SwissBalletFan

3 hours ago, assoluta said:

 

I agree with the first sentence. Considering the second, I guess it is a quote, and not a particularly thoughtful one. Based on my extensive contacts with my Russian colleagues, and the information I hear from them, I can say that the majority of Russian population has been blaming the U.S. for the collapse of the Soviet Union and, as a result, the hostility levels across the population in Russia towards the U.S. have been running very high for many years. Worrying about this minor incident creating "resentment" in Russia is the last thing to worry.

The reason I mention about the quote is that it was only for ‘definitely’ which implies the other part not in quotation marks must have been the question. 

As in:

q) do you think that this could cause political resentment in Russia?

a) definitely

and I totally agree, this isn’t really anywhere near an important issue as others.

as others have said, other dancers have gotten visas ok, and the immigration department has said that it was due to an incorrect visa application.

i would also add that the quality of dance ‘journalism’ in the dance magazine websites etc is really poor, just promoting the headline and sentiment without even looking into the facts at all.

indeed Bruce, and could just be a matter that the visa IS for groups of entertainers and in the past they have been a bit more easy-going with it.

Seems like they just made a mistake with the visa, and it's very much a mountain out of nothing at all.

'Definitely' it could create political resentment in russia. So pretty much a loaded question already was posed. Seems the writer already had the direction of the article in mind.

'They didn't say anything last time', or 'i got away with it before' isn't really an excuse to expect a visa permitted in the wrong category. Case closed I think.

1 hour ago, assoluta said:

 

.............. or the company she will be joining isn't in habit of making public announcements of this kind.

To me it seems like assoluta knows....and is keeping us guessing.... no clues???

2 hours ago, betterankles said:

Sorry that Plisetskaya and Fonteyn were not good enough to perform Swan Lake!

do you really mean that? 

I meant more about these modern times. Technique has of course developed, and so it is more usual to see fouettés as a basic technical need now, and an expectation to dance the role. 

I think it is less of an ask to see 32 fouettés, than to see an artistic display as Plisetskaya.

When I write expectation I mean as a spectator who has bought a ticket to watch a Swan Lake performance in any part of the world.

4 hours ago, betterankles said:

 

 

Some of the RARE best ARTIST/DANCERS can dance Swan Lake wonderfully, yet do not have the virtuosity to perform perfect 32 fouettees.     

MANY dancers nowadays can perform fouettees with triples, doubles etc - this does NOT make them necessarily fitted/suited to perform Swan Lake (or other classical ballets) artistically.

 

It is a curious idea that any dancer (or so called ballerina) can be ‘trained’ to ensure that their entire performance is dramatic and emotional enough to make their company proud!!

 

Sadly it is also now often company practice to cast the technically most accomplished dancer (or balancer) as Aurora, with little regard for their suitability to depict this 16 year old celebrating her birthday party, shy and a little overwhelmed by meeting four prospective suitors, then in the vision scene being seductive enough to captivate the Prince, and gaining in maturity in her wedding scene.   Musicality and acting skills as well as suitability needed, and sufficient technique or stagecraft to share the story of Aurora with the audience ...

 

Far too many ARTISTS are now overlooked in favour of superlative technicians - easier to justify casting, since artistry is more difficult to define...

I am not sure why you feel the need to capitalize, seems a bit passive aggressive.

The 32 fouettés are the steps of the choreography,  any departure from this is a distraction of the intention of the piece. Only completing 32 fouettés should not be a challenge to a Principal dancer of any company. Doubles and triples can be added if wished by the artist, however you describing any dancer completing 32 as superlative technicians is not correct, it is a basic requirement. 

Any my artists that cannot complete the choreography as required on a regular basis (96 in training would ensure this), simply is not suitable for the role. There are many other ballets and roles that a dancer can show off their artistic skills, without changing the choreography. There are many more challenging requirements above the basic steps to be a wonderful Swan, and these are the aspects that raise some performances of ballerinas way above others.

Ballerinas should be looking at the highest level of the artistic elements of the role in fragility, and playing the two roles, rather than excusing their lack of technique, or most likely application to training, to complete the basic 32 fouettés.

