Blossom

Links - Monday 20 May, 2024

Review – Elmhurst Ballet Company, Mode, Birmingham: Vidhi Bhanushali, Redbrick

Review – Kontemporary, Tomorrowisnowtodayisyesterday/Inflight: Korean Tramway, Glasgow: Mary Brennan, Herald Scotland

Review – New York City Ballet, Pictures at an Exhibition/Glass Pieces, New York: Ivy Lin, Bachtrack

Review New York City Ballet, Love Letter (On Shuffle), New York: Ivy Lin, Bachtrack

Review – Philadelphia Ballet, Prodigal Son/The Dream, Academy of Music, Philadelphia: Sigrid Payne de Veiga

Review – Alonso King: Lines Ballet, Deep River, Kennedy Center, Washington DC: David Friscic, Broadway World

Preview – ENB’s Emerging Dancer returns to Sadler’s Wells: Vera Liber, British Theatre Guide

Preview – International Ballet, Swan Lake , Peace Center, South Carolina: Paul Hyde, Greenville Journal

Interview – Ballerina Sarah Lamb on Jealousy and Forgiveness: Teresa Guerreiro, Culture Whisper

Feature - Embracing challenge, dancer Nathan Bear is one of the rising stars at Arts Umbrella Season Finale: Janet Smith, Stir

Article - Watch: The young ballet dancers reaching for the sky in Peru: Gregory Ward & Souleyman Messalti, Euronews

31 minutes ago, bridiem said:

 

I don't think that an appropriate response to reduced funding is to increase ticket prices to a level that is in my view unethical (given that the ROH does still receive a very large Arts Council grant). I used to be able to defend the ROH against accusations of elitism; now, I can't.

They have said (as posted earlier on ticket pricing) that the proposed prices include subsidies from their donors. I think that it's likely that without these prices, their deficit will grow, but until they can find new sources of income (clearly ACE cannot be relied on and I expect the current ACE review to be self marking of homework), their options are only to increase prices and possibly increase their deficit if they need to offer discounts, or increase their deficit from the start, which I can't imagine is considered a sound way to do business. 

33 minutes ago, OnePigeon said:

I just don’t think the audience is there for taking chances on things they might not know or like and the tickets are so dear I do think a lot of people only book to see things they really want as a treat or big night out.  I’ve only seen this ballet on the stream and it was OK....I neither hated it nor loved it.  I considered booking with the discount, but at the end of the day, it’s just not a must see for me and I decided to leave it due to time and money.  I doubt this is a reason for many others, but the booking seasons opened for most orchestras and Wigmore Hall etc this month and I’ve spent my money there instead.

 

 I have a nasty feeling the same situation may arise with the Ashtons next month.

You can’t compare stream/dvd to the live performance. Trust me, it is elevated by significant proportions, it works much better live.

2 hours ago, Linnzi5 said:

Agreed. I’ve shared the one on social media that ROH advertised with as many people as I can (I haven't shared the one I was emailed from ROH though). It does seem, if I may be so bold, that surely it would be better to have the seats priced lower to start with then the 40% code would not be necessary!

I suppose it depends on the funding model.

Does ACE or a private patron top up the difference or does this add to the deficit?

In terms of the 40% off push on social media, I hope everyone is sharing this with as many of their ‘real life’ friends as possible. Surely the best way to demonstrate that prices are too high is to ensure they now sell out.

I actually can’t understand why it hasnt sold better other than pricing. 

Links - Sunday 19 May 2024

Review – Scottish Ballet, A Streetcar Named Desire, Sadlers Wells, London: Marianka Swain, Telegraph

Review – Ballet Black, Heroes, Barbican: Tanica Psalmist, Get the Chance Wales

Review – Pittsburgh Ballet Theatre, Cinderella, Pittsburgh: Alexis Papalia, Trib Live

Preview – Ballet Central, Mixed Bill, Newbury Spring Festival: Trish Lee, Newbury Today

Preview – New Jersey Ballet, Sleeping Beauty, New Jersey: Staff, Tapinto.com

Preview – Lake Tahoe Dance Festival: Texas Ballet Theater Staff, En Face Magazine

Preview – Ballet West, 6^th Choroegraphic Festival: Asian Voices, Salt Lake City: Ballet West Staff, En Face Magazine

Article – Degas’s dancers don’t just show ballet’s beauty – they reveal a sinister system of sexual exploitation: Alice Robb, Telegraph

Article - Anna Pavlova “Get my Swan costume ready”: Alanna Love, En Face Magazine

Article - Margaret Qualley Draws on Ballet Training at the ‘Kinds of Kindness’ Premiere: Tom Olsen, Globe Echo

News - The Royal Swedish Ballet search for a new Artistic Director: Graham Spicer, Gramilano

News - Joffrey Ballet School partner to offer degree in dance for New York trainees: Kerry Clawson, Akron Beacon Journal

I upgraded to a seat (well before the discount unfortunately) and have scs d39 available although not as a swap.

