Richard LH

Pleased to see Don Quixote -   but no immediate follow up for the new Swan Lake production -  any comments ?  I was rather  hoping to see Hayward as Odette.

21 minutes ago, alison said:

Incidentally, I've just received an email from the ROH inviting me to book for the Spring Gala(?) on May 30th.  There are still a lot of amphi seats available for that, possibly not surprisingly.

Interesting, as I thought that was all sold out when I looked first thing today -  perhaps there was some sort of initial hold-back similar to  bbb's explanation re. Swan Lake.

If you thought the Amphi seats for the Spring Gala are expensive, how about £250 - £350 for the stalls?! 

The first night of Swan Lake (Nunez, Montagirov) at the RB is already sold out  for everything below the Balcony. We have gone for Takada and McRae on the  first Saturday -  pretty excited already! 

8 hours ago, zxDaveM said:

Yes, think you’re a bit previous there, Richard 🙂

The promotions and joiners/leavers announced after the summer tour, if memory serves, and after the dancers themselves are informed with their annual official chat with the AD

I'm definitely previous in terms of any announcement, but what I hoped was some discussion about people's hopes or expectations......

Is it too soon to be discussing who has a good prospect of promotion in the Royal Ballet for next season?   It seems these are usually announced about June or July but perhaps there is no harm in  putting forward  ideas a few months in advance.

One thing I am not clear about - is there a cetain limit in the number of principals? I.e. 8 ladies, 8 gentlemen at present. 

1 hour ago, bangorballetboy said:

 

Please don't ask for inside information to be shared.  Any post containing information that is not properly in the public domain would be in breach of the AUP and would consequently be hidden.

With apologies, I was not aware of an embargo. I retract that request.

Does anyone know when official details of the 2018/19 Season will be announced?

And, pending that,  does anyone have any idea (perhaps some advanced  inside knowledge) of what is likely to be included?  

Various performance photos here...http://www.danceeurope.net/gallery/russian-ballet-icons-gala-2018

one "disappointing" review here    https://www.thestage.co.uk/reviews/2018/russian-ballet-icons-review-london-coliseum/

but a  "masterclass" review here ! https://www.standard.co.uk/go/london/arts/russian-ballet-icons-gala-2018-review-a-masterclass-in-showboats-and-seduction-a3775601.html

and another favourable review  http://www.britishtheatreguide.info/reviews/russian-ballet-london-coliseum-15598 

Sorry I now realise these reviews  are already listed on the Dance Links thread. 

Best Classical Choreography goes to AKRAM KHAN for ‘Akram Khan’s Giselle’

MARCELINO SAMBÉ as Colas in ‘La Fille mal gardée’ is the winner of the Dance Europe Award for Outstanding Male Performance (Classical)

ALINA COJOCARU as Giselle in ‘Akram Khan’s Giselle’ wins Outstanding Female Performance (Classical)

ZENAIDA YANOWSKY wins the Grishko Award for Best Female Dancer

LIAM RIDDICK wins Dancing Times Award for Best Male Dancer 

Many congratulations to all the winners, and nominees.

Beryl H I understand what you're saying about the music as  it does not seem to have much in the way of memorable motifs (like the repeated themes in Giselle, for example); it seems more like a continuous descriptive backdrop to the plot. But I think it evokes the various changing moods very well, and at various points it is intrinsic to specific steps or movements performed by the dancers who timed these to perfection. In Act 2 the music is more traditionally in keeping with the folk style dances.

7 hours ago, Sim said:

Any views on tonight's performance please?  I am sadly not able to see this cast so I am depending on you for your impressions!

Well ! Calvert, Hirano, Hayward, Hay, Morera and Clarke completely lived up to my hopes and expectations. 

I thought Hirano acted superbly -  more self-contained than Watson's interpretation, but just as powerful in its own way. He was ably matched by Calvert and they had some heart-rending moments together.  Morera is a lovely dancer and gave an intelligent and  moving performance. Also young Sasha Dobrynin-Lait (great name !) acted wonderfully as the ill-fated young Prince Mamillius. 

The whole staging of this ballet is  brilliant, all the drop down sheets,  overlaid  video, and movable statutes  etc. working so smoothly and effectively. Plus the tree !

I was just  blown away by Act 2, with the fantastic and colourful dancing by the corps, with Stix-Brunell and Ella very watchable  (who knew shepherding could be so exciting)!

For me, though, Hayward and Hay stole the show - dancing so seemingly effortlessly,  and  sensually at times, as the young lovers. Francesca Hayward, in particular, was just magical. Goodness know how she turns in outstanding lead performances in two completely different productions in the space  of one week.  I am no expert, but I really think we now have someone very special here.

Thanks Alison, that all makes a lot of sense. 

I was just wondering if anyone can help me about the factors that tend to influence  the choice of the casting of principals, and what this means for their workload. I have noticed, for example, that Francesca Hayward is only doing   6 performances  between February and June (2 each in Giselle, Winter's Tale, and Manon, including 1  only for schools) whereas  Marianela Nunez has about 15  performances  over this period.

There may be specific reasons (suitability for a role being one !) and no doubt Francesca also has various other outside commitments (I know she has done a couple of short films), but otherwise,  is it generally the case, for example, that the younger principals need to be nutured rather more, rather than being over-worked too early? 