Many of the best dancers treat 32 fouettés as a basic, doubles and triples can be thrown in as a sign of virtuosity, which is really a norm of dancers in good companies selected to perform the role.

of course those talented and virtuous enough to complete this task also have been trained to ensure that their entire performance is dramatic and emotional enough to make the company proud.

In Zürich, not a well known company, dancers complete doubles and triples on their way to 32 as they wish. 

It should not trouble a ballerina at the height of her powers. If it does then there are many roles for each style of dancer, not everyone is chosen as a leading dancer for Don Q, Giselle, Swan Lake, Sleeping Beauty or Balanchine etc., but each to their strengths compared to the other dancers in the company.

It seems they will be demonstrating until 31st March due to a dispute regarding cleaning staff at ROH.

http://internationaltimes.it/caiwu-demonstrating-at-royal-opera-house/

34 minutes ago, Lizbie1 said:

 

Am I misreading Angela's post, or does it only relate the new productions, and not revivals?

Sorry to all, It was me who misread Angela’s post.

Wow these are just the premieres, then it looks very exciting if there are some usual repertoire classics.

Angela,

thank your for your reply and the history surrounding Stuttgart Ballet.

I enjoy modern choreographies and enjoyed Pite’s Emergence in Zurich very much. I guess I mean underwhelmed, 2 classical ballets does not really compare to the 5+ at the other companies who also have some very exciting modern works.

Is there a reason that Stuttgart also has seeming fewer productions in a season? Maybe it was this that highlighted the really strong leaning towards triple bills rather than full length works.

also I am neither disappointed nor complaining as I guess within Germany all bases are pretty much covered. 

Dear angela,

considering the repertoire of Berlin and Munich (assumed as under Mr Zelensky) in 18/19, I have to say Stuttgart looks a little

underwhelming relying on triple bills rather than classical splendor.

Am I missing something? ( I probably am) May I ask how you feel about it?

13 minutes ago, Arky said:

When I decided to read the comments on the Forum about Darcey Bussell being made a Dame I commented to my husband that I was going to check if the Darcey bashing had started again. From a minority of Forum member it had, though some posters have begun retreating for their initial hyper-critical comments. Equally “a gush fest”, as one member puts it, is not necessary, just plain common decency in our comments and rejoicing that a former Principal of the Royal Ballet has been honoured thus.

 

To be fair, preaching isn’t really included in ‘plain common decency’.

Ms. Bussell invites some level of criticism for the way in which she goes about things, and I don’t think that anyone  has ‘begun retreating’.

Even her statement that she is ‘deeply humbled’, has a ring of the disingenuous about it for me.

I am not sure her award has been delivered as a sign of approval from her adoring public clamoring for her to be recognized, rather that it has been given after some deft political understanding of what it takes, and some words in the right ears at the higher echelons of power.

In these awards, there are hurdles to go through, and she has ‘ticked all the boxes’ to receive this award. Just because we are all Dance fans, it does not mean we should rejoice, for an award for one of ‘ours’. 

Actually, one poster said something that, although she danced beautifully, she was always still ‘Darcey’ and didn’t fully inhabit the role to steal the audiences’ hearts or emotions.

I feel exactly this way about her receiving this award. Respect that she has received it, and for all the right things she has done to deserve it; in her charity work and in her career, however it leaves me rather cold.

I think in ballet there have always been a number of artists, at all levels and throughout the world who have pushed themselves (or had influential hands pushing from behind) to the front, to be noticed, recognized and to make the most of their careers. Some may call it self promotion, some may calling it making the most of your lot.

I think that it is quite obvious when people are doing this, and there is no shame in it. Ms Bussel, isn’t the face of BBC ballet and all things dance purely by luck.

I am sure her charities and the companies she is connected to will benefit a great deal by this recognition too. So it’s all good for her.

However, in ballet, as in life, we all see those showing it all and pushing for all, while secretly rooting for the less showy, ambitious or more natural or humble person/dancer who would do equally well in the role.

I think it’s up to the fans and audiences to recognize these quiet and kind individuals, give them an extra applause or recognition they are not expecting...from ballet studio to opera house.

43 minutes ago, MAX said:

 

Concerning this aspect it is really difficult to understand why L. Summerscales is blaming the repertoire (Pina Bausch, a new work by Akram Khan, a new work by Forsythe himself....) It is clearly a five stars repertoire !