Quite excited for Pantuso and Newton Severgnini. Only have one date which will work for the latter. 

21 minutes ago, alison said:

Puck, I would assume.  It's the obvious role for them (and for a few others).

I actually meant Puck but my brain is fried today. Makes a lot more sense!!

Ooh do we assume Daichi and Liam Boswell will be dancing Bottom (or as my son misremembered the name when learning about the play at primary school, ‘Butt’) then?

6 minutes ago, Balletfanp said:

I don’t think we should take it too literally…..

 

I heard as well (and this may or may not be true), that originally Bohemia was supposed to be the gloomy court of Leontes, and Sicilia was the bright happy one. But when it was first performed at Court, there was a visiting delegation of ambassadors from Bohemia, so they were hastily switched at the last minute so as not to offend the Bohemians!

Fascinating - love this sort of insight. Incidentally, tours of the Globe Theatre come with a lot of that wonderful historical context and are particularly pertinent when visiting as a school group to delve deeper into a specific play…

@Sophoife posted this insightful article about ROH's commercial plans to offset their c£17.5m deficit in this morning's links. I think it provides some much needed perspective. Hopefully these sorts of corporate partnerships will be fruitful and will longterm impact things like pricing. Until then, it feels that ROH are between a rock and a hard place...

@Sim further to interval conversation yesterday, Chat GPT came back with this answer as to why Perdita and Florizel choose to flee specifically to Sicila... Some things obviously just can't be conveyed in dance or mime...

 They choose Sicilia because they receive aid from Camillo, a Sicilian lord in exile who serves Polixenes. Camillo has his own desire to return to Sicilia after many years away from his homeland, and he suggests the destination, knowing that the king of Sicilia, Leontes, has been penitent and lonely since the losses of his wife and children years earlier.

Although Florizel does not know Leontes personally, the ties between their families and the suggestion by Camillo guide their decision. Sicilia thus represents a place of potential safety and refuge from Polixenes, under the assumption that Leontes would be sympathetic to their plight and more accepting of their love.

Second viewing for me and I am finding the music is growing on me. Interestingly, both  the music sounds better from above (balcony - incidentally next to the sound desk, which suggests that the music has a little more help above the stalls level) and the set is more effective from a bit further back (first visit was booked by someone who likes to sit in stalls row G which frankly is too far forward).

In addition to the music growing on me, I am finding that there are moments which consistently make me feel something - and actually found the moments where Leontes was 'fighting' with Hermione even more striking last night (likely Lauren Cuthbertson's interpretation).

Another treat of a cast, mentally starting to put together my own fantasy cast. Very much enjoyed Cuthbertson/Corrales - booked specifically to see Cesar in this one - and Hayward Sambe, but the particular stand out performances for me were Melissa Hamilton (after this and Requiem, at a loss as to why she isn't seen as principal material) and the superb Marco Masciari. For the latter, I am expecting great things to come and find it a shame that we can't get a recording of him as Shepherd Son/Brother Clown as well as the wonderful Liam Boswell from Monday evening.

Spotted Joby Talbot at the end of the second interval and Roberto Bolle was also in the house last night, plus it seems that at least one dancer from ENB was in attendance - possibly one of the later seat fills?

2 hours ago, LinMM said:

Can anybody tell me at what time you end up leaving the theatre eg: after curtain calls etc? I thought it mind end around 10.15 but perhaps 10.25 after curtain calls? Or is it later than this 

Many thanks 

Linda 

My friend last night was worrying a little as having checked the timing for her taxi, I thought a booking for  10.30 would give us a clear 15 mins. It didn't. Red run was done by 10.28 (thankfully Bow St, as predicted, would be a terrible squeeze so she was fine).

2 hours ago, LinMM said:

I’m there tomorrow Blossom perhaps we could meet up? Or anybody else? 

Hoping to make it to the meet up spot for one of the intervals - I have a friend in tow. 

I had to make time this morning to review the performance as, despite the music, I very much enjoyed it. Starting with the score, interestingly, I spent the evening with an opera lover, who particularly likes the music, although I challenged him to listen to it at home!  In Joby Talbot's favour, I do find that the score becomes more tuneful with each act and the act 2 music still remained in my head as I was trying to get to sleep although completely unmemorable this morning.

