fashionista

4 minutes ago, bangorballetboy said:

 

That's not the case.  The Open Up project has been funded completely from donations for that purpose.

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 !!!!

On 17/02/2019 at 01:01, Saodan said:

I thoroughly enjoyed Naghdi’s performance and thought her characterisation in act 1 was good. I really felt sorry for Campbell (who was superb all round) having to put up with her self-involved antics. It really made sense of the Young Man’s decision to leave, meaning that the final PdD was all the more powerful as both had learnt from their mistakes. I do agree that some of Naghdi’s dancing may have lacked the precision of Takada’s, but this was made up for by her chemistry with Campbell. Maybe it is just a matter of experience in the role; I hope Naghdi gets the chance to revisit Pigeons soon.

 

Kaneko is an amazing dancer with beautifully crisp and sparky technique, but she seems almost too cultured for gypsy/mistress type roles. I found her to be a particularly sophisticated Mitzi Casper for instance. She makes it work brilliantly, but has a totally different energy to dancers like Calvert and Magri, who seem more earthy. Her Mytha was something to behold though, stern and spookily etherial. I await her Kitri with great anticipation. 

 

Thinking of Magri, I got a pair of her pointe shoes a few years back when Olivia Cowley was selling them for charity. This season has made me feel rather smug!

 

I too have misgivings about The Cunning Little Vixen. The choreography seemed derivative: I’m with Lindsay on the Caucus from Alice, also shades of MacMillan in the PdD. The story telling felt acted rather than danced, with no sympathetic characters. Am I supposed to like the Vixen? She was a bully and I was left wishing for Janáček’s ending with the Vixen getting her comeuppance. Also, to my eyes the stage was so barren it had the feeling of a gala piece, giving the unfortunate impression that these dancers were only borrowing the stage and did not belong there. I did, however, enjoy the wonderfully committed and accomplished performances, particularly Madison Bailey and Daichi Ikarashi but everyone really. It really was a pleasure to see the students perform on the main stage and I thank Liam Scarlett for that. They deserve all the plaudits they get and I look forward to getting to know some of them better when they join the company. 

 

In the end, 4 of the 9 performances were opened to student standby: 19th Jan, 2nd Feb Matinée, 12th Feb, and 14th Feb. One wonders what affect this will have on the bottom line, especially if Frankenstein is shaping up the same way. Two Pigeons is a brilliant ballet and I hope to see it back soon, but if they can’t shift tickets it can only be a matter of time until it is mothballed once again. 

 

Whatever happens, these performances, and particularly the image of Reece Clarke’s ridiculously long neck clucking away, will live long in the memory! Sincere thanks to all concerned. 

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. 

On 03/02/2019 at 12:16, RobR said:

 

Not sure that any of the female dancers would appreciate being described as 'larger', whether slightly or otherwise. Magri certainly isn’t 'larger'.

 

Slightly taller perhaps but, given the relative heights of dancers currently in the RB, I’m not even sure about that 😊

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.  

On 11/01/2019 at 00:29, alison said:

Both were predictable as being slow sellers.  I was surprised not to see them appearing in Get Into London Theatre The New Year Sale, but perhaps again that's the new normal?

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 !!!!

On 10/02/2019 at 13:17, Sim said:

Anna, my friend and I were also tempted to leave in the interval, but someone told us that the second half was better than the first.  It was, but it was a low bar to rise above. 

 

Here we had six new pieces of choreography and music, something that should have been exciting and promising.  I do always appreciate when ballet companies branch out and try these things, so kudos to the RB for commissioning this programme.  However, instead of feeling excitement and  hope for the future of dance and music when I left, I just felt deflated and devoid of any feelings other than gloom.  Why?

 

Gloom seemed to be the running theme throughout the pieces, with the exception of Calvin Richardson's piece and to a lesser extent, Aletta Collins's.  So, one by one, briefly:

 

Based on 'a' true story (Kristen McNally):  I have enjoyed Kristen McNally's pieces in the past, so was looking forward to this one.  However, it was darkly lit (and I was sitting near the stage) and the music was dull and boring.  Sadly, so was the choreography.  There were clearly the changing dynamics of a relationship here, but it didn't speak to me in any way at all.  This wasn't through lack of trying by Harry Churches and Nadia Mullova-Barley, who danced very well and emoted as much as they could.

 

Circular Ruins (Goyo Montero):  It is always nice to see dancers up close and personal, but flaws are also more apparent in that setting.  This piece was another one about the changing dynamics in a relationship, with control being passed from one to the other and back again.  Once again, dark lighting and gloomy music cast a pall over what could/should have been a lovely pdd between Marianela Nunez and Thiago Soares.

