first to restore it? 

53 minutes ago, JNC said:

To me it is an integral bit of the choreography, perhaps for newer dancers or dancers feeling a bit off a particular day I can understand amending it but it should always be the goal to perform them. Would agree it doesn’t and shouldn’t make or break the overall role but to me it is on the same level as doing the mime in Act 2 well, or other key choreographic moments I look out for in the Act 2 pas de Deux. 

I agree  with this assessment JNC. I’d add that it always surprises me when comments are made that a dancer achieved say 25 fouettés in the same breath as stating that they do not consider this technical aspect should be important in indicating a dancer’s ability to perform the role of Odile . So why do they start counting? Presumably because we know It is an important aspect that helps to define Odile’s character through the stir her  dancing causes, which separates her from the other eligible princesses at the ball, and it is a touchstone that ballerinas aim to emulate. 
 

Your later point about coaching would be an excellent subject for the wonderful Open Barre  podcast to cover. Hopefully it may be picked up here. 

12 hours ago, Tony Newcombe said:

At the end of tonight’s performance of Don Q in Plymouth, Carlos Acosta came on stage and announced Miki Mizutani’s promotion to Principal from the beginning of next season. Thoroughly deserved, particularly after tonight’s wonderful Kitri. So happy for this wonderful dancer

Brilliant news and thoroughly deserved. I love these on stage announcements over press releases - though of course these necessarily follow.  Hope there’s a photo posted somewhere of the occasion.

I totally agree with this assessment Sim. There are many ingredients to being a Principal and in the current climate, having the resilience you describe is a key one. 

Such an enjoyable performance at Plymouth this evening. This is a lovely production which lifts the spirit and is very beautiful to look at. Definitely a keeper. I think Yu is a promising prospect for the future. She  visibly relaxed into the role as the evening progressed, and then her personality shone through. Lachlan was an attentive partner and there was a pleasing chemistry between them. Having a male character of Amour works well I think. The Company was in good form and was deservedly warmly received. 

I was aware it was Gina, thank you. Plenty of pics out there of Melissa’s beautiful feet . I’m sure Rob has taken a few !

4 hours ago, emmarose said:

God, I love Claire's feet, even in that photo, just look at it! 

It struck me that among the RB first soloists are two of the loveliest pair of feet ‘in the  business’ - Clare and Melissa !

Lovely to see Clare Calvert will be on stage tonight as a big swan . 

I wonder if they might consider streaming this after the live performances in order to raise more funds.

Interesting how two years ago the different nuances of the two sister dancers was celebrated. I came across this in the2020 Dance Tabs review  : Mayara Magri and Fumi Kaneko are well contrasted as the charming sisters, Magri exuberant and Fumi meticulous. 

I also don’t think it helpful to suggest the rank of a dancer is tied to a performance in a single role. 

Let’s just wait and see. With excellent coaching (which clearly provided some superb performances in R & J) some people here may be pleasantly surprised by the casting.

Yes, I echo the positive comments above. It was a very wide ranging and interesting documentary. Would thoroughly recommend a watch.

Thank you ChrisG for whetting my appetite. It looks to be a welcome dash of sunlight amidst all the miserable gloom we’re currently experiencing.

Jann Parry, in her excellent biography of MacMillan , agrees with you CCL. She says of Lady Capulet’’s extravagant mourning of Tybalt, “ Naturalistic responses have been overtaken by Expressionism.”  
Parry’s account of the creation of R&J, contains many interesting observations regarding the intentions of MacMillan including those final, powerful moments. Here Christopher Gable is quoted as saying,  “So they die apart, not touching. Two beautiful young lives have been totally wasted. Nothing’s been achieved, nothing’s better, and they’re not united. They’re just dead. Just two dead things.”  Chillingly frank.

Incidentally, pertinent to comments above, Parry refers to  Juliet’s sepulchre recognisably her bed, stripped of its coverings. 

I think it’s a sarcophagus as it’s meant to be stone.

8 hours ago, alison said:

I think that dress is going to need to be binned ...

 

Great photos as always, Rob.

I’ve never noticed a Juliet in threads in curtain call pics . Is this unusual?  

I remember him being interviewed a few years back about the creation of Symphonic Variations. Had seen plenty of photos of him, so it was good to hear him talk in person.

Yes, I didn’t recognise him from the Dante Project. It’ll be good to go back to the World Ballet day class and look out for him.

This seems to be shaping up to be an exceptional run of R & J . Apart from the undoubted talent in the company at all levels, a lot has to be down to the superb coaching the dancers are receiving. 

Yes, we are so lucky to have such a richness of companies, each with their distinctive ‘flavour’ and blessed with some tremendous talent. I wish there were more opportunities for cooperation between them. I remember the celebrations for Macmillan a few years back when there was a lovely mix. Keeping to the topic of this thread, I think Carlos Acosta remains a very exciting prospect for BRB. Reading through his comments in the interview link, higher up the thread, I think he has a good understanding of the competing issues that he has to juggle.