Sharon

In Sheffield last for R&J.

I had forgotten just how great this production is.  I always found MacMillan's a bit too long, actually I only really enjoy the pdd's.  But that's so not the case with this production it's all so exciting and engaging. Sitting either side of me were people who had never been to the ballet before and they were in a trance, completely caught up in the experience. 

Romeo last night was Harris Beattie  - and wow he was just fantastic! Not just his technical ability which was more than impressive, but his actual portrayal of a young man in love for the first time. He was believable & amazing and without a doubt a star in the making.

An unforgettable night.

Congratulation to the whole production team at NB for bringing back this wonderful ballet. Christopher Gable would be very happy and proud I'm sure.

With Sambe and Nunez guesting with POB - I would love to see an exchange and have some POB stars guest over here. Diop or Marchand would be great but top of my list would be Mathieu Ganio - before it's too late.....

On 04/03/2024 at 09:42, bridiem said:

 

Could that make dancers more prone to injury?

Without a doubt!

10 hours ago, LinMM said:

So so annoyed to have missed Sibley on stage on her 85th birthday! 

I saw her in Manon many years ago and still remember her dancing in the final Act. 

Me too! I had commented on Chris Saunders Instagram post (wishing her happy birthday),  that ROH should organise an evening celebrating this wonderful ballerina and roles created for her. But there was no mention of her planned  visit at ROH that night.  I do wish earlier announcements were made.

Oh well perhaps ROH/RB will organise some kind of event  for her - something that should of happened for Lynn Seymour  - hopefully while she is alive to enjoy the love and appreciation from the audience 🙏🏽

11 hours ago, Fonty said:

I went to the cinema in Portugal, as I am on holiday at the moment.  Mr Fonty said he had never seen Manon before, although I could have sworn he was with me when I saw Morera in the role.  The other two friends had definitely never seen it.  There was a moment when we got there when the cinema said they were not sure if the performance would go ahead.  A problem with the feed, apparently.  Fortunately, it was sorted out in time.   The cinema was comfortably full, which makes a change from the last time I went to my local in London.

 

Really enjoyed the performance, agree with all the comments above.  I am not a die hard Osipova fan, as some are on here, but I thought she was wonderful in this.  Clarke is wonderfully good looking - of course a young girl would fall for him.  I didn't have any problems with his acting, although I have always thought Des Grieux is a difficult character to portray.  Very difficult not to make him a bit weedy and wet, and I couldn't help thinking that as he towered over the rather diminutive  Lescaut, he should have been able to physically restrain him and protect his woman.  I have always like Campbell in everything I have seen him in, and I wasn't disappointed on this occasion.  His drunken pdd with Magri had the audience sniggering out loud. 

 

Several points puzzling me.  At the start of Act 3, why are the women coming off the boat clutching the tops of their heads?  My friend whispered "Do they have lice or something?"  With a lack of cast lists and no story synopsis, I couldn't remember the specific reason for that gesture.  Are they supposed to have had their heads shaved, and are mourning the lack of hair, as well as generally being in a terrible state after an awful journey?

Secondly, when Darcey asked about whether or not the dancers had acting lessons, Kevin O'Hare said the RB employed an intimacy coach. I am sure he said it was to make sure everyone was comfortable with things.  I know the story involves sex and rape, but dancers are used to getting close and personal with their partners, it is the nature of the art.  I wonder what would happen if a dancer said they were not happy with it!  Demand a change of a choreography?

 

Thirdly, I do wish at the end of the performance, we could just savour the moment in the cinema, and watch the curtain calls.  Is it really necessary to cut back to the two commentators standing backstage telling us how wonderful it has been and how good the dancers were?  I would prefer a short voice over saying something along the lines of "hope you enjoyed it and goodnight.."

Thirdly, I do wish at the end of the performance, we could just savour the moment in the cinema, and watch the curtain calls. Is it really necessary to cut back to the two commentators standing backstage telling us how wonderful it has been and how good the dancers were? I would prefer a short voice over saying something along the lines of "hope you enjoyed it and goodnight.."