 

Uncanny Valley (Alexander Whitley):  With such a wonderful cast (Luca Acri, Leo Dixon, Joseph Sissens, Joseph Aumeer and Tristan Dyer), I was really looking forward to this one.  Yet again, the stage was in semi-darkness for the whole piece.  There were circles of light for each of the five dancers to stand/move in, but as they stood there in their space costumes all I could think was 'beam me up, Scotty.'  I wish I could have been beamed up at that point.  As always, the dancers did their best with what they had, but this piece was repetitive, over-long, semi-visible and a waste of great talent.  The theme of dystopia, of humans and AI becoming inter-changeable, is a good one and very relevant today, but sadly I lost interest early on because I was bored.  I tried so hard not to be, but I just couldn't help it.

 

Interval

 

Two Sides Of (Juliano Nunes):  This was my favourite piece of the afternoon and, judging by the audience reaction, that of many others, as well.  Why?  Because it was well lit and we could see every move, and every facial expression.  We had real, tuneful music.  Most importantly, we had lovely choreography that was deeply felt by both dancers (Lauren Cuthbertson and Marcellino Sambe) because they both gave such emotional performances.  It was clear what was happening here;  we had two sides of the same story, and both sides were deeply moving.  I really liked this piece and would happily watch it again, many times. 

 

Something Borrowed (Calvin Richardson) :  I quite enjoyed this because it was fun, uplifting, brightly lit and exciting with lots of movement. I can't pretend that it is very interesting choreography, but the dancers were clearly having a great time, and this made me feel happy for about the first time in the afternoon. 

 

Blue Moon (Aletta Collins) :  This was very slow to get started, for anything to happen.  The music was, for me, the most dull of the afternoon, and in some places I had to suppress some giggles because it was so unappealing to me.  The whole piece was very slow-moving (it was apparently about women in control of what is happening to them on the stage, and their relationship to the music) and didn't grab my interest at all.  There were some nice individual moments, but on the whole it was one of those pieces where I kept thinking 'ok, now it's going to really start' or 'ok, we have had the introduction, now it will get going.'  But it never got going, despite the best efforts of the dancers. 

 

Some general comments:

On the whole, the costumes for the women were incredibly unflattering throughout, and some of them were so skin tight that nothing was left to the imagination.  Maybe this wasn't the case for those sitting further back or up higher, but it sure was for those of us sitting near the stage.

Once again, we have a group of choreographers who, on the whole, seem to think that shrouding the stage in semi-darkness is the way to give deep meaning to their work.  No, it isn't.  Give deep meaning to your work by producing good and effective choreography, and then let the audience actually see it. 

Having read the choreographers' explanations of the meaning and/or genesis of their works after the show, I must say I didn't recognise much of their words in what I had just seen.  It is probably better for them to keep their thoughts to themselves and let the choreography do the talking (even if it doesn't say much).  This pseudo-intellectualisation of their work usually doesn't enlighten me;  I would rather come to my own conclusions, even if they are depressing.

There were long gaps in between some of the pieces while the orchestra pit was re-arranged.  The musicians then had to walk through the audience, carrying their instruments, to get back in.  Others have said it and I agree....why no exit from the pit under the stage? 

Finally, when are aspiring choreographers going to learn that it is just as difficult, and just as meaningful, to make a successful happy and joyous piece of work?  They need look no further than Ashton to see that this is the case.  We are reminded a lot more every day how miserable life can be than how happy and fun it can be, so a few works that do just that would be very welcome to most people.  Art can, does and should reflect all aspects of the human condition, not just the depressing side.  Yes, we can be dark, deep and depressed.  But we can also be happy, helpful and hopeful, and personally I would love to see more of that side of us reflected in new choreography and new music.

 

 

 

 

 

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.  

Just noticed this on ROH website - will take place on Tuesday 12 March in Linbury at 6.00 pm.

8 hours ago, Darlex said:

I have been quite shocked to see that an Osipova performance of Don Q hasn't been an immediate sell-out: it is her signature role after all.

All Don Qs are selling slowly, ditto the Scarlett/Ashton double bills. Have R&J, Frankenstein,  etc. gone on sale yet and if so, how are they doing? Is the Opera also doing slow business? Any explanations? Is this Brexit jitters? 

I think the ROH is outpricing themselves hence the slow take-up of tickets.  R&J is usually a fast seller but plenty of seats still available - I booked as Friends+ and noticed that it is the chepaer seats that have sold.  I really do believe the hike in prices is paying for the "Open Up" project - this is ironic as "Open Up" is certainly not taking place as expensive seats are keeping people away !!!!  

Just checked the ROH web site and nothing at all posted as yet.  Really do think they should update!!!  I am a Friend+ so hopefully can catch up with the ROH magazine when it arrives.

I have 2 tickets for sale for this film featuring Thiago Soares to be shown at the Linbury Theatre on Monday 21 January at 7.30 pm.   The film is 2 hours in length (no interval).  Seats are A 27 and 28, Upper Circle and priced at £17.00 each.  Please message me if you would like to purchase.

