fashionista

I have a number of standing places for sale on the following dates - if anyone is interested in buying, please do message me:-

Thursday 5 December at 2.00 pm:  The Sleeping Beauty (AnnaRose O'Sullivan's Aurora debut) - Stalls Circle, Standing, D33 priced at £11.00

Saturday 7 December at 7.00 pm:   The Sleeping Beauty (Naghdi, Ball) - Stalls Circle, Standing, D6 priced at £11.00

Saturday 14 December at 1.30 pm: The Sleeping Beauty (Cuthbertson, Bonell) - Stalls Circle, Standing D10 priced at £11.00

Friday 20 December at 1.30 pm: Concerto, Enigma Variations, Raymonda Act III - Stalls Circle, Standing, D48 priced at £6.00

Monday 23 December at 2.00 pm: Coppelia (Morera, Campbell) - Stalls Circle, Standing, D43 priced at £10.00

Saturday 28 December at 2.00 pm: Coppelia (O'Sullivan, Sambe) - Stalls Circle, Standing, D51 priced at £10.00

Saturday 28 December at 7.00 pm: Coppelia (Naghdi, Ball) - Stalls Circle, Standing, D6 priced at £10.00

Monday 30 December at 2.00 pm: Coppelia (Magri, Corrales) - Stalls Circle, Standing, D34 priced at £10.00

Tuesday 31 December at 12.00 pm:  Coppelia (Takada, Bracewell) - Stalls Circle, Standing D30 priced at £10.00

Tuesday 31 December at 5.00 pm: Coppelia (Choe, Acri) - Stalls Circle, Standing D34 priced at £10.00

Saturday 4 January at 2.00 pm:  Coppelia (Magri, Corrales) - Stalls Circle, Standing D47 priced at £10.00

Saturday 16 May at 1.30 pm:  Swan Lake (Naghdi, Ball) - Stalls Circle, Standing D3 priced at £11.00

With many thanks

Amanda

Now sold x

I have a spare ticket for this Saturday's RB matinee starting at midday and with Sarah Lamb and Vadim Muntagirov in leads.  Seat is Amphitheatre, Row A36, price £18.00.  Please message me if you would like to purchase.

Many thanks.

Amanda

On 27/08/2019 at 04:19, stucha said:

 

He is now director of the ballet company of the Ural opera in Ekaterinburg.

Interestingly he has choreographed his own version of La Fille mal gardee for the company,  and for the Bolshoi he made  a new Ondine to the same music as used by Ashton.

Indeed, Slava is now Director of the Ural Ballet in Ekaterinburg.  However, their version of Fille (I attended the premiere) was in fact by the now sadly deceased Sergei Vikharev.  Slava's first full length ballet for the Ural company was choreographed when he became Director for the 2011/2012 season, and was Amore Buffo (balletic "version" of L'Elisir d'Amore).  More recently, Slava paid homage to Petipa as part of the bicentenary Petipa celebrations, with his 2 act ballet, Order of the King.  

With regard to an earlier posting regarding when both Slava Samodurov and Federico Bonelli joined the RB, it was in 2003 (I believe Soares also joined at the same time).  I would definitely agree that Samodurov should join the list of "underused" dancers during his time with the Royal Ballet.  In fact, it was during a period when he was not cast for anything, that Monica sent him to NY to guest with ABT in R&J as their Romeos were all indisposed - very sadly, at his first rehearsal over there, he injured his knee so badly that this ended his balletic career.  On the flip side, he has now boosted the profile of the Ural Ballet and shown his talents as both a Director and choreographer. 

17 hours ago, Tony Newcombe said:

I remember her well. She had an incredibly secure technique.

A delightful ballerina - was enthralled from the beginning when she danced Lise at the RBS matinee.  Her love, enthusiasm and brightness shone over the footlights - always gave so much joy to her audience in a selfless and unmannered way.  

10 hours ago, Sim said:

Belinda Hatley - RB.  Sadly her career was overshadowed by that of Darcey Bussell, but for me she was a much more complete dancer.  The best principal that never was. 

