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  1. I do believe Coppelia was last shown in 2006 as I remember seeing Roberta Marquez with Slava Samodurov perform and I did note the dates. So glad they are reviving this ballet and there should be some interesting new debuts - am hoping for Yasmine and Anna-Rose )))
  2. Totally agree Douglas. I know the company does need to move forward and have new works created but it seems to the detriment of losing so many of the wonderful works in the rep. The number of programmes is being reduced each season and I really think there needs to be two additional mixed programmes showing Macmillan, Ashton, Balanchine, Robbins, etc. The one saving grace is the wonderful programme of Concerto, Enigma and Raymonda - hooray!!!!
  3. Thanks - extremely useful and better than trawling through the ROH website!
  4. Sadly not - I think this wording is extremely misleading with only one de Valois (and that is a "production" rather than own choreography), one Ashton and two Macmillan. And indeed, what is meant by "joining forces with Birmingham Royal Ballet" - am at a loss. As someone has also mentioned on this thread, so wish they would announce casting (as had been previous practice before KOH) - at the very steep prices for Beauty, Swan Lake and Coppelia, one would like to know who one is booking up for!!!! I would assume there will be a number of exciting debuts coming up, so hope the casts are announced ahead of booking.
  5. I thought it was me when I could not access the "book now" button!!!! By the time I managed to access (not sure how), RBS matinee was virtually sold out. Understand that family and friends should get priority for this but wish ROH would leave a proportion of seats for us balletomanes who are keen to see the "stars" of the future.
  6. Agree entirely dear Jan with your summing up of a sizzling and exciting afternoon and wonderful debuts from Mayara and Alex. Lovely to meet you ))) x
  7. Agree entirely, a wonderful evening and from the video clips, what a superb and beautiful dancer. The clip from Scenes de Ballet was amazing - an exemplary rendition of the Ashton style. I l also did not see her dance but do remember the beautiful photograph in my first ballet book by A.H.Franks.
  8. As a Friend+, booking opened for the summer season yesterday. Sadly, both Fonteyn insight evenings on 5th and 6th June were completely sold out at 9.00 am yesterday. It is a shame that such unique evenings have already been snapped up by those Friends able to pay more for their membership. This inevitably means that for many balletomanes, such evenings are not accessible - a great shame. One hopes both evenings may be recorded - I do hope so. As for the Celebration Evening on 8th June, very few seats left, but managed to purchase one within budget. Again, by the time general booking opens for balletomanes not on the Opera Houses's Friends scheme, I should think this evening will be sold out. I understand the ROH needs funds but such a shame that tickets are sold on a hierarchical system, which very often omits the afficionados.
  9. My error - and of course. However, there should not be the need for today's choreographers to rely on animated projections. The inventiveness should be in the choreography.
  10. I did not realise. Did the funds completely cover the cost? If so, rather a coincidence that sear prices have increased with the opening of the "Open Up" project - and it does therefore result in the ROH not "opening up" the auditorium to new audiences !!!!
  11. I must agree with my other ballet "buddies" on the Forum, that The Cunning Little Vixen was very disappointing. No inventive choreography and a lot of repetition and langours. The stage was also badly and dimly lit and I am fed up with the way Scarlett relies on animated film (as he did in Alice) - I come to watch the ballet and not an animated film projection. That said, I think the RBS students did their best with the material provided, but it was poor material with no memorable choreography. It was a welcome relief to watch the beauty of Ashton's choreography after the weak opening to this double bill on Saturday afternoon. I know the Ashtons of the ballet world are a rare breed, but what a beautifully constructed ballet and inventive choreography. Yasmine Naghdi was absolutely superb, as was her "opponent", Kaneko. I felt that Hay was a little dull and that he needed to project more. However, he partnered Naghdi beautifully and the whole company really shone in this ballet.
  12. I think Magri is exceptionally talented, however, it is a fact that she is of a "heavier" build and not particularly petite - I say this without any malice, just stating fact.
  13. I think it may be due to very steep prices. There are quite a number of performances of each ballet but at the high prices, probably too expensive for most people to afford !!! At one time, I would have booked one of each cast, but now impossible budget wise. I think the increase in prices this season is to cover the cost of the "Open Up" project - which is rather ironical, as due to the rise in seat prices, the ROH are not achieving "opening up" the auditorium to those people visiting the "open up" areas at front of house !!!!
  14. Dear Sim, your words echo my thoughts entirely. Although it is very encouraging that the RB are trying to promote new works and choreographers, what is disturbing is that there does not appear to be any "control" on the level/standard of what is shown to the public. I really cannot understand why the general theme seems to be one of agonised movement (rather than dance) set against a badly and gloomily lit stage with unimaginative and unflattering costumes. I found the programme (apart from the pas de deux with Lauren and Marcelino), totally boring and monotonous. This causes deep concern for the future of British choreography.
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