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  1. Having lived and worked in Italy during the summer, I feel very sorry for the dancers. It's one thing to sit in an arena on a hot summer's evening, enjoying the experience but it's quite another to dance a demanding role in a full-length ballet. It may be hot under the lights and in period costume but at least most opera houses have air conditioning. Linda
  2. I don't understand this culture of secrecy - do TPTB think that knowing who is dancing Coppelia is so important that they have to suppress it? After all it's hardly going to affect the world situation. Why not release the information as soon as it's been arranged with the dancer(s) concerned. It's not easy for ballet enthusiasts having to plan so far ahead, why make it more difficult? Linda
  3. It's a rehearsal of Birthday Offering and well worth watching as are many other film clips posted by the same person. I don't think I'm violating any of this forum's rules but if I am, I apologise to the moderators. Linda
  4. I wish I'd remembered this in time to book a ticket, it sounds like a wonderful evening. I was surprised though, by the number of negative comments about the music for Ondine. I saw Fonteyn in this when I was about 12 and loved the music. I was searching on the web for the film of a performance (with Firebird) and came across this link:
  5. Jonny Cope should have danced in The Firebird in February 2006 but was injured in a traffic accident just after the New Year so he made his official final appearance on the Covent Garden stage on crutches to a warmly appreciative audience. The entire company joined him onstage after the performance, even those who weren't dancing that evening - I remember Carlos Acosta wrapped up in a thick overcoat so it must have been a cold night! But he did dance with Leanne Benjamin in the Firebird at a gala at Hanover (or was it Frankfurt, I can't remember?) a few years later. The RB were on tour in Cuba that summer and he flew there afterwards, presumably to resume his role as a repetiteur, only to find that Rupert Pennefather had injured his back and Zenaida Yanowsky needed a partner for Month in the Country, so I guess that was his real last performance. It's all in the Ballet Boyz' highly entertaining documentary. Linda
  6. There are a few interesting reader comments on the article. I noticed that she claims to have increased the ROH's income by £2 million but one mathematically minded reader points out that with such a huge team it works out to about £33K+ per head. Hardly covers the salaries/consultancy fees surely, (don't forget the employer's NI at 11% on top) not to mention the high cost of buying airtime, ads etc. Plus extra catering costs of running the bars for longer periods which have to be paid even though many visitors will bring in their own refreshments now they can. No-one has factored in the negative cost of alienating a large group of regular customers either. I'd love to see a cost/benefit analysis, assuming that the accountants have actually produced one. Linda
  7. I think I've replied to everyone so far - if you haven't received a pm please let me know. I have found some books I forgot to include the first time so I've done an updated list showing what's left and the additional titles. Linda Ballet Books.docx
  8. Thank you all for your messages - I'm thrilled to get so many responses. The only problem is that so many want the same books! I will try to sort it out and allocate them fairly tomorrow. Linda
  9. I don't know as I didn't see the film. It might have been but I missed the start. I'll check when it's shown again. Linda
  10. Thank you Alison, I'll try to attach the list now. Ballet Books.docx
  11. I'm following the current trend of de-cluttering and have decided to give away many of my books on ballet. They range from dancers' biographies to more general reference books about the art to detailed accounts about specific ballets. I have a list I can email to anyone interested and since I live in inner London and have a freedom pass I can easily meet up at the ROH or any any station in Zones 1-6. I could give them to a charity, of course, but I'd prefer to pass them on to other ballet-lovers who will enjoy them as I did. Linda p.s. for those who live outside London I'm happy to send by post but that's a bit expensive for hardbacks.
  12. For anyone who missed the Nureyev programme tonight it is being repeated on Monday at 12.30 a.m. I missed the start but it was worth watching and I don't think it has been shown before. Linda
  13. That's a great idea but in the past people spent the interval talking to each other. These days everyone seems to be engrossed in checking phones, iPads & the like. Very anti-social IMHO. Linda
  14. I'm sure Ballet forum contributors always met by the grand piano at the foot of the escalator to the amphi but that was way back, 15 or more years ago. Nowadays I sometimes see the regulars at a table on the amphi terrace but with so many people using the ROH just like any other bar in Covent Garden, there aren't that many spaces left for ticket holders. Alas eheu fugaces etc................ Linda
  15. I suppose I'm part of this 'narrow demographic' because I buy a few expensive tickets each season. (I can't stand for an entire performance and can't see well enough to sit high up) but I come from an ordinary working-class background and developed a love for ballet after my parents took me to see the Festival Ballet at the old Davis theatre in Croydon. Each year, there would be a RB production on the BBC at Christmas which kept the memory alive - sadly there are few on mainstream TV now. Now I do my best to give family and friends a similar introduction to ballet. I took my niece to see a Swan Lake (Dowell and Makarova, I think) when she was a child and now I take her children for the occasional Nutcracker. I have taken friends and neighbours too and now we often watch the live transmissions in a local cinema as it is more affordable for pensioners and saves us booking months in advance. What these marketing types overlook is the trickle-down effect from everyone who sees ballet and loves it enough to spread the word. Aren't we bringing in the new audiences that they want? Linda
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