Definitely agree dear Sim.  Belinda was a really talented and lovely dancer - very musical, technically assured and with great dramatic ability.  Her Aurora was outstanding.  She was wonderful in Matthew Hart's Bloodlines - an intensely dramatic performance.  Very sadly overlooked and overshadowed when she should not have been!!!  

I have always regretted the removal of the Stage seats - they were my preferred choice - A11 and A12.  I do think these EU regulations are rather OTT  and if it is "harmful" to one's hearing, then if visiting companies are performing, then surely they should conform to the EU regulations?  I really do not think seating near the orchestra has a detrimental affect upon one's hearing.  If so, why is the first row of the Stalls not affected and how about the members of the orchestra ?!!!!  

The girl in Odette costume may be a very young Agnes Oaks ?

Such very sad news.  I did not know John personally but felt his "presence" on the Forum in a very tangible and positive way.  He was always so very helpful in assisting when one had technical problems with the Forum.  My deepest condolences to his family and friends.  RIP, dear John x

5 minutes ago, Dawnstar said:

Thanks @JNC & @LinMM

 

I can see most of the casting for the new Marston/Scarlett by going in to each performance individually via the calendar but it's not currently showing up going in to each performance from the overall production page. Goodness only knows why this is the case! At present there is no second cast up for the Scarlett, hence the blanks below. (Pure speculation but I wonder if maybe Campbell might do the McRae role in the second cast? Given he's currently looking chronically underemployed. Again!)

 

Many thanks for this x

No casting for the new Marston/Scarlett - have just gone to ROH link.

As always, it is a great pleasure to watch the young emerging talent from the RBS.  My only regret is the programming - I attended the Sunday matinee at the ROH.  There are too many "abstract" pieces with mediocre choreography.  Not the students' fault who danced with total enthusiasm and talent.  I think it is a mistake not to include heritage pieces and not to include a work which gives the students a chance to show dramatic ability.  Not that all students will join the RB/BRB, but their repertoire is heavily biased towards dramatic works, and as such, so should the training at the RBS reflect this.  Some "meatier" one act works would have given the students a better chance to show "all round" ability (dancing as well as acting) - The Dream, Checkmate, The Rake's Progress - to name a few, come to my mind.  Or, indeed, a full length work, say Coppelia, Giselle, Fille or The Two Pigeons, perhaps preceded by the "national" dances for the White Lodgers.  I think the present programming needs a re-think.   

If anyone is interested, I have a spare ticket for this Sunday's RBS matinee at ROH.  The ticket is Amphitheatre, J67, and priced at £18.  Please private message if you would like to purchase.

Many thanks.

Amanda

On 31/05/2019 at 15:19, Bruce Wall said:

 

Capybara, from your comment just wondering if you know (even in part - short of Firebird) what the specific Fonteyn Gala programme will entail?  I would love to know WHAT was being danced even more than the casting.  I would have thought that such might have been announced by now.  Do you think we will know before the night itself?  I'm trying to balance whether to go to this or to SFB.  The SFB programme, of course, has long been announced (with its full casting a more recent addition.)  

 

Grateful for your kind advice on behalf of all.   

I think it is purposely being kept under wraps, as was indeed, the Gala dedicated to Ashton's retirement (not that I was around to see it, but have read and seen pix of the same!!!).  On that particular evening, I believe Helpmann and Michael Somes were the "comperes" and the evening ran through excerpts from most of Ashton's choreography which one could say equalled all the roles made for Fonteyn.!  You never know, may be it will be a repeat of the Ashton farewell Gala (only teasing!). I think it is rather nice to have a "surprise" element as it gives the evening an added element of anticipation and excitement.,  I also remembering reading that the programmes for the Ashton farewell were given to the audience when they left the House!!!  I think we may expect a very special night on Saturday.....................................

Hi, I have 1 ticket for Insights: Fonteyn and Me in Clore Studio next Wednesday, 5 June at 6.00 pm.  Central seat, Row B26, price at £17.00.  Please message me if you would like to purchase.

Many thanks

Amanda

8 hours ago, Sim said:

I can’t remember the last time I saw them do it!  I do hope they update the production...