Many thanks

Amanda

Wishing the dedicated BCF Mods a very Happy New Year and a huge thank you for the sterling and amazing work you all do in running the Forum.  It is a unique platform for us balletomanes to share and learn from.  You all do a marvellous job and I look forward to reading and contributing to posts during 2019. 

To the Mods and the ballet devotees - Every happiness for 2019 and enjoy all your ballet outings in 2019!

Amanda

20 minutes ago, ninamargaret said:

You'll be lucky! My letter to KOH sent nearly a month ago has never received the courtesy of an acknowledgement.

I will be interested to learn if you do receive a response from Mr KOH.  A couple of years ago, I wrote to him regarding a day to pay homage to the Vaganova School (we were campaigning for the school at the time due to change of management) - all that was asked was if the company could remember the Vaganova at a rehearsal or in class.  I received some lovely responses from ballet directors.  The response I received from the director of our "home" company was:-     ? x      I was shocked and saddened.  

2 hours ago, Bluebird said:

 

If there had been a cast change, you wouldn't have found in on the news pages of the ROH website.  Last month, Chris Shipman, (Head of Brand Engagement and Social Media) ,posted the following on the ROH website. 

"Principal cast changes are now served via email communication to bookers. We've made this change to ensure that all bookers are made aware of such changes, rather than just those who visit these pages. Cast changes are also communicated on the evening via our new front of house digital screens"

Those who might have wanted to book to see the replacement dancer will therefore be at a distinct disadvantage.  I have to say that I find it hard to understand why they can't announce the changes on the news pages as well as in emails to bookers.

 

 

Thanks for this information.  I have never once received an email despite the fact that I am a Friend Plus.  I think it is far better to announce on the ROH web site.  Oh dear, more changes and not cast changes !!!!  

7 hours ago, bangorballetboy said:

 

Magri was in the original casting announced on 11 April.

Thanks for confirmation - much appreciated

Amanda

I notice on the ROH web site this morning under La Bayadere casting/dates, that this week Magri is down for Gamzatti - is this an unscheduled debut?  I am sure she was not scheduled to dance this with Cuthbertson/Ball.  I checked ROH news, but no mention of cast change.  If anyone can elucidate that would be appreciated.

Many thanks

Amanda

16 hours ago, Sim said:

Am particularly excited to see Naghdi/Ball, Hallberg/Osipova, O'Sullivan/Sambe, Hayward/Corrales and Stix-Brunell/Bracewell.  Very disappointed that it's not Akane and Ben Ella.  They were soooo gorgeous together in Giselle.  I just don't get it.  And yes, Campbell should be given a chance at Romeo.  Very disappointed also not to be seeing the Cuthbertson/Bonelli pairing again. 

 

I won't be seeing Frankenstein, so I can spend the money on seeing so many different permutations of this ballet!! 

Indeed, very excited at all the new casts - start saving now.  Agree, R&J will take precedence over Frankenstein!

8 hours ago, Terpsichore said:

I have to say that I enjoyed this year's World Ballet Day.   I started watching at about 04:30 when there may still have been a few wilis about on Saddleworth Moor and watched one delightful performance after another almost continuously well until the evening.  

The highlight for me this year (as it had been last year) was the Dutch National Ballet's rehearsal of La Dame aux Camelias with two remarkable pas de deux - one by Daniel Camargo and Igone de Jongh and the other by James Stout and Anna Tsygankova.  The second of those two was danced with remarkable passion.   

Unfortunately, it clashed with Northern Ballet's performance though I did flip between tabs to catch the odd bit of action in Leeds when not much seemed to be happening in Amsterdam.  I am looking forward to seeing the whole contribution on YouTube over the next few days.

The only other disappointment was that the sound cut out during Birmingham Royal Ballet's presentation.  I could see David Bintley, Ruth Brill and others but could not hear what they had  to say.

There were some unexpected treats.   Just as I was about to leave for my own ballet class in Manchester I spotted the Paris Opera House's ballet's Dame aux Camelias with Mathieu Ganio as Armand.  Having seen him on Christmas Day last year in Don Quixote I could not resist watching him again.  The result was that I left it too late to set off for the Dancehouse.   I liked the Houston Ballet's new Swan Lake.  I was very impressed by the Ural Ballet of Ekaterinburg the existence of which I had not previously been aware.
 

It took me weeks to get through last year's offering and I suspect I will spend a long time watching the bits I missed today.

Despite the annoying technical problems I think I enjoyed this year's offerings more than those of previous years.   I am sorry that others were less satisfied.

I am so pleased you were impressed by the Ural Ballet in Ekaterinburg - they are an excellent troupe.  I will be going out next week to see the premiere of Slava Samodurov's latest full length ballet for the company, By Order of the King (part of the Petipa celebrations).  I am glad the company participated this year as they need to be known outside of Russia.  Slava has now been their Artistic Director for 7 seasons and the troupe has improved greatly over this period.  

