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Xandra Newman

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About Xandra Newman

  • Birthday 05/02/1952

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  1. Well now that Friedmann Vogel has danced with Yasmine Naghdi in Tokyo there may be a possibility for Vogel to dance with Naghdi here at the ROH. Who knows. I'd dearly love to see that happen!
  2. Will Marianela Nunez now dance Tatiana on Friday evening and on Saturday evening (her scheduled show)? I have a ticket to see her on Saturday evening.
  3. I have a ticket to see Marianela Nunez as Tatiana on Saturday evening. Will Nunez now dance two performances in a row? or will she be replaced by another Tatiana?
  4. I'd love to see a (short or long!) clip of Naghdi dancing with Vogel!
  5. That is such super short notice for Yasmine Naghdi to replace Alina Cojocaru...two days (according to IG) to learn Balanchine's "Ballet Imperial", dancing with new partner Friedmann Vogel, and be on stage tomorrow night 😱😱. I believe she has never danced "Ballet Imperial", this will be a debut prepared for in two days. Wishing Yasmine Naghdi and Friedmann Vogel much success, as well as all the other dancers involved!
  6. Based on social media posts by Johan Kobborg and others: it seems that Yasmine Naghdi is replacing Alina Cojocaru, and Naghdi will be dancing "Ballet Imperial" with Friedmann Vogel in Tokyo on 5th and 6th February.
  7. The February issue of Dancing Times carries a very interesting article " Teaching through our legacies to save our heritage" by Anya Grinstead.
  8. It's all over the press it seems! https://www.limelightmagazine.com.au/news/liam-scarlett-suspended-by-the-royal-ballet/ It is understood that allegations may have taken place over a decade. Seemingly, there are also allegations of bullying dancers in the Company and they refused to work with him. Queensland Ballet has also suspended its ties with Liam Scarlett. https://www.dailymail.co.uk/news/article-7945375/Royal-Ballet-choreographer-Liam-Scarlett-suspended.html
  9. February 2016, ROH/Linbury, Ballet Evolved series, "How ballet class has changed over the centuries". https://www.youtube.com/watch?v=-EjfGgvsldM&frags=pl%2Cwn
  10. Interesting but there is very little if nothing to be blown away by the character of Tatiana in Act 1 but by her facial expressions at different stages throughout Act 1. The main focus is on Olga and Lensky, all the dancing is done by these two characters, it is Olga who takes centre stage in Act 1,Tatiana is merely a silent character and there isn't much to do for Tatiana besides laying on the floor reading her book, sitting on a bench reading her book, walking around a bit, is with Onegin but for fleeting moments, and she is off stage whenever the cops de ballet, Olga and Lensky are dancing. Act 1 merely introduces us to Tatiana. Only in Act 2 does the focus turn to Tatiana (and Onegin). One cannot compare the role of Aurora in the grandiose Act 1 Sleeping Beauty and fabulous Rose Adagio (a show stopper) with the quiet role of Tatiana in Act 1: Tatiana's role in Act 1 is to be measured, controlled and slow: she is a shy, hesitant, bookish, introvert and inexperienced young girl. Onegin is a ballet I feel one has to sit as close to the stage as possible. Being able to see the facial expressions of the dancers makes all the difference, it is really important to me to be able to read the characters in Onegin, and especially Tatiana's in Act 1 as she has so little to do. Naghdi's face was very readable from the Orchestra Stalls where I sat, and clearly showed me all her thoughts, her changing inner feelings, her hope Onegin would fall in love with her, her despair and disappointment when she realises he wasn't in love with her at all (that feeling of despair and disappointment was beautifully portrayed in the very short solo she danced for Onegin during her party). Those vital details in character development through facial expressions surely can't be visible when sitting at great distance from the stage (unless one watches through binoculars). How else can someone be "blown away" by Tatiana in Act 1 (there's really no dancing to be blown away by) but by being able to read her thoughts, her feelings of confusion, doubt, disappointment and despair. Dancers are artists after all, not just bodies who dance for us, and each one of them bring to their role their own personality, their personal life experiences and individual style of dancing. Natalia Osipova brings her own Russian background, live experiences, temperament and very individual style of dancing to the role of Tatiana, and so do Marianella Nunez, Itziar Mendizabal and Yasmine Naghdi.
  11. No no Standingticket, I didn't think you were critical at all, and even if so, you have every right and are perfectly entitled to be critical, if that's your opinion, it's yours. I merely tried to express how what you said, was interpreted, intended and expressed with purpose by said ballerina
  12. prs59 wrote: "From where I was sitting in the OS, for me, the mirror pd2 was outstanding in its intensity. The freedom, abandon and seeming recklessness which which both Naghdi and Bonelli danced with one another and through which the characters melted into one another and gave substance to the premise that this sequence is a wild dream, a young woman’s fantasy. As the saying goes at times it was difficult to know where one dancer ended and the other began. " This is how I experienced their mirror pd2 too, danced with total abandon, to me she literally threw herself into this pd2, it's such a whirlwind of a pd2. As for "nervousness" in Act 1(?), if to be perceived as "nervousness" (which I didn't, sitting in the middle of 3rd row OS), Naghdi herself wasn't nervous, if at all it was part of her character portrayal: a young, introvert, shy, "nervous" Tatiana meeting the handsome Onegin, her first close encounter with a strange man, feeling the first flutters of love. Her restrained contrasted beautifully with her sister Olga, an extrovert, flirting girl.
  13. I totally agree. Naghdi got the balance in her characterisation throughout all three acts so very right, nothing extreme nor overdone nor overacted. The shy, bookish Tatiana, clearly disinterested in what was going on around her, was living in the moment, in her own fantasy world through the book she was reading. Her delicate acting, once she is introduced to Onegin, her hