Springbourne3

13 hours ago, capybara said:

 

I agree about Julia Petanova - simply lovely. She will surely do well with Norwegian Ballet and that company has been a stepping stone into The Royal Ballet in the past - definitely for Elizabeth Harrod but maybe for someone else as well?

Yes and also Hayley Forskitt (Maloney) was previously with the Norwegian National Ballet before the Royal.

13 hours ago, Sim said:

16 hours ago, Springbourne3 said:

 

Yes I had also read that somewhere.  I wish she were joining the Aud Jebsen dancers.  She is a gorgeous dancer and I hope to see her again in London soon.  

Yes I totally agree and I was surprised that she wasn’t going to be an Aud Jebsen dancer to be honest - would love to of seen her dancing with the RB!

7 hours ago, Yaffa said:

Dance Tabs has a very interesting review:

https://dancetabs.com/2021/07/royal-ballet-school-summer-show-roh-main-stage-london-2/

Congratulations to all the graduates on their contracts! I believe the lovely Julia Petanova is joining the Norwegian National Ballet 2 ( not the RB’s Aud Jebsen programme as stated in the review).

2 hours ago, Jane S said:

I don't remember seeing those helmet-like hats in Monotones before - are they new for this run?

 

Hope they're not permanent.

I believe Ashton designed the costumes himself and was influenced by the imminent possibility of man ‘walking on the moon’ and the American Space programme (hence the slow adagio movements of Monotones 11) during the 1960s.

I saw Monotones in the early 1970s (Royal Ballet) and I seem to remember they were wearing white headgear then. 

Ashton’s description (from an article in a 2014 edition of the New York Times);

A further 1960s touch was that the three dancers of “Gymnopédies,” dressed in white, moved with the slowness that evoked recent film imagery of astronauts walking in outer space. Men had not yet walked on the moon, and yet “Gymnopédies” anticipated the look of Neil Armstrong and Buzz Aldrin so well that within a few years Ashton – mistakenly – told an interviewer that his choreography was influenced by the time “when you Americans were all landing on the moon.”
 

Wonderful evening - I loved seeing the dreamy Monotones again, I haven’t seen it since way back (probably 1970s actually!).  Some beautiful performances throughout and what an emotional evening too - particularly Romany Pajdak and we definitely need more performances from her.

Can’t wait for this - it’s made my day!

Here is Sumina at the 2019 Prix de Lausanne

According to the Prix de Lausanne news today, the Royal Ballet’s PDL apprentice for the season 2019/20, Sumina Sasaki, will be joining the company as an artiste.

Wishing her well and she’s certainly a beautiful dancer. 

How clever and beautiful is this from the Paris Opéra Ballet....enjoy

https://youtu.be/NiM-x4fPFRI

2 hours ago, J_New said:

I can't claim to be any kind of expert, but to me 'The Cellist' was lacking in actual dancing. Sorry!! I have only seen it once, and that was last night in the cinema so I may have got the wrong impression, but there seemed to be a lot of lifting and 'flailing' and less what I would describe as dancing. That maybe unfair, and maybe it was just the contrast with DAAG, but I didn't find it very moving for that reason. To me the lifting was distracting, though it could have been the angle of the camera which at times was just too close. I probably need to see it again in the theatre, and I might find it more engaging if I can see the whole stage all the time. I found Sambe's performance outstanding, though - at times I really did believe he was a cello!!

DAAG was sublime - I could have watched it again and again all the evening.

J_New I entirely agree with your comments regarding ‘The Cellist’ regarding the lack of dance.  To me, there was just ‘arm waving’ and gyration going on and Matthew Ball seemed to do nothing but that!  M Sambé was the ‘stand out’ dancer in what was otherwise was a bit of a waste of the talents of the outstanding dancers of the Royal Ballet.  The stage seemed very dark throughout too. 

The disappointment of the ‘Cellist’ may, of course, been slightly exacerbated by the fact that ‘Dances at a Gathering’ was performed first - showing the beauty and sheer brilliance of the higher rank Royal Ballet dancers - I’ve not really been a great fan of Francesca Hayward, but she was the ‘stand out’ dancer in this ballet, outshining everyone else with her grace and ease of movement.  I also thought of the men, William Bracewell was outstanding.

It was slightly irritating that D Bussell kept calling the ‘Cellist’ the ‘Celloist’ too during the pre-performance introductions!

On 14/02/2020 at 21:29, LinMM said:

It was actually Lucy Waine ( the blonde one) who I saw at YBSS and was very good in a modern piece at the RBS show last summer. 

