Blossom

Finding some free time on my hands today I have been watching Tchaikovsky pas de deux videos on YouTube back to back. I have found it really interesting in terms of not just style but the confidence of each female dancer in terms of trust in their partner for the fish dives. The Russian-trained dancers seem somewhat restrained and there is less sense of abandon, one of the more recent American versions strikes me as being gymnastic but not particularly balletic (particularly compared to recordings from previous decades)z Overall I think Marianela and partner (both Vadim and Reece Clarke available to watch) is the speediest, the most trusting and has the artistic  flair and precise technique to beat any competition hands down, but what do you think?

Playlist here 

 

 

1 hour ago, Fonty said:

On that topic, I was sitting in the bar during the first interval and I overheard a conversation between two people.  They had clearly been to the matinee as well, and seemed to think the rest of the evening performance was not worth staying for.  They went off to catch an earlier train.   I am prepared to bet a tenner that this couple were not in expensive seats, and were probably occupying two SCS places.  To say that I was angry was an understatement, with tickets for Campbell's last performances like gold dust.    Why do people do this? I call it being greedy.  

 

 

 

 

It's possible that they were seated elsewhere, but either way, to be committed enough to book both performances but to only stay for Act 1 is rather ridiculous, especially when the drama swells so much from act to act (which you think they would have noticed having seen the matinee).

Links, Sunday 3 March, 2024

 

Review – Ballet national de Marseille, Roommates, Southbank Centre, London:

Grace Spencer, The Reviews Hub

Marian Kennedy, London Theatre 1

Franco Milazzo, Broadway World

 

Review – Grand Kyiv Ballet, Giselle, Pennsylvania: Staff, Times Leader

 

Review – Les Ballets Trockadero de Monte Carlo, Connecticut: Lara Beckius, Her Campus

 

Review – Regional Area Dance Festival, Wellspring Theater, Kalamazoo, Michigan: Marin Heinritz, Revue West Michigan

 

Preview – Royal Opera House Muscat, La Fille Mal Gardee, Staff, Times of Oman

 

Preview - Ballet Hispanico reflects on changing images of Latin culture in Sarasota program: Jay Handelman, Sarasota Herald Tribune

 

Feature - Ingrid Silva: Shattering Ballet Stereotypes, From Rio Slums to Global Stage: Saboor Bayat, BNN

 

Feature - How Brazilian Dancer Ingrid Silva Is Changing the World — Starting with Ballet! (Exclusive): Gillian Telling, People

 

Article - Ukraine's Lviv Opera Ballet Members Flee Amid War, Sparking Debate on Conscription Evasion: Salman Akhtar, BNN

 

Article - 2 yrs on, Ukraine evacuees dance in Japan for peace in motherland: Ko Hirano, The Mainichi

 

Article - Coco Kopelman Reflects on Her Time at the School of American Ballet: "It Was Like a Degas Painting": Isiah Magsino, Town and Country via AOL

 

Feature - Bethany Truax: Vienna Dancer's Decade with Mid-Ohio Valley Ballet and Artistic Future, Muhammed Jawad, BNN

 

And finally…

Article - Beyoncé Goes To The Ballet In A Sleek Suit And Oversized Coat: Quincy Legardye, Harper’s Bazaar

Back to my original question, I've drafted the following after doing a bit of reading up!

I wonder if we as a group can try to lobby for some preview articles?

 

Mixed bills are the ballet equivalent of a tasting menu – a chance to see a range of shorter works in one evening, with a mix of different styles of ballet, music and costume and set design. The first in this year’s mixed offerings from the Royal Ballet is set to be a corker, showcasing a range of works by leading 20th Century choreographer, Kenneth MacMillan, creator of ballets now performed across the world, including Manon, which is just finishing its current run on the Royal Opera House stage.

 

The 3 offerings being shown draw on a range of his choreographic styles and music, from purely orchestral offerings to the choral.  