Totally  agree!

In fact all that chatter really annoyed me! I just wanted to enjoy the curtain calls and the behind the curtain views...

Just home from watching Manon at my local cinema. All went well - except they had no cast sheets - apparently ROH didn't send the info through 🤷🏾

And I lost my shawl in the restaurant 😪

However the performance was fantastic,  the whole company amazing.  The orchestra wonderful and I loved that the lead cellist was given a close up. 

The stars of the show were Osipova and Clarke. I knew she was a great actress but it was brilliant to see just how good he was close up. They were outstanding! I cried at the end, they were superb 😭

5 hours ago, Sophoife said:

 

I shall have a cupcake on July 16, the fiftieth anniversary of my first Manon.

 

Townsperson: Derek Deane

Harlot: Wendy Ellis 

Gentleman: Wayne Eagling, David Ashmole

Beggar Chief: Wayne Sleep

Madame: Gerd Larsen

Gaoler's Mistress: Georgina Parkinson

Gaoler: David Drew

Lescaut's Mistress: Lesley Collier*

Monsieur GM: Derek Rencher

Lescaut: Desmond Kelly

Des Grieux: Rudolf Nureyev*

Manon: Merle Park*

 

* denotes rôle début 

 

At the ROH, Collier danced the Mistress just twice: on this evening and in 1977. She danced Manon once, in 1988.

Fabulous cast - i adored David Ashmole...

18 hours ago, Mona said:

Here Isabella Gasparini writes (in 2020) about what her promotion to Soloist meant in terms of roles and workload: https://www.isabellagasparini.com/post/from-corps-de-ballet-to-principal-dancer

I had not read that before so thank you @Mona for sharing it.

It was so well written, so personal and informative  - Isabella Gasparini is a lovely ballerina and I have always enjoyed her performances. She deserves every success. 

10 hours ago, FionaM said:

I was also worried by the flower throw … thinking retirement or maybe she was leaving, or that this was her last DQ ever.  

 

Natalia looked very tentative to me when jumping and getting on/off those tables.  I’m guessing she is carrying an injury.
 

What I say next I know will be at odds with many here … the truth is I’m so sad and disappointed to see the parody of herself that she has become.  I wish she’d retire from dancing the classics, so that the memories of her past glories can remain.  She should stick to narrative and contemporary ballets.  
 

I don’t understand the adoration today (many standing, not all) except as respect to her past achievements.  That I can agree with. 

Her technique post Covid is an embarrassment. (it was declining in 2019).   Today she had terrible feet and shoes, bent knees when they should be straight, especially the supporting leg in fouettés, turned in movements, shoulders lifted, chicken wing arms in pirouettes, often flat footed inbetween steps, and she can’t even tie her ribbons neatly to improve the foot and leg line.   

 

I don’t know what she was doing with facial expressions and characterisation today.  Overcompensating for the mess happening below is my guess. It was OTT and appropriate for a circus or gymnastics show, not for classical ballet.

 

Clips from her own shows in Dubai and Abu Dhabi reveal the same problems.  

 

Sad. 

In Osipova's defence, she has always performed in tatty shoes, so that's not new.....🙄

Fantastic night here in Liverpool - with lots of cheers and support from Matthew's family and friends 😀 And what a great show both he a Mayara gave us!

Gary Avis is such an amazing actor - his expressions speak volumes. A very special artist! And James Hay - I love him, what comedic talent! Although I would love to see him as Lescaut with either Isabella Gasparini or Sophie Allnatt, both petit and lovely performers who capture my attention every time they're on stage.

