ToThePointe

Hi there if anyone is selling a standing or cheapish ticket for either of Sarah Lamb’s performances in Manon please let me know ☺️ Dates are Monday 26th Feb or Saturday 2nd March matinee

Hi there is this still available? Have tried to PM you but it’s not working so please pm me if you can!

Thank you for sharing! Also just to note, that many who posted on this thread are mentioned in the episode. Thank you for all of your comments and support of the pod!

Thank you Hambleton - I found another ticket.. Sorry I should have closed this ad!

If anyone is selling a cheapish ticket for the Nela 1pm show on the 18th please let me know xx

If I was a dancer, I would love to play Carabosse. Her entrance and mime gives me chills! I actually find it frustrating in this production that in the last two acts she is more muted and not given as much to do. When the prince is finding his way to Aurora, I don't find Carabosse's presence scary at all. Her demise in the mirror also falls really flat for me, especially if I'm sitting or standing on the left of the theatre as it's so difficult to see what's going on. I just don't get the feeling that the prince has to struggle much at all to defeat Carabosse - strange for a story about good overcoming evil!

Thanks so much @Suffolkgal for your lovely note! We are very happy that you've been enjoying Open Barre xx

Hi there am looking for a ticket for ENB's Swan Lake, Sunday 15th matinee with Salenko / Frola - please let me know if anyone has one to sell!

Last week we posted an exciting bonus episode for all of our lovely listeners to say thanks for their support and downloads during Season 5! We were joined by the wonderful Robert Carter, AKA Olga Supphozova AKA Yuri Smirnov, legendary dancer with Les Ballets Trockadero de Monte Carlo. Robert has been trailblazing through the dance world for decades and there's still no stopping him. We discussed what it's like to dance in such an iconic ballet company and to tour all over the world... You can listen via Spotify, Apple Podcasts, Spreaker or wherever you get your podcasts. Or you can click the link below! https://www.spreaker.com/user/openbarre/open-barre-s5-episode-bonus

Thanks so much for your lovely comment @Sophoife and so happy that you're enjoying the podcast! We had the sublime William Bracewell join us for our season finale! It's definitely worth a listen... https://www.spreaker.com/user/openbarre/open-barre-s5-episode-6-14-12-2022-20-32_1

Have messaged you!

Thank you so much @Blossom glad we can help ease your commute a little! Next episode this Friday… it’s a goodun!

Thanks so much @Angela Essex for your kind words and we're both so happy that you've been enjoying the podcast! We have another exciting episode - this time with Laura Day who is a Principal Character Artist and Assistant Répétiteur at Birmingham Royal Ballet. It was great to hear how ballet is scheduled and organised in a company rep and to hear Laura's experience being *we think* the first ever woman to dance Sancho Panza in Don Q! Episode below.. https://www.spreaker.com/user/openbarre/open-barre-s5-episode-4-14-11-2022-17-45

In the third episode of our fifth season of Open Barre, we were joined by Sabine Naghdi. Sabine is the author of 'Tears of a Ballet Mum' and is also mother to Yasmine Naghdi. In light of Yasmine's incredible performance last night, it's been really interesting to hear Sabine's experience as a parent of a ballerina and to understand in more depth the journey it takes to become a Principal ballerina. You can access via Apple / Spotify / Spreaker or wherever you get your podcasts. https://www.spreaker.com/user/openbarre/open-barre-s5-episode-3-31-10-2022-18-46

In our first season of Open Barre Podcast, Brandon and I spoke about flower curtain calls for men and wondered why it has never been a tradition. Interestingly we discuss Mayerling and Brandon also talks about the relationship with fans and receiving gifts. I have included the link below for those who would like to hear more! https://www.spreaker.com/user/openbarre/open-barre-episode-four

In the second episode of our fifth season, which went out today on Apple / Spotify / Spreaker, we were joined by Julie Bowers, former dancer with The Royal Ballet, CEO of BBO dance and co-creator of Grad Pro. I'm sure you will find Julie's CV as impressive as we did...! https://www.spreaker.com/user/openbarre/open-barre-s5-episode-2-18-10-2022-20-55

The first episode of Season Five is now live! You can listen via Spotify, Apple Podcasts or wherever you get your podcasts by typing in Open Barre in their search boxes. Alternatively, you can listen by clicking the links below. Enjoy! https://podcasts.apple.com/gb/podcast/open-barre/id1521293558 https://www.spreaker.com/user/openbarre/open-barre-s5-episode-1

