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Lizbie1

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  1. Lizbie1
    On the plus side, at least the threat of having only new works in 2020 seems to have been forgotten. Thinking about the Ashton drought (now I’ve got over the worst of my sulk) how about this for a hypothesis: we were meant to have Cinderella this Christmas but for whatever reason - and I seem to recall that it’s proven difficult in the past to agree designs with the rights holder - this had to be pulled at a late stage, too late for anything else to be substituted in. So the runs of Sleeping Beauty and Coppelia got extended instead.
  2. Lizbie1
    I agree - I don’t like this “Buggins’ turn” system, which can stifle development in the lower ranks. I know some people are attached to the idea of ballet hierarchy but IMO there’s a better balance to be made between recognising experience and box office draw on the one hand and bringing on talent and casting on merit for each role on the other. (I find the “three Juliets for a principal, two for other ranks” formula which was pointed out in the current run frankly dispiriting, setting aside their individual merits.)
  3. Lizbie1
    Remember he danced at the Russian Icons gala at the end of March.
  4. Lizbie1
    I’m often quite happy to take pot luck - and indeed very often the dates I choose are dictated by whether they combine well with something else I want to see - but for this Swan Lake casting is important to me, as I’ve seen this production several times with three different pairings and ticket prices will be high. Obviously you can never guarantee a cast, but I don’t think I’ll be booking unless and until I at least know what the intention is.
  5. Lizbie1

    Proms 2019

    Lizbie1 replied to alison's topic in Opera & Music

    I should add that I was looking at the Circle only.
  6. Lizbie1

    Proms 2019

    Lizbie1 replied to alison's topic in Opera & Music

    I could definitely at least choose a seat - have another go?
  7. Lizbie1

    Proms 2019

    Lizbie1 replied to alison's topic in Opera & Music

    It seems to be available now, though I haven’t followed the process right through.
  8. Lizbie1
    My recollection is that in Russia they use the term “premiere” as we would “new production”, with the label indicating a new staging (not necessarily a new work) and applying to all performances in its first season.
  9. Lizbie1
    Like others I’m sticking to official announcements.
  10. Lizbie1
    I'm working from memory, but doesn't the Soares retirement just take the number of male principals back to the usual eight?
  11. Lizbie1
    It's the Swan Lake booking I find most anomalous - the run is from March to May but it's part of the Winter booking period, which means casting for May should be published in August and Friends need to be geared up to decide what they're doing a full eight months ahead and probably before Sadler's Wells have announced for Spring/Summer. As others have said elsewhere - you have to suspect front-loading, bringing money into the coffers early. (Sorry for going well off topic.)
  12. Lizbie1
    So in short we should hold others to a stricter standard than we do ourselves. Got it!
  13. Lizbie1
    So it’s insensitive for Sambe to post about a confirmed cast change involving dancers he knows well; but when people speculate on a public forum about whether a dancer recovering from injury will make it back in time and wonder who his replacement might be, that’s just part of being in the public eye? Please forgive me my confusion!
  14. Lizbie1
    *Such* an interesting article from the Gramophone in today’s links about the Marston commission: https://www.gramophone.co.uk/feature/the-royal-ballet-commissions-cathy-marston-to-celebrate-the-life-of-jacqueline-du-pre One of the things I admire most about Cathy Marston is that she never falls into cliche, even when her subject positively invites it. I was apprehensive on that front when they announced that the new ballet would be about Jacqueline du Pre and feature the Elgar concerto (I worried that her story had been done to death) but I’m very reassured by this interview.
  15. Lizbie1
    There’s nothing concrete to go on in the Friends’ season guide, but the blurb says that the programme will include works by MacMillan and Ashton and it’s illustrated with a picture of BRB in Dante Sonata (getting my hopes up here but expecting them to be cruelly dashed!). While I don’t like the idea of these works being relegated to Heritage Corner, wouldn’t it be wonderful if this proves enough of a success that exploring the back catalogue through a run in the Linbury becomes an annual event?
  16. Lizbie1
    Interesting review in today’s links: https://dancetabs.com/2019/05/viviana-durante-company-three-8-38-seven-london/.
  17. Lizbie1
    I have a ticket but would like to know whether I’d be better off returning it.
  18. Lizbie1
    I think for those of us who would have to travel some distance (and at some expense) it’s very helpful to know the programme in advance.
  19. Lizbie1
    I'd also question whether the demographic is as narrow as all that. Maybe this reflects the Amphitheatre - which is about half of the total capacity - rather than the audience as a whole, but I see much more homogenous audiences at "straight" theatre (in the provinces at least) and at concerts. The Wigmore Hall audience in particular is notoriously dominated by a certain demographic but I don't recall seeing much hand-wringing about it.
  20. Lizbie1
    Is the report from his grilling by the Ballet Association still expected to be published?
  21. Lizbie1
    I suppose it’s because opera is his domain in the Telegraph - it’s the Mail on Sunday he covers ballet for, I think.
  22. Lizbie1
    And I saw them guesting at the Bolshoi in 2004 or 2005. As Bridiem suggests, greater freedom to pursue guesting opportunities tends to come with seniority; but until they reach a contractual arrangement which allows for regular guesting, I can’t see that it’s unreasonable for an employee to prioritise their day job. Polunin decided that such constraints weren’t for him: that’s fine, it was his decision, but I don’t see why others should be expected to see the RB as being at fault in all this - on the contrary, in other respects one might consider Polunin to have been excessively indulged during his time there.
  23. Lizbie1
    Sorry if someone has already picked this up, but I’ve just realised how little Wheeldon there’ll be next year compared to recent seasons: just Corybantic Games and the Sleeping Beauty Garland Dance, unless I’ve overlooked something. (As I’ve mentioned elsewhere he’s not my favourite choreographer, so I’m not sad, just interested.)
  24. Lizbie1
    Just thinking - perhaps this programme is somehow tied in with the June 2020 dance festival which BRB have semi-announced.
  25. Lizbie1
    It’s the “Heritage” (awful word) mixed bill I’m most interested in, and it’s the one we have least information about so far - has anyone heard anything more about it?
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