The star of the show was the whole company! Congratulations everyone 👏🏽 

17 hours ago, Angela said:

 

She also missed out on Alexander Jones, later principal at Stuttgart and then at Zurich Ballet. And on Elisa Badenes, now a dearly beloved principal at Stuttgart. As Jones and Moore once insinuated, they only decided to accept contracts at Stuttgart as they were not offered contracts at the ROH, and Gailene Stock, director of the RBS at that time, recommended to leave London it the ROH was not interested in them. David Moore, same RBS year as Polunin, is still a principal at Stuttgart.  Mason may have had different opinions about all of them all or no free places in her company, I fully understand - but then don't complain that there are no British dancers, if you are not willing to nurture young talents. 

 

And Nikisha Fogo - principal at Vienna and now SFB....🤷🏾

Have to say I'm really surprised at how much I enjoyed Darcey Bussell's S.B master class with BRB.  I have a feeling these dancers really gained a lot of  valuable advice and guidance from her. Probably one of the best items on WBD this year. 👏🏽 👏🏽👏🏽

3 minutes ago, LinMM said:

So sorry you are unwell Sharon how disappointing for you hope you are feeling much better soon. 

Thank you - I'm still so shocked at the result tbh 

I'm devastated I am unable to get down to London to see this show. I have Covid for the very first time and am quite poorly. In particular I wanted to see Four Last Songs as I really like David Dawson.

I look forward to reading all your reports.

1 hour ago, Emeralds said:

Very sad to hear 😢 - love and admire them both - but of course very sensible decisions to look after their health first.

 

Have watched both when they were at Houston Ballet (although they were both usually paired with other partners) and saw them again in London when Li brought Queensland Ballet over to perform La Sylphide (Li in person, Mary on stage)!

 

Because QB is such a small company, Mary often takes character roles (very good she is too) in the classics as well as being repetiteur/ballet mistress, while Li does company teaching, the occasional character role, community outreach as well as directing. Both busy professionals while bringing up 3 children! When I last heard of them performing it was in Manon in Brisbane, Li as Monsieur GM and Mary as Madame, in October just last year!

 

Li recounted a cheeky story of how he approached Deborah MacMillan to ask if the small but spunky company  could acquire Manon, as he’d enjoyed performing Des Grieux and Lescaut as a dancer.  She said, your company doesn’t have enough dancers. He replied, I’ll get them. Later on, he told her: we have the dancers you want now. She went to QB, approved it and supervised the staging, participated in PR telling fans enthusiastically of her pleasure in seeing QB present Manon. Afterwards, she glanced at the company roster, and exclaimed, Li, you tricked me- the company doesn’t employ that many dancers! He replied, Oh but we do have dancers- senior students, retired dancers on the staff all delighted to take on mime or walk on parts, all eager to train and be good enough to go on stage (and they were, according to friends who saw it. ) That’s spunk for you. 😁

 

I have every faith that Mary and Li (he’s always called Li there, hardly ever  Cunxin) will get through this with their positive and courageous attitude they have in approaching life and work, and the support from their family and for each other. Best wishes and wishing you both successful treatments and speedy recovery, Mary and Li. 

What a great story @Emeralds

I too saw them dance often in the 80's.

I wish them both well with their health problems. 

1 hour ago, Sim said:

Sadly we won't be seeing Yasmine Naghdi again until October. 

 

😭

If I could decide right now, I would promote - Liam Boswell to First Artist.

Leticia Stock to Soloist. And Isabella Gasparini to First Soloist. All 3 have more than proved they deserve the promotion and Stock in particular has proven that for years but is always overlooked.  If Romany Pajdak had performed this season I definitely would have promoted her to First Soloist also because she is like a shining star on the stage and my eyes are drawn to her no matter what role she's in. 

Sitting in Euston waiting for my train home and I can't get  (& nor do I want) pictures of last night's performance out of my mind. Joseph Sissons is the perfect Bluebird, with his ballon and batterie emphasised with his beautiful feet. Matthew Ball the perfect Prince and I agree completely with Sim's observations - this is no spoilt empty headed prince - but rather a young man surrounded by a superficial Court. I must admit i had a little giggle when the little boy/tree forgot to leave the stage and i did wonder if Matthew or any of our present company members had ever debuted  as a tree...