Hi All,  I will be booking as Friends Plus member today.  However, unless I am missing something, casts have only been announced for Don Q and not for Two Pigeons, Patineurs programme or Frankenstein.  Am not very happy in booking not knowing casts and wondered if anyone knew the casting.

Many thanks

Amanda

2 hours ago, Josephine said:

Thank you Bluebird for replying. This is exactly the route I have used successfully in the past. Unfortunately now after clicking 'Not on sale / find out more' the page no longer shows me the interactive chart or any form of seating plan/price information.

 

Thanks also Coated and Alison for comments. I'm viewing on Samsung Galaxy S8+, which previously gave me seating plan access as stated above. I have not had access problems on any other organisation's web site, but only with this feature on the ROH pages.

The seating plan gives blocks of prices but it is not coloured so you can see precisely which seat costs what - I think it needs to be more specific.

19 hours ago, Bruce Wall said:

 

Could it not also be that at £60 a pop these are more fund raisers than anything else and the name associated in the October masterclass' instance is one thought to be assured to bring London punters with cash through the door no matter how 'out of keeping' it - and the core works being examined - may well be to the overall philosophy of the pursuit.  If that IS the case I fear it speaks for itself.  Indeed, volumes.  .

 

I have to agree Bruce, I think charging £60 is way over the top, and sadly, as such, I will not be attending the October or February masterclasses.  The Masterclasses should not be a "fund raiser" and I think to charge £30 would be adequate.  Shame. 

The Ashton Foundation is holding two further Masterclasses at the Royal Ballet School in Floral Street on Sunday 28 October 2018 and Sunday 24 February 2019, as follows:-

Sunday 28 October with Carlos Acosta - La Fille Mal Gardee and Rhapsody

Sunday 24 February with Lesley Collier and Wayne Sleep - Enigma Variations

Timing for both is 2.30 to 5.30 pm (introduction, masterclass, drinks reception).  Tickets are £60 for each event and can be purchased by emailing ashtonevents@yahoo.com or 020 7212 9627.

Both seem well worth attending.

Amanda

On 02/08/2018 at 19:52, toursenlair said:

cinema screenings starting Sept 18 in the UK are listed here

https://www.nureyevthefilm.com/

Thanks for this information - have just booked - look forward )))

Amanda 

Oh, so sad - have fond memories of dear Diana Vere - RIP x

When I was a little girl, I used to draw sketches of the RB dancers and send them with a letter to them c/o the ROH.  I received some lovely replies.  I think that sadly now social media may have taken over as it is so easy to become Friends on FB or follow on Instagram or Twitter.  However, I think it is still nice to send a written letter - nothing like the personal touch x

6 hours ago, Xandra Newman said:

Seven Kitri's and two debuts if I am correct (?): Yasmine Naghdi and Mayara Magri. Has Cuthbertson danced Kitri previously? 

As far as I can recall, this is debut for Lauren. 

13 hours ago, LinMM said:

Inspite of the new employment law I feel sure that somehow a class lasting 90 mins for the Royal Ballet could not be accommodated 

As someone who still attends class there is nothing like feeling properly warmed up when coming into the centre and I really dislike classes which only last one hour as you just don't get the muscles warmed up properly OR you can spend 40 mins at the barre and then quite a lot is necessarily missed from the centre work.

What happens with other Companies. I'm sure I've watched ballet class at the Rambert Company which lasted for 90 mins and same with ENB.

Ive always thought that you strengthen the classical technique by doing and improving the exercises that support it rather than loads of extra in the gym however I do think the gym and Pilates etc can be invaluable when recovering from an injury. 

The dancers who look good in Macgregor's works are those who have those rather "free jointed "bodies ....nothing wrong with that...many who study classical dance started as gymnasts so have this particular freedom but you don't have to have this degree of movement in the body  to be a fine classical dancer. 

I do like a mixture of classics and modern works but maybe casting could be improved for some works....not everyone suits Macgregor and not everyone suits Ashton or Macmillan. 

To get back to the thread well 2019-20 is a long way ahead but I would love to see some more recognition of Fonteyns centenary which I do think has been rather overlooked so some of those suggestions further up the thread particularly Les Rendezvous and I personally would love to see the Haunted Ballroom ( never saw it ....just those wonderful pictures of Fonteyn) revised but have no idea how it would sit today.

Of course 2021 is not far away .....sixty years since Nureyev made his leap for freedom as it were....so perhaps could link the two in the 2020-21 season!!! 

That would be a wonderful opportunity to have a Nureyev/Fonteyn celebration.  However, I did hear rumours that that the 2020-21 season will be entirely devoted to new works.  I may be wrong and I sincerely hope that this is not the case !!!