She really stood out when I watched the class in York a couple of years ago now and am pretty sure her mother had said she was either at or going to go the RBS. 

Wasnt Hanna Park the girl on the extreme left in the group piece ...at the curtain call.

 Yes LinMM she was on the far left.

On 11/02/2020 at 16:21, Ingrid said:

Lauren Hunter if not mistaken. But thought that as a whole this graduate year has many stars. And for such a complex and at times fast paced movements they did great. Congrats to the pdd teacher at the RBS since I thought all the couples did amazing.
 

Yes it was Lauren Hunter, who was a PDL prize winner a few years ago.  I agree that this year’s graduate year is possibly going to be an exceptional one - Hanna Park (a previous PDL orizewinner also)  is one to look out for too.

I’ve been wishing to see this ballet (Coppélia) again for so long and was so pleased that the RB brought it back in the repertory this season - so glad that I got to see last night’s livestream.

I just love those Osbert Lancaster sets and costumes - they so reflect the early years of the RB and how stunning are the Polish and Hungarian influenced ones.  This ballet fills me with with so much nostalgia in many ways.

I think Nunez is probably the best Swanhilda I’ve seen (and I’ve seen a few!) - perfect technique and full of mischievous joy.  She is now so technically secure that she can fully immerse herself into the character she is performing.  I thought the Swanhilda role really suited her. I think she streets above any other principal female in the company and during the interval break it was enchanting to see a film clip of her perform the Swanhilda solo aged 12 years old - and with so much aplomb! 

What can I say about Muntagirov in this ballet? Perfection! His variation was all beautiful style, lines, crystal clear batterie (beats) and beautifully held balances - I think he’s probably one of the greatest males dancers currently.

A beautiful Dawn variation from Calvert - she’s really blossoming into what must be a future principal.  She’s so strong on her pointes and has a beautiful soaring grand jété. 

I was so glad to see Annette Buvoli at last dancing a variation - what a lyrical and gentle performance of the Prayer solo she gave with those smooth bourées en pointe.  

Other dances were the beautiful Waltz of the Hours (that music and those costumes) which gave some opportunity for some of the more junior members of the company to shine - I noticed one of this year’s Prix de Lausanne recipient, Sumina Sasaki,  who showed confidence  and grace at the front of the ensemble. 

The mazurka and czardas were full of colour and performed by the corps with well placed style - Reece Clarke shone throughout.  

Gary Avis was as usual, gave a brilliant characterisation of the role of Dr Coppelius.  This ballet has many mime sequences and some of which was helpfully explained during the interval featuring company members, Charlotte Tonkinson and Téo Dubreuil.  There was also an interview with ROH conductor, Barry Wordsworth, about the composer, Léo Délibes’s beautiful and well-known score for Coppélia.

It was good to see the RB Upper School students given an opportunity to dance in the Act 3 celebrations too.  It must be an inspiration for them to dance alongside such incredible dance artistes as Nunez and Muntagirov - and I think it showed.

All in all a great evening of glorious music and dance - even though the cinema screen went blank towards the end of Act 2 so this was part was unfortunately missed - the perils of a livestream sometimes I think.

(Also the stage lighting seemed a bit dark at times, but that could be because it was viewed via the cinema screen).

I was at last night’s performance and entirely agree with previous comments regarding Naghdi - an Aurora full of joy and beautifully held balances throughout and a beautiful interpretation of the last act variation. I also enjoyed both Ball’s lyrical variations and he just looks like a prince.

Claire Calvert is my favourite Lilac Fairy weaving her magic confidently and securely throughout the performance - I would love to see her dance Aurora.

There were some great first act performances from O’Sullivan, Hamilton, Pajdak, Magri as fairies and McNally as Carabosse.  The garland waltz was beautifully danced and my stand out dancer was a smiling and confident Yu Hang (Corps) and again, in the Vision scene.  There’s much up-coming promise amongst the current corps.

I was disappointed with the Bluebird PDD and I agree with above comments regarding Choe and Acri (Florine and Bluebird) - he looked tense and I found his arms very stiff on the series of brisé volé which lost the ‘flying bird’ like quality.  Choe’s variation was below parr and I spotted a ‘sickled’ foot when she performed the little hops through retiré position into aresbesque. Her legs seemed ‘tired’ and it didn’t help with the slip up, but she did carry on with a beaming smile - it just wasn’t her night.  Lots of sympathetic cheering from the audience though.