To paraphrase some of the reviews I've seen, this is one of - if not the best  21st century full length narrative ballet. I believe it's one of Shakespeare's more difficult plays, but the storytelling is exceptionally clear and maintains interest throughout and each act raced by. I am coming to terms with some of the new contemporary ballet vocabulary and for me, this blended well with the more classical vocabulary which I recognise. Wheeldon's style captures emotions and interactions well through each character's body language using every muscle in the body, facial expressions included. Having sat in prime position in the stalls last night, I'm looking forward to seeing how well this carries further back in the auditorium, as it is so integral to the characterisations. I liked the clever use of the male pas des deux to convey the relationship of the Kings, the changing styles between the different locations to convey the different lands.

This was the first time I had seen TWT live and experience the set design which is simply but effectively done. The use of video projections to convey the boats travelling from one place to another was particularly well done and seamlessly integrated into the storytelling. The physical elements of the set used - from statues in Act 1 and 3, the tree in Act 2 to the physical boats at the end of Act 2 - were all integral to the action (some of the elements having choreography of their own). 

Matthew Ball was magnificent - in addition to being a fine dancer, this role demonstrates the strength of his acting. Yasmine Naghdi and William Bracewell played Perdita and Florizel with youthful abandon and conveyed their feelings of joy well. I really enjoyed getting the opportunity to see  Liam Boswell and Marianna Tsembenhoi dancing Brother Clown and Young Shepherdess - it's always a pleasure to see them dancing and I'm looking forward to seeing some of the other young talent in the remaining casts that I will see. It was a huge treat to have so many big roles and to see Marianela Nunez, Mayara Magri as Hermione and Paulina and found myself debating which was the better role! Again, looking forward to future casts in order to make this decision. 

On the emotional front, as I mentioned in my post last night, I did feel the impact at times: when Leontes  realises what he has done at the end of Act 1, when Polixenes reveals himself in Act 2 and in Act 3 when Paulina realises who Perdita is, when the family is finally reunited. Music is a factor, especially comparing with some of the classics, but I think it's also potentially because each step is so carefully choreographed that there is less abandon (and potentially less danger) vs MacMillan's choreography.

I had wondered if I would manage 2 casts in one week not usually being the biggest Wheeldon fan, but can't wait for Wednesday night. The clear take away from this ballet is the power of Shakespeare's stories - and the power of ballet to tell his stories well. I look forward to the next choreographer and composer to take on the  challenge of bringing one of his plays to life through actions and not words.

Links - Tuesday 14 May, 2024

Review – Royal Ballet, Swan Lake, ROH London: Amanda Jennings, Bachtrack

Review – Carla Fracci Gala, La Scala, Milan: Graham Spicer, Gramilano

Review – Dance Theatre of Harlem, Take Me With You/Reckoner/ Blake Works IV/N.N.N.N: Leigh Witchel, Dance Log NYC

Review – Twin Cities Ballet, Coppelia in Paris, Minnesota: Sheila Regan, Star Tribune

Review – Australian Ballet School, 60^th Anniversary Showcase, Sydney: Michelle Potter, Michelle Potter on Dancing

Review – Ballet Opera National de Bordeaux, La Sylphide/Don Quixote Act III, Shanghai: Staff, Xinhua.net

Preview – Female Choreographers of Pacific Northwest, Mixed Bill: Portland, Oregon: Elisabeth Whelan, Oregon Arts Watch

Preview – WA Ballet, Contemporary Programme, Perth: Staff, Dance Australia

 Screening Preview  – Kate Prince Company, Message in a Bottle, Cinemas nationwide: Maggie Foyer, Seeing Dance

Article - Dancer Ashley Bouder has always loved ballet, but can it ever truly love her back? April Daniels Hussar, Romper

Article – Mikhail Baryshnikov on Keeping His ‘Little Dream’ Alive for New Performers: Shivani Vora, Barron’s Penta

Article – John Lam retires from ballet: Jennifer Heimlich, Pointe Magazine

Video article – Filmmaker Jennifer Lin focuses documentary lens on the arts: Natalie Jason, 6 ABC

Careers after ballet:

Article- Ballet dancer stretches herself into honors student, community leader: Mark Harper, Daytona Beach News Journal

Article - Class of ’24: Ballerina’s Career Takes a Turn to Nursing: Alice Berry, University of Virginia Today

First live viewing and I hope will write more, possibly after Wednesday night’s cast, but have to say that I was moved by Naghdi and Bracewell’s immense joy and the beauty of their dancing, the act 3 reveal that Hermione is still alive and the reunion of Perdita with her parents. Particularly magnificent performance from Matthew Ball who is an outstanding actor. Still not keen on the music!!!

