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  1. The critic Mark Ronan has posted my 2019 article about The Sleeping Beauty on his website (with permission from the Royal Opera House: the piece appeared in their programme for the latest revival). Perhaps people might like to have the link:- https://www.markronan.com/2020/06/sleeping-beauty/ The article focuses on the first production in order to try and rediscover the original intentions of Petipa, Vsevolozhsky and Tchaikovsky. Although not mentioned in this short piece I also have a personal interest in such issues as tempi and choreographic style, the key research question for me being one of meaning, both of the Sleeping Beauty as a whole and also of the individual scenes, mimes, variations and so on. Please note that the Royal Opera House did not allow me to write this article academically - with footnotes etc - and asked me just to assert my findings. This may be controversial (for example when I appear to contradict well-known books or leave out stories "everyone knows") but all is drawn from - mostly - primary sources. I am looking for more material, specifically private documents (e.g. diaries, memoirs, correspondence) that might cast light on what was going on in St Petersburg and Paris around 1890. So if anyone knows of a family archive - even just forgotten papers in an attic somewhere - relating to Russia and/or France during the relevant period, I would be delighted to learn more.
  2. In case anybody might be using this unusual period to declutter, I am looking for a few magazines for my research collection: Dance & Dancers: 1956: February 1957: July / Sept / Nov 1958: Jan / Feb / March / April / May / June / Sept / Nov 1959: July / Sept / Oct and various issues from 1960, 1961, 1962, 1963 and 1964 Dance Now: 1/4, 9/1, 9/2, 12/1, 17/1, 17/2, 17/3 If anyone might be able to help - even just with a single copy they don't need - please feel free to send me a PM. Many thanks.
  3. This has been discussed before but if one goes by the text of the novel, Olga is 19, Tatiana 20, Onegin 26, and Lensky 18 when we first see them. Four years later we have the ball where Tatiana is married to Prince Gremin: he shares memories of their youthful pranks and adventures with Onegin (who by then is 30). This makes Gremin maybe a bit older (nobody says exactly by how much), maybe something like 35-40. So perhaps a ten year gap or so between him and Tatiana. Tchaikovsky on the other hand needed a lower voice for the operatic Gremin, so people usually assume he is much older.
  4. Two tickets for Friday 28th February 7.30pm for sale. Amphitheatre C34 and 35, £12 each. Please PM if interested.
  5. No idea what the situation is now but in 2004 London had a live screening of the Royal Ballet dancing Onegin, see here:- https://www.bp.com/en_gb/united-kingdom/home/community/connecting-through-arts-and-culture/bp-and-the-royal-opera-house/bp-and-the-royal-opera-house-partnership-30-year-anniversary.html
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