The last act was the Royal Ballet at its best - the amazing trio of O’Sullivan, Zucchetti, Magri as Florestan and his sisters (my only criticism was that they seemed to just miss the timing at the end by being slightly behind the music), loved the stand-out White Cat of Ashley Dean (replacing Stock) and Kay - getting plenty of laughs from the audience.  Pajdak and Edmonds performing Red Riding Hood and the Wolf with much gusto - and then the showstopping final PDD of Naghdi and Ball - a real feast for the senses the whole act.

Other stand-out dancers for me on the night were Gasparini (as always), Dixon, Aumeer and Tonkinson.

I’m going to tomorrow evening’s performance and just wondered if there’s a more detailed cast list ‘somewhere’ on the ROH website - thanks all.

1 minute ago, LinMM said:

Sorry to harp on but if there are any other oldies on here who remember Denise Nunn .....I've been trying to rack my brains who partnered her in Concerto in early 70's ( around 72-74)  it could have been Michael Batchelor or Nicholas Whittle but not sure .....have a feeling it was the former. 

There is still a video of Denise Nunn in Month in the Country.... with Seymour Dowell and Graheme Fletcher  it's on a BBC arts : Ashton's Four  Best programme......as she initiated the role of Vera in Month in the Country.

Somebody here was saying they would like Concerto and Raymonda with Month in the Country as a triple combination.....yes please....would be ballet heaven for me ....would come for the music alone!! But of course the bállets are truely delightful as well! 

Yes I remember her LinMM - think it was Michael Batchelor who partnered her.  

On 23/10/2019 at 23:09, Lark said:

Shipulina complained in an instagram post that she and other primas were not invited to film, so that's the reason Smirnova was in a class of her own.  Krysanova had some time in a different segment, but that was about it. Very disappointing for those of us who had hoped to see an Akimov class full of principals as we did in the 2014 World Ballet Day!

Sorry Lark maybe I didn’t make it clear - I meant that ‘Smirnova stood out’ in the class (from the expression ‘in a class of their own’),  

4 hours ago, stucha said:

 

Bruce, there was a dancer in Allash's class who looked a little like Krysanova but I don't think it was her.

 

The Bolshoi will now have three productions of Giselle and Vaziev seems to think that the new one will be very interesting.

 

Assoluta, I hope you will report.

No you’re right Stucha, it wasn’t Krysanova in Allash’s class.

4 hours ago, stucha said:

 

I thought I saw newly minted principal Artemy Belyakov in the Akimov class.

Yes he was but he wasn’t in view very often though.

A really enjoyable day - and theres still loads to catch up with over the next few days.  It was so good to see Alfreda Thorogood and Leanne Benjamin coaching in the RB’s livestream.  I was impressed with Liam Boswell (Aud Jebsen Young Dancer programme 2019) in the RB’s company class and he must be one to watch.  I thought the RB’s company class looked a bit cramped in the studio compared to other companies, who seemed to have vast, spacious studios. 

It was also interesting to see Maria Allash (former Bolshoi principal) taking a class with some of the Bolshoi’s women - including Olga Smirnova.  She had a quiet, gentle teaching manner with a class comprising of some simple, yet requiring a classical ‘back-to-basics’precision, enchâinements - all beautifully danced by the dancers and Smirnova shines in a class of her own.

I haven’t yet viewed many of the other companies as yet - there’s just so much to see! 

6 hours ago, alison said:

Thanks, Bluebird, but that only gives me a brief introduction from Carlos, nothing more.

I couldn’t find the BRB either - glad it’s not just me - anyone found them yet?

4 hours ago, Sassenach said:

I find her to be undervalued at the RB. I was especially disappointed there was no public performance of Manon. I agree, she could be very easily poached but now being engaged etc I cannot see her leaving London or the RB.  

I totally agree - I think it was very disappointing that she wasn’t seen in a general performance of one of her greatest roles of ‘Manon’ - I believe she will debuting as Titania in Ashton’s ‘The Dream’ next month with BRB in an event at the Belfast Opera House (info from her Instagram page). 

Very interesting topic.  I can think of a couple of my favourite ballerinas that had their names changed on becoming professional dancers;

Dame Beryl Grey was born Beryl Groom before her rapid rise through the ranks of De Valois’s Sadler’s Wells company in the early 1940s.

Anya Linden (Baroness Sainsbury) was born Anya Eltenton before joining Sadlers Wells in 1951. 

Sainsburys named a variety of potato after her - called the ‘Anya’ apparently!

There are many, many comments regarding the above coming from dancers all around the world this morning on Instagram and Facebook.  I taught many young boys to dance during my teaching career and completely understand what they have had to put up with in the past, from the bullies who mock and laugh at them just for wanting to dance - and now this in 2019??? It’s so disappointing. Shame on that TV presenter.