 

The bill opens with Danses Concertantes, MacMillan’s first commission for the Royal Ballet at the young age of 26, with designs by Nicholas Giorgiadis, who became his long term collaborator, working together on ballets including Romeo & Juliet and Manon. The choreography mirrors the brittle and fractured sounds of Stravinsky’s score of the same name with sharp, abrupt movements and spiky fingers.  The structure of the ballet fits with the traditional steps and hierarchical structure of classical ballet, but is said to have hints of jive, revue, cinema, and the circus.

 

Following this is MacMillan’s 1984  take on Buchner’s Woyzeck, a story of a soldier’s physical and mental decline as he is subjected to menial jobs and degrading medical experiments, resulting in him murdering his mistress and then taking his own life. The ballet was described by eminent critic Clement Crisp as ‘uncomfortable, haunting, brave’. It’s apt that  Guardian critic Mary Clarke at the time wrote that ‘it should be seen especially by those who think that ballet is Swan Lake’ as the MacMillan programme coincides with this ballet.

 

The final piece, to Faure’s Requiem, was first performed in 1976 by the Stuttgart Ballet and is dedicated to the memory of their artistic director, choreographer and friend of MacMillan, John Cranko. The piece is a portrait of the ballet company mourning his loss – in places, the dancers’ fists are raised in anger and their mouths are open with silent howls of grief. This beautiful expression of grief, danced to both orchestra and voice and was met with great critical acclaim, rated as MacMillan’s best ballet to date.

 

This triple bill opens on 20th March with only 6 performances. Tickets at roh.org.uk

 

18 hours ago, Roberta said:

 

I assume so too, though who knows?

More about MacMillan and his designers here  https://www.kennethmacmillan.com/new-page-2  including Danses Concertantes, which went through several redesigns, including by Georgiadis,  until 

 

" In 2003 Georgiadis’s original designs were restored; after fifty years the original concept seemed as chic, fresh and perfectly suited to the ballet as it had in 1955"

 

In recent times Sarasota Ballet has performed Danses Concertantes 

 

 

 

I assume we will get the Georgiadis designs, in which case why is there no focus on this as part of his big anniversary which is being trumpeted around the display areas of the ROH?

 

Really what I would expect rather than more paid advertising is a PR push to drive some previews content to help support the MacMillan legacy.

To me, it’s little wonder that ROH are struggling to sell as they are saying very little other than ‘it is ballet by MacMillan’. The studio rehearsal on 14 March may get people to the cinema but it’s a bit late for the ballet run. 

 

I’ve booked tickets but having not seen the ballets before, I would love some more info to help sell in to some friends!

 

For each ballet,

 

What is the theme/narrative?
Is it classical/lyrical/contemporary etc?
What is the music like to listen to?

What are the costumes like?

What should the audience look out for in the performance?

You will like this ballet if you like xxxx

 

There is content on the MacMillan site of course but would love to hear from the audience or at least be pointed to some old but relevant reviews.

1 hour ago, capybara said:

Further to this, it has also just been notified that Lauren Cuthbertson will not be dancing Swan Lake this season and will be replaced by Fumi Kaneko on the 15th and 28th March and 1st April.

Having looked at the dates it’s taken me a few minutes to work out why I hadn’t booked them in the first place. Unfortunately travel plans mean I will have to rely on all of your wonderful reviews! 
Sad to hear Lauren is out of the running.

Just received from ROH

 

We are looking forward to welcoming you to the Royal Opera House for our upcoming performance of Kenneth MacMillan's Danses Concertantes / Different Drummer / Requiem.

 

Following the news that Principal dancer Alexander Campbell has been appointed Artistic Director of the Royal Academy of Dance, the following cast change has been made:

 

20 March, 4 and 9 April, 7.30pm:

Alexander Campbell is replaced by Francisco Serrano as the Drum Major in Different Drummer.
 

🤔

53 minutes ago, Geoff said:

Whatever ROH has fiddled with since the last time, please now don't "improve the experience" any more: if it works, don't fix it!