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 hours ago, Douglas Allen said:

My initial reaction is one of disappointment, with more than a tinge of shock and anger.

The bias in favour of the full-length ballets at the expense of mixed bills continues to grow, so that the number of works being performed in the season continues being reduced and we, the audience, get fewer chances to experience the diversity of choreographic creativity.

I assume the new Marston must be expected to be of some significant length as it is part of a double (rather than a triple) bill.

I'm appalled that the only Ashton choreography on the main stage in the coming season is the 35 minutes or so of Enigma. The absence of any Balanchine (and is there any Robbins either?) is just as deplorable.

I notice the last performance of the season for the Royal Ballet appears to be an 11.30 Saturday matinee on 13 June. I can't recall if a tour has been announced - has it?

There are also quite a number of evenings, especially in the 2020 part of the season when there aren't performances on the main stage. It doesn't look, from the adjacent rep as if it is due to stage rehearsals - I can only assume that the main auditorium is being rented out for other occasions - does anyone know?

In general, what is in the season seems quite a reasonable bunch of ballets and I wouldn't disagree with any of them, I just feel that there should be fewer performances of a number of the shows and additional works (particularly one-acters) should be added. I know this adds to rehearsal costs, but the Royal Ballet should be more than simply putting on long runs of big narrative ballets. Both the company and the audience deserve better.

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!!!!  

4 minutes ago, bangorballetboy said:

Press release (opera and ballet in the same one this year):

 

Royal-Opera-House-201920-Season-Announcement.pdf 428.3 kB · 3 downloads

Thanks - extremely useful and better than trawling through the ROH website!

14 minutes ago, Bluebird said:

The following is in the press release:  

 

"The Royal Ballet joins forces with Birmingham Royal Ballet in a Heritage programme capturing the unique history of the Company and the extraordinary choreographic creativity of Ninette de Valois, Frederick Ashton and Kenneth MacMillan." 

 

Has anyone seen any details of this 'Heritage' programme?  I've not been able to find it.

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.  

2 hours ago, capybara said:

 

It's difficult one this, but the RBS has Friends, Sponsors, a Legacy Group etc. most of whom are balletomanes and would feel quite miffed if, having given various forms of support, they were denied the opportunity to attend "the big show".

Yes, understand where you are coming from )))

22 hours ago, RHowarth said:

Public booking a nightmare! I had to try each page several times before the 'book now' button would load. For the mixed bill it never did until I went in date by date by the cast info links down the right hand side. Needless to say I couldn't get a ticket for the gala although it kept telling me there were still 2 available in the amphi. 

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.  

16 hours ago, Jan McNulty said:

I had a huge happy grin on my face for the duration of the matinee yesterday.

 

I thought Mayara Magri was a natural Kitri - she was effervescent and made the choreography look effortless.  It was hard to believe that it was her debut in role.  She and Alex Campbell had a great chemistry with lots of affectionate flirting going on.  They have both got big stage personalities and they really seemed to spark off each other.

 

I was loving Reece Clarke's Espada and was very sad when it was announced before the start of Act 3 that he had been injured and his place was taken by Nicol Edmonds, whose performance I also enjoyed.

 

The whole cast looked as though they were committed and having fun!

 

I'm already working out my dream casting for BRB next year but I think Carlos Acosta may have to do some tweaking as I can't see the set fitting on the Hippodrome stage!

 

It was good too to be able to say hello to so many Forum members.

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

18 hours ago, Irmgard said:

This was a lovely evening and a wonderful tribute to Annette Page.  Although I never saw her dance, I remember a beautiful photograph of her in my very first ballet book (by A.H.Franks) which I still have, which showed what a wonderfully vivacious dancer she must have been, evidenced in her joyous rendering of the Waltz from "Les Sylphides" which featured in the filmed tribute by Lyn Wake.  The only slight irritation of the evening was Sarah Crompton's compering in which she continually tripped up over the names of the wonderful dancers who performed for us.

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.  

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.  

1 minute ago, bangorballetboy said:

 

Alice was choreographed by Wheeldon.

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.