There are some ballets where I can leave at the end, perhaps not feeling moved by the principal roles, but still feel like I've enjoyed every second. Giselle is one. Even if I'm not getting much from whoever is dancing Giselle and Albrecht (which to be honest is pretty rare), that Act 2 with Myrtha and the Wilis gets me every time. Mayerling, although rich with supporting roles and very much an ensemble piece, is not one of those ballets. If I haven't connected with Rudolf in the first Act and I'm not feeling anything towards him, be it hate/pity/anger/sadness, then the rest of the ballet feels pretty pointless to me. Unfortunately this is how I felt last night. The choreography of Mayerling is so genius. With every look, expression and movement we know from the get go that this is a stifling and oppressive court. We need to feel this though from Rudolf quickly, so that the rest of the narrative is set up and makes sense. The steady decline needs to show so that when the final scene takes place, it doesn't feel out of the blue. I think what's also genius about the ballet is that we are picking up the story in the middle. Those first interactions between Rudolf and his parents, and everyone else at court, have been like that throughout his entire life. He is already affected and in deep psychological despair from the moment the ballet starts, in part due to his loveless upbringing. The pas de deux with his mother is so important because it sets up the rest of the ballet and thus his decline. In my opinion, I should be feeling a lot of emotions after that interaction and last night I felt pretty cold. Again in the second Act, when Rudolf spies on his mother having an affair with Bay, it should be the final nail in the coffin. She's already outed her husband's mistress in front of everyone; we get the impression no-one in the room is without their own scandal, and Rudolf is watching it all unfold, realising what a façade and joke this whole court and dynasty is. During the recital on stage, I normally have my binoculars fixed on everyone, but mainly Rudolf. I remember Johan Kobborg and Ed Watson's expressions during this moment - utterly heart-breaking and so full of mixed emotion. It should tell us everything we need to know and send a chill down our spines as we predict that this story isn't going to end well. I didn't get much of this last night. There is much to like in Ryo's technical dancing and he is a strong partner which is incredibly important in a ballet like this. However, without that connection and also without chemistry with his Mary (a feisty Osipova), last night didn't make me feel any emotion at all. The supporting cast were all brilliant but if I struggle to connect with Rudolf, and to find any emotional connection between him and the women, then the ballet falls flat for me.

Hi Odyssey, thanks for asking and for your support! Season Five will actually begin next week, Friday 7th, so please tune in. I'll also post on here to remind everyone. We've both been very busy since the last season but I'll leave you to listen in next week to find out more...

I think the great thing about a debut is that, once it's over, you never have to do the ballet for the first time again. It's done, and you can only move forward and build on it. Last night Anna and Marcy showed great potential and that with time, more coaching and experience, they will deliver stunning performances in this ballet.

If you haven't had a listen yet, there is an interview with Anna-Rose on Open Barre recorded in October where she talks about her partnership with Marcelino and their preparations for Swan Lake. Fun fact - Anna-Rose is a wonderful singer and has performed in West End productions (pre White Lodge) which I think explains her natural musicality when she dances... https://www.spreaker.com/user/openbarre/open-barre-s4-02 There is also an insightful interview with Yasmine Naghdi where she talks about technique and classical ballet which might help to answer or give some guidance on the above questions... https://www.spreaker.com/user/openbarre/season-3-episode-6 All episodes can be found on Spotify, Apple Podcasts, Spreaker or wherever you get your podcasts...

I agree! This really confuses me. Siegfried always dances with 'tutu' Odette, which is her under the spell and still in a swan guise, but then when she dies she's 'dress' Odette, so she's reverted back to being a woman under no spell. Has Siegfried been dancing with a swan this whole time...?!!

Thanks both have just grabbed one! All sorted

I really like the addition of Benno and the princesses in Scarlett's production and I love all of their choreography, especially in Act 3. Sometimes I wonder if Benno was introduced because at that time a lot of the Principals dancing Siegfried were later in their careers (bar Vadim etc) and Benno gave some of the 'younger' dancers a big opportunity. That seems a bit redundant now considering the youth and energy of the Principals we have! I also wonder whether having Benno in there was Scarlett's way of putting the men more at the forefront of this ballet as typically it's Odette/Odile and the swans that take centre stage. Of course BRB also have Benno's character in their production but his friendship with Siegfried is part of the story and culminates in a tragic ending...

Hi there, If anyone has a SCS or cheapish amphi ticket please let me know! Julia