 

 

When you compare the repertoire with Munich, I think it is clear what the difference is. ENB may be pushing boundaries, but it is very much on the contemporary side. Munich has wonderful classics in which would be a dream for a classical ballerina, or ballerino. Royal also maintain a good repertoire of classical pieces too which could be the reason for the change.

It should also be mentioned, that for classical dancers, classical technique needs to continue to be maintained with a balanced repertoire, that is even without considering that a fantastic classical repertoire can very much enhance and improve technique. So for a young dancer, there is a point where 'pushing the boundaries for audiences' is not pushing the limits for their bodies. 

Also, the control factor mentioned by Tamara Rojo would be a big factor for expressive dancers, as they will be very highly sought after on the gala circuit, and if she did not allow them to go (not many galas are attended by ENB dancers outside of Tamara Rojo), although admittedly they do guest for other companies). This could also be a point of frustration regarding the financial benefits of galas vs low pay (relatively) at ENB.

10 minutes ago, Legseleven said:

I think we should indeed be applauding ENB for investing in Corrales, although I confess that Tamara Rojo’s statement on his departure,  which mentions only the work put in by ENB rather than any reference to the young man himself, makes me feel rather less inclined to do so. There is a lack of graciousness in there which is rather grating. 

Which when you look at the comments and statements of dancers who have left ENB, I think there is a clear reason for not being happy at ENB in general. However of course promotions, and repertoire can keep a dancer otherwise happy, which seemed to be the case. His resignation so soon after promotion is a bit of a signal.

Congratulations to Royal Ballet, to Mr Corrales himself, and I hope that Ms Rojo keeps finding such gifted young dancers to replace the many that leave, as she (or someone in her team) is of course really doing a great job in finding talented young dancers. Questions are asked about why the most talented leave (on and off the stage), but that is up to the management of ENB to deal with, if they are so inclined.

I thought I would write to wish everyone on the forum to wish everyone a Happy Christmas. We may all have our disagreements and many mis

understandings, I am sure all are just trying to share their love and experience of ballet.

The very best to you all.

I am surprised this has not been posted before, but maybe it has been avoided as it may yield controversial posts. 

Marcelo Gomes has resigned from ABT due to an investigation into a event of alleged sexual misconduct by him 8 years ago. ABT have said that it has nothing to do with employees at ABT or relevant to his post at ABT.

There have been messages of support from Julie Kent and Diana Vishneva which are touching how well they know him. This support has been attacked by a few people in social media, as, in the absence of specifics of the case, no one k it’s what has happened, but that it must be a pretty serious allegation for him to resign.

http://wapo.st/2zctaRW?tid=ss_tw-amp

5 minutes ago, Nina G. said:

 

...and "Jane Hackett, a former director of the English National Ballet School and the Central School of Ballet, now co-director of creative learning for Sadler's Wells Theatre, is concerned by the figures. "It's inexplicable, when you look at the amount of money invested in British ballet, that such a very small percentage of British dancers are graduating and progressing through companies."

 

...and British tax-payers are rightfully pleased to see that some of their tax invested in British ballet schools are not a waste of money, I hasten to add.

I don't think anyone has a problem with thinking British ballet schools are not a waste of money. They are  some of the best institutions, which is why they attract and nurture such wonderful talent as Sergei Polunin etc.

Unless you think British ballet schools are aiming only to nurture the best British ballet dancers?

A large amount of British tax payers are not British as a nationality.

Thank you Nina for the link. I understand more about the issue at White Lodge, but I still am puzzled about the terminology used regarding 'British'. Even Like Jennings uses the term 'British Born and trained' which would not include Francesca Hayward (not geographically anyway).

I understand how tough it is for any boy or girl trying to get to a principal level, and which is why, I wondered how Alina or Marianela would take MABs message: 'you wait decades for an outstanding British ballerina'. 

Well you have one in Marienela Nunez, she has the passport and was trained at white lodge. 

My 'spiteful' last comment about wealthy immigrants, highlights the issues raised in Mr Jennings' article about how money is a big factor in being able to study ballet from a young age.

I feel that it is great, that after some period of instability that royal Ballet has an amazing array of talent at principal level and it is definitely something to celebrate. 

Could we we just drop the British point?