On a slightly different point, the RB is very good at telling us  cast principals  in advance (and any changes thereto)  -  does the ENB do the same, and if so how long before the performance? 

WT sounds to be going down  very well, by all accounts, and it has some great cast line-ups. It was diificult to choose which cast  to go for ( Kaneko, Bonelli, Takada, Campbell and Heap sounds fantastic)  but I'm looking forward very much to to seeing  Calvert, Hirano, Hayward, Hay and Morera tonight !

6 hours ago, alison said:

Two great Giselle debuts over the weekend, and yet as different as chalk from cheese.  And some people wonder why those of us who are able bother going to see different casts

For me, it was accidental  - I had only been able to get tickets for Saturday until a last minute return became available for Friday, which would have been my first choice. Accurate recollection of two back-to-back performances does cause me a bit of confusion, and I doubt I would do the same again through choice!   Yes, there were some interesting differences  to note (which other posters have described very well) but for me, the positive aspect of the double experience (being new to Giselle) was reinforcement of the similar elements - second time around, the musical themes (which repeat brilliantly throughout) were more familiar, and being able to anticipate some of the action helped me to get more  into the emotion of the story on Saturday.

Thinking back,  common aspects of the two debuts are now giving me recurring goosebumps... Francesca and Yasmine beautifully skipping  out of the cottage, to applause, into their new roles...  Giselle throwing  back her necklace when she learns the truth....time standing still, for the the whole company, with Giselle static, head in her hands...Berthe pushing Albrecht away as she cradles her dying daughter...Myrtha's first  unwordly bourrée  across the full width of the stage.....the Wilis' strange, progressive sequences of hopping arabesques back and forth...  the Wilis huddling together and then parting to suddenly reveal Giselle raised up as a lonely veiled spirit...Albrecht  unalbe to catch Giselle's spirit as she drifts past him...Myrtha and the Wilis cowed by Giselle, in front of Albrecht, in the form of a cross....the Wilis (26,  I believe) all prostrate  in honouring  Myrtha...Giselle floating across the stage in Albrecht's arms...dropping flowers into his hands..... Giselle's final parting and descent into her grave..

Oh and just the way ballet dancers can move their arms so expressively,  and emotively,  with such slow control at times....

All just so poignant, so beautiful, and so fantastically danced and acted by the whole company.

15 minutes ago, Ian Macmillan said:

Miss Hayward and some very forbidding Wilis top the News photostream in today's Times:

 

https://www.thetimes.co.uk/article/news-in-pictures-82jp0mknl?shareToken=92eb471bd7ea54c475d234513c865b89

 

 

Another 5 star review .... https://www.theguardian.com/stage/2018/feb/12/giselle-review-francesca-hayward-ballerina-royal-opera-house-london-choreography

Deserved praise in here as well for Mayara Magri's fantastic Myrtha.   

7 hours ago, aliceinwoolfland said:

Just wanted to add that Francesca Hayward and Alexander Campbell were both lovely and spent lots of time at the stage door talking to fans I got pictures with both of them, and they both signed my programme (alongside Kevin Emerton and Mayara Magri).

That's great to hear. Well done ! 

9 hours ago, penelopesimpson said:

I, too, was looking forward to meeting Forum Members but South Western Trains (spits the words out) denied me that pleasure and a performance I had been looking forward to for months.  Got to station at 0700 to find that 'due to unexpectedly rescheduled engineering works,' I was to be put on a bus which would, apparently get me to Waterloo 'some time around' 1300.   Oh, and then the same journey back.  So I turned round and went home and ranted and raved to anyone who would listen....

Enough.  Gutted doesn't even begin to go there.

Which makes it all the more wonderful to read all your fab reviews.  Thank-you, it helps.

That just sucks. So sorry for you.

I read that review - I didn't see the Schools performance, but on Friday Alexander Campbell was great, so either he dramatically improved in a few days ,  or the Schools reviewer was being rather unfair. He definitely conveyed the emotion, and dancing technique, for me, and looks a great partner for Francesca. This  Telegraph reviewer agrees (and gives suitably effusive praise for Francesca along the way) !  A five star review... http://www.telegraph.co.uk/dance/what-to-see/francesca-hayward-ravishing-giselle-royal-opera-house-review/

Mark Monahan Giselle Telegraph.docx

Thank you ! I am rather a latecomer to ballet but have found particular inspiration in the brilliant talent coming through in the RB recently, and looking forward to seeing Winters Tale, Manon and hopefully Swan Lake this season, as well as Sleeping Beauty at the ENB. I hope to learn and appreciate more about this beautiful art form as a result !

2 hours ago, HappyTurk said:

 

Both sound marvelous. I'm incredibly jealous now. I figured Yasmine would take a more "Romantic" approach, which will serve her well in Swan Lake. I imagine Francesca danced like a feather -- very light and bouncy. I also think Ball will be challenged by Osipova, who is quite theatrical and very emotive. Hopefully that will prove to be another partnership in the works. 

Very happy to confirm that both debuts were  marvellous and emotional events. Francesca was indeed like a feather, or more appropriately an ethereal spirit in Act 2. Thank you for everyone on here that has expressed the wonder and the techniques of these performances much better than I can. Finally, another word for  the Corps in Act 2 who were just perfect .....