Links, Monday 13th May  2024

Review – Royal Ballet, Winter’s Tale, London: Sarah Crompton, Observer

Review – Ballet Central, Mixed Bill, Sadlers Wells, London: Bruce Marriott, Lifted Leg

Review - Ballets Jazz Montréal, Dance Me – Music by Leonard Cohen, Beverley Hills, Jane Rosenberg, Seen and Heard International

Review – New Zealand School of Dance, Liminal, New Zealand: Jennifer Shennan, Michelle Potter on Dancing

Preview – Capetown Ballet, I’ve Got Rhythm, South Africa: Khumalo Lubanzi, News Invasion 24

Preview – Dancing on the Edge Festival, Vancouver: Gail Johnson, Stir

Feature – Dance Locker: Melissa Hamilton: David Mead, Seeing Dance

News - John Lam to retire from role as Boston Ballet Principal Dancer: Akemi Tamanaha, AsAm News

Interview – Words of wisdom with John Christophe Maillot: Staff, Hello Monaco

Links, Sunday 12 May  2024

Review – Ballet BC, FOR EVER, Vancouver: Janet Smith, Stir

Review – Strictly The Professionals, UK Tour: Marianka Swain, Telegraph

Review – Boston Ballet, Triple Bill: Blake Works III, Bella Figura, The Space Between, Boston: Jeffrey Gantz, Boston Globe via Microsoft (repeat link from yesterday, no paywall)

Review – LA Dance Project, Spring Dances, Los Angeles: Victoria Looseleaf, Fjord Review

Preview – La Scala Ballet, La Bayadere, Milan: Graham Spicer, Gramilano

Preview – Australian Ballet, Etudes/Circle Electric, Sydney Opera House: Staff, Limelight

News - No Contract, No Pirouettes — Ballet Dancers Are Organizing for Labor Rights: Naomi LaChance, Truthout

Video Feature – Dance Europe meets Paris Opera Ballet’s new Premier Danseuse, Ines Mackintosh: Dance Europe

Article – How Jack Murphy helps actors move with intention on Bridgerton: Stav Ziv, Dance Magazine

And finally…Hot on the heels of last night’s Eurovision

Feature – What it’s like to choreograph for Eurovision – Rebecca J Ritzel, Dance Magazine

A quick note on standing ovations - often over used post Covid and outside of ROH it’s rare not to see these happen as a matter of course. Tonight at ROH was very special, an engaged (and very well behaved in my opinion from stalls circle standing) really saw this and a standing ovation was completely appropriate. 

Someone in row B told off row A who were standing and blocking the view, but this was because they were planning to leave, so not remotely attempting to further celebrate the performance. That telling off was a bit more appropriate!

I am not sure I will have the energy for a full review, it’s been a particularly tough week for a number of reasons including a poorly pup who has been getting me up during the night… I do however, want to leave a brief thought on the performance this evening. It had been rather built up having read all of the reviews from their last performance, so I was desperately hoping I would be in tune with what has been said.

Previously, it’s a very specific quality to Odette which usually captures my interest. For the first time in a long time, there was something incredibly different but pleasing about Fumi’s Odette. Every millisecond of the music was used to draw out every single beautiful, fragile movement and her act 1 mime seemed remarkably unhurried but perfectly paced which I don’t recall seeing in recent years. Every ounce of body language conveyed her fragility and emotional state. 
Where Odette was like liquid silk, Odile was at the other end of the scale in brittle, sharp, calculated movements. Act 3 fouettés could have been performed in her sleep and these weren’t just danced or something she got through, they all felt part and parcel of evil Odile’s character.

Vadim was sublime, perfection and this is a ballet where the 2 dancers really connect.

It was lovely to see the insights-rehearsed swan duo of Julia Roscoe and Nadia Mullova Barley’s finished product. So glad to see Valentino Zuchetti back as Benno. Annette Buvoli is now one of my favourites in the Spanish dance- she has such a gorgeous elegance. Particularly delighted to see a new name dancing the Neapolitan - Ella Newton Severgnini. Seemingly in her first year as a first artist so an incredible opportunity with a dance which requires such stamina. 
Looking forward to my remaining Swan Lake late June but the cast will have a lot to live up to. 
 

16 minutes ago, Mary said:

I am here celebrating 50 years of going to ballet at ROH. Thinking of Linda.

 

I hope I get to say this one day.

30 minutes ago, bangorballetboy said:

Just to mention that tonight's performance of Swan Lake is (officially) dedicated to the memory of Linda Gainsbury.

Glad to be here despite never having met her in person. It would be so nice to catch up with anyone from the forum who did know her if you are here.

I am here and might be able to meet up in one of the intervals.