And then there was Yasmine Naghdi the sparkling effervescent beauty of her performance is just wonderful! I felt so very lucky to witness her artistry yet again because she really is the superlative Aurora of this generation in the Royal Ballet. What a ballerina....❣️

2 hours ago, Jan McNulty said:

Half of Liverpool!

The best half ! 😉

On 26/04/2023 at 17:27, annamk said:

Maybe the Balletcoforum should run its' own awards ...... 

 

No disrespect to the critics but members here know at least as much as they and see many more performances. 

 

There could be fun awards too; like the best member photograph, the best post, the most liked post, the best costume, the daftest costume ..... 

 

I am only half joking ! 

Fab idea!

23 hours ago, Jan McNulty said:

 

https://balletassociation.co.uk/pages/reports-2020-jonathan-cope

Thank you Jan for sharing this!

I hadn't seen/read this before. Such a wonderful informative article. It was lovely to hear his thoughts on partners, ballets, teachers....can't remember the last time I enjoyed reading a ballet article so much.

I'm glad he is enjoying life in Portugal and I hope RB will benefit from his immense knowledge and artistry again one day.

6 hours ago, Sim said:

Really looking forward to Naghdi/Ball tonight. If anyone wants to come to say hello in the intervals I will be in the Floral Hall with a friend.  I sit near the small stairs that lead to the old part of the House.   Dark hair, black trousers, black trainers, pinkish floral blouse.  Hope to see you there!  

I wish! 😭

I am so very sad to find this news after a horrible day at work.

She was always my favourite ballerina  - I watched her dance. I begged for signed photos - that she sent. I bought all her books. The last time I saw her she was giving a talk and happily signed my books.  She was tiny.

For the past month or so, since I saw the news that ROH were holding a celebration for Carlos Acosta - I wanted to get in touch with the RB and ask why they don't hold a celebration for Lynn. A celebration in which excerpts from all the ballets created for her were danced all in her presence to acknowledge her role and contribution to the world of dance. To show her our love and gratitude.  

Don't get me wrong I'm not against  a celebration for Carlos - but Lynn Seymour was an inspiration and the fact that she was a muse to both MacMillan and Ashton who created such wonderful ballets for her should not be ignored.  I'm so sorry I didn't write now.

I'm heartbroken and I hope with all my heart she passed peacefully.

Dance now with angels Lynn i will never forget you.  🙏🏽😭🙏🏽

17 hours ago, Don Q Fan said:

I got the survey too but the prices were so ridiculous i said no to all of the  scenarios!  They are not on this planet.

Since covid I have seen much less ballet and I have to say it's better, as I appreciate what I do see more.  Just saw a lovely performance of Jewels in Munich, and for pretty much the same cost as a trip to London, only with a far superior seat for a lot less money....

This is what I am planning to do in the future. I am heartbroken at ROH ticket prices now- add that to train fares and hotel costs and it becomes one huge ridiculous cost!

So I'm hoping to visit Amsterdam/ Germany/France/Denmark...... so many choices.

Maybe ROH will realise that yes these prices are impossible for most of us and yes that equals elitist!!!

On 04/03/2023 at 23:27, JohnS said:

I thought the second survey was going to all Friends, not a sample, and the  introduction (MJW’s post above) refers to the ‘most comprehensive membership survey yet’ so I rather assumed all Friends would be contacted.
I haven’t as yet received anything unless something was posted. Are other Friends similarly waiting for the survey?

I haven't received anything either.

Although I did contact Mr Beard regarding the incredibly expensive ticket prices and I received a very bland reply that ignored every point I raised. It was obviously just a standard generic  response and therefore not of any use to me. At this point I doubt he even read my email. 

So I'm not surprised I have not been contacted as i am not a happy Friend!