🤣

8 minutes ago, lady emily said:

Quick there are some tickets available again for the final performance! I will now be able to see Alex's last two performances! 

Every time I see these messages I sigh with sadness as I just can't make either of them. I do hope that he has a wonderful send off at his last performance and I hope those of you that are able to be there will film - and share - what I hope will be a similar send off to that of Beatriz Stix Brunell with the procession of colleagues presenting flowers. 

3 minutes ago, alison said:

The balcony ones are the wheelchair spaces - which is odd, because I thought I'd already splashed out on a row C for one of the performances.

The new additions are for April, previous ones were for March

At least some of these look like unsold access seats. Some stalls seats are reserved for people who are partially sighted who need to be close up (met someone who uses these seats recently)

26 minutes ago, PeterS said:

Fumi may be another perfect partner for Vadim if there is such a thing  but, I don’t think that Vadim is Fumi’s perfect partner. At least not yet. It’ll be interesting to see how their partnership develops as the season progresses. 

An astute statement.

1 hour ago, art_enthusiast said:

 

Interesting, what's the reason for not logging in before 8.50?

 

To book, you must first sign into your online account using your email address and password. We ask that you do not sign in more than 10 minutes before 9am as this can mean the website doesn’t correctly update to allow you to book.   

 

If you have signed in and are unable to book your tickets, the following fixes should be your first port of call:  

• Signing out of your online account and back in again. Please ensure you click Sign Out rather than closing the page. You can then re-enter your email address and password. 

• Refresh the webpage (method will depend on device and browser).  

• Clearing your browser cookies and data.  

• Try a different web browser or, if possible, a different device. 

Just now, Geoff said:

Is it me or has the Ashton Insight for Friday 31 May dropped off the calendar? Has any Friend been able to book for it yet?

I think Premium Friends had mentioned this previously. Secretly hoping this means a change in date (and day of week).

2 minutes ago, bangorballetboy said:

Having more than one tab open is definitely not the recommended procedure - the ROH advise the opposite and to have only one tab open.  Not logging in before 0850 is recommended to avoid recognition issues when tickets are released.

The tabs aren't ROH recommended, just the logging in, but the tabs were all inactive and only used one by one, so not sure how this could clog anything up...

Either way, very smooth running and no waiting times. 

20 minutes ago, alison said:

 

Is that the recommended procedure now?  If so, it's surely going to clog up booking if lots of people do it.

The idea is that it doesn't clog up booking or lead to long waits vs people logging in on multiple devices and with multiple tabs ready and waiting.

I followed the Friends Newsletter instructions to the letter this morning and had a dream booking session.

I didn't log in before 8.50am as specified, but had a tab open for each production ready to book.

At 9am, I managed to get straight into my first production with no wait. 

By 9.12am I was done - first choice tickets for everything except for Next Generation and had to get some side stalls for one of the Sarasota Ballet performances. As a number of the dates are not an option for me, I was incredibly relieved that it was so easy. Last night I was in a seat in the balcony and used the opportunity during the interval to test out a few other spots - standing and seated so that I had a back up plan but I didn't need it!

 

For Ashton fans, there are still a good number of seats for Sarasota Ballet across each performance at varying values.

 

When Kevin O'Hare came out in front of the curtain before the performance last night, I have to say, my heart sank a little, having specifically wanted to see this cast, so it was quite a relief that this special evening was made even more special, hearing that Dame Antoinette Sibley was in the audience, although, as luck would have it, directly underneath me...  By the end of the performance, I was feeling the usual emotional impact of the final scenes and when Antoinette Sibley came out on stage with Joseph Sissens, I have to say, I got a little misty eyed.

 

This was a special performance all round - I was keen to see this season's debuts, if not their first performances  - and particularly keen to see Fumi as Manon.