In time of brexit, talk of refugees, immigrants etc.. I find this particular case being described as a British Ballerina, interesting as she probably holds other passports too from her non British parentage. 

Mo Farah has openly talked about the issues he has faced about being seen as a British athlete.

Well, it is a bit clearer to me now, that the intention is to mean British-trained, or British-style, rather than simply 'British' as the nationality. Or at least one might hope.

MAB for anyone following the political developments in the U.K. of late, (as well if those in the 60s&70s) the fact that the U.K. still grants a british passport to most children born there, has caused issues about 'being British' and what that means.

In these uncertain times, I find it personally a problem to say people have been waiting for great British dancers, as if those dancing at Royal that weren't British (even many trained at British schools) is some kind of second prize. It's great to celebrate wonderful dancers in the company (which they certainly are) without mentioning nationality.

So if Thiago Soares and Marienella Nunez had a child in the U.K., that child could be the next wonderful British Ballet dancer? Even though his/her parents were not celebrated as that? As is the case here?

edited to add: even many of the 'foreigners' at Royal have been trained at British schools.

29 minutes ago, MAB said:

You wait decades for an outstanding British ballerina to emerge and two arrive together, bit like waiting for a bus.

I am not sure why there is the fascination if they are 'British'.

I would hope that the British public, look equally as inclusive and kindly on a child born in the U.K. of refugees to be unquestionably British. As much as they do of rich immigrants that have a child in your country.

On 18 October 2017 at 11:36, Vanartus said:

Love being in Berlin but envious of the repertory of the Bayerisches Staatsballett in Munich...sigh 

In calling for auditions, Berlin have detailed their 18/19 season:

The 2018/2019 Season Repertory includes:

RATMANSKY · La Bayadère (Creation)

BALANCHINE · Theme and Variations (Premiere)

BOURNONVILLE/ANDERSON · La Sylphide, Napoli 3rd Act (Premiere)

CRANKO · Onegin

CRANKO · Romeo & Juliet

BART · Swan Lake

MEDVEDEV/BURLAKA · The Nutcracker

RICHARD SIEGAL (Creation)

SHARON EYAL (Premiere)

STIJN CELIS (Premiere)

WILLIAM FORSYTHE

HOFESH SHECHTER

This looks pretty classical with some wonderful pieces to me, I think it can compete very favourably to Munich.

source

1 hour ago, Nicola H said:

ah  ballerina   vs Ballerina  and  to a degree academic in the English speaking world as Ballerina is not a  rank / grade  within  English speaking companies.  there is't  even consistency  in the English names of the ranks 

e.g.  Northern's First Soloist(s)  are considered  'Leading artists'   along with the Leading  Soloists and the the 2 Premier Dancers   - Northern having  4  ranks of soloist ( Leading , First , <plain> and Junior ) AND Coryphees  compared to  the royal ballet having a larger number of  dancers  ranked as principals ( even  disregarding those  who a guest principals)  and only  2 ranks of  soloist 

To be honest, I think this level of detail remains interesting only to those who have a deep knowledge of ballet. The same as most of the audience wouldn't know the name of the ballerina/dancer, nor would they care.

In recent times I have had to resort to the Serenity Prayer in journalistic approaches to Ballet, a corps dancer called a 'prima ballerina', anything involving Sergei Polunin as 'the bad boy of ballet', etc etc.. Ballet is an interest of mine, and something I continually like to learn about, but I would rather encourage press to write about the art, even if they also must write with their audience in mind, which is of course what gets the word out about ballet, to those that know nothing about it.

On 11/29/2017 at 02:58, Sharon said:

Oh god - I'm not feeling enthusiastic about the Bussell "docu", her voice - and not to mention how she always has to mention her own career. And I love Astaire too.

 Subtitles and mute button at the ready

Sorry to say that I am not aware of him as a dancer, but just a note to say how lovely and warm the words were in the press release. It's strangely rare to see such wonderful language to describe a dancer's career from the company itself, rather than a lot of weird, 'what happened/what do they mean'

lots of 'warm and fuzzy feelings' for a cold winter night. 

Apologies if the link I posted leads to a bootlegged or problem site.

I am fine with whatever action the Forum mods prefer to take with the post to protect the members of the forum.