 

As others have shared from their first performance, I did find Fumi and Vadim's connection take a little time to build, I loved their dancing in act 1, but didn't neccessarily feel the electricity of their connection and there also seemed to be a couple of moments in their pdds which were perhaps not as well oiled as some of the other partnerships I've seen, or it may have been my off-centre balcony vantage point...

 

All was well though from the beginning of act 2, with the step change in Manon from girl to knowing woman. Her solos and the dance where she is passed around almost as an object from man to man were absolutely spellbinding and you could feel the tension and the hurt in her pas de deux with de Grieux and the absolute connection in the second bedroom pas de deux. Act 3 was heart wrenching and the final pas de deux was one of the most dramatic and emotive I have seen.

 

Every ballet step Vadim takes is perfect, regardless of the level of drama. He dances with such respect for classicism and MacMillan's choreography, every solo made my heart soar. I also really enjoyed his partnership with Fumi overall and look forward to seeing them dance together again.

 

Joseph Sissens was another reason why I was so much looking forward to seeing this cast and he is another dancer whose every step seems perfect. Back in the insight, this meant that he'd struggled to play drunk, so I really enjoyed seeing his character development there., He delivered a brilliant death scene, it felt more real and more shocking as the curtain came down. I also enjoyed seeing Leticia Dias as his mistress, a role I look forward to seeing her develop further in future runs. Her pdd with the drunk Lescaut got the customary laughs and I can imagine it's not easy going against everything you've learnt in terms of placement and centre of balance to create the desired effect.

 

As always, the music was entirely absorbing, the 'sub plots' in the background were well delivered by a cast who really know how to act as well as dance, which is what makes this company so special for me. Unfortunately my last Manon of this run, but the sumptuous score is still running through my head and I will at least have a spring in my step on my dog walk this morning!

I'm organising a group of non-ballet goers to see this at Sadlers Wells.  Really looking forward (except for having to babysit a group).

Links, Tuesday 27 February, 2024

 

Review – Birmingham Royal Ballet, Sleeping Beauty, Birmingham: Jonathan Gray, Gramilano

 

Review – Birmingham Royal Ballet*, Sleeping Beauty Dreams, Birmingham: Aislin Slater, Redbrick

*with amateur dancers

 

Review - Jamiel Lawrence Ballet Nights, Ballet Nights 004, Lanterns Studio Theatre, London:

Maggie Foyer, Seeing Dance

Lucy Carter, Everything Theatre

Stuart Sweeney, Critcal Dance

 

Review – National Ballet of Canada, Angels Atlas/Emma Bovary, Ottowa: Sheenagh Pietrobruno, Critical Dance

 

Review – San Francisco Ballet, Swan Lake: Saul Sugarman, Medium

 

Review – Kansas City Ballet, Peter Pan: Gabriel Flynn, The Pitch

 

Review – Grand Rapids Ballet, Sleeping Beauty, Michigan: Marin Heinritz, Revue

 

Review – Complexions Contemporary Ballet, Mixed Programme, New York: Makayla Morrison, The Review

 

Review – Australian Ballet, Alice in Wonderland, Sydney: Geraldine Higginson, Dance Australia

 

Review – Latitude 37, Transfigured, Melbourne: Elizabeth Quinn, Limelight

 

Review – Lewis Major, Maliphant x Major and others: Melbourne: Lisa Lanzi, Dance Australia

 

Preview – Matthew Bourne, Edward Scissorhands, Nottingham: Marta Tavares, Newark Advertiser

 

Preview – National Ballet of Canada, Alice in Wonderland, Canada: AA Cristi, Broadway World

 

Preview – Joffrey Ballet, Anna Karenina, Chicago: Lou Fancher, 48 Hills

 

Preview – American Repertory Ballet, Swan Lake Act 2/Sleeping Beauty Act 3, New Jersey: Staff, New Jersey Stage

 

Preview – Ballet Tech, Kids Dance 30^th Anniversary, Philadelphia: Chloe Rabinowitz, Broadway World

 

Preview – Les Ballets de Monte Carlo, Lac (Swan Lake), Chloe Rabinowitz, Broadway World

 

Preview/Article - The Liceu launches the dance season: Staff, Gran Teatre del Liceu

 

Film Preview – Stephen McCrae is a Resilient Man: Staff, Dance Australia

 

Essay – Poussin and the dance (to the music of time): Alastair McCauley, alastairmccauley.com

 

Article – Campbell brings new vigour to RAD: Tamsin Flower, British Theatre Guide

 

Article – Once banned by communists, Poland's stately 18th century dance garners UNESCO honors: Monika Scislowska and Rafal Niedzielski, AP via AOL

 

Article – Poland, UK join forces for new take on Szymanowski’s ballet 'Harnasie': Staff, Polskie Radio

 

Article – Two things you wouldn’t expect to find together: The National Ballet’s new season and a dog-feces incident: Marsha Lederman, The Globe and Mail

 

Article – Photographer Jason Capobianco and VML bring the 2024 West Australian Ballet theme ‘The Discovery’ to life in new campaign:  Lynchy, Campaign Brief

 

News - BalletCollective Announces Open Application Call For 2025 Commission For Developing Choreographers: AA Cristi, Broadway World

 

Obituary – Steve Paxton, Alastair McCauley, alastairmccauley.com

39 minutes ago, jmhopton said:

Also, if the free returns applied to everyone, not just patrons, some Friends may be temped to buy more tickets than they really need to hedge their casting bets and then if they're slow to return them, make the ticketing situation worse for everyone. 

Completely agree with this

2 hours ago, alison said:

 

Will this do?    (colon + O)

I meant alongside the like (heart) and thanks button to save quoting and adding an emoji! But this will do otherwise!

13 minutes ago, bangorballetboy said:

 

I was about 17 events into my booking when I "lost my basket" (i.e. only the most recently selected tickets were in my basket and the rest were in another basket to which I no longer had access).  Very annoying.  In the end, though, I got everything I wanted (all the tickets from my original basket were released again at 0930), just with a lot more stress and an extra 15 minutes.

 

Also annoying that the Ashton insight was taken off sale just before booking.

We need a ‘shocked’ response button/emoji.
Somewhat dreading Wednesday morning as I only have very specific dates I am able to do in June… 

Links, Monday 26 February, 2024

 

Review – Royal Ballet, Manon, ROH, London: Sarah Crompton, Guardian

 

Review – Jamiel Lawrence Ballet Nights, Ballet Nights 004, Lanterns Studio Theatre, London: John O’Dwyer, Seen and Heard

 

Review – Varna International Ballet, Swan Lake & Sleeping Beauty, Northampton: David Mead, Seeing Dance

 

Review – La Scala Ballet, Memento, Teatro alla Scala, Milan: Graham Spicer, Gramilano

 

Book Review – Ballet Confidential by David McAllister

Geeta Pillai, BNN

Kylie Knott, South China Morning Post

 

Article - Ballet superstar Darcey Bussell helps bring Sleeping Beauty to Lowry: John Anson, Yahoo News

 

Article - Misty Copeland to Illuminate the Madame Walker Legacy Center with Her Presence, Not Performance: Staff, BNN

 

Article - Alex Campbell appointed RAD director: Staff, Dance Australia

 

Article - Defying the Odds: The Artistic Journeys of Anya Nicole Alindada and Rubby Coyiuto:

Waqas Arain, BNN

Pat P Daza, The Philippine Star

 

Article - Milwaukee Ko-Thi Dance Company; expression rooted in tradition: Aaron Maybin: Fox Local/AOL News

 

News- The Royal New Zealand Ballet dances around the regions: John Pearson, The Press

 

And finally, perhaps a forward facing solution to the funding crisis which could be mirrored in the UK…

Article - “En Pointe” for Philanthropy: Jeunes Gouverneurs’ Night of Giving!: Staff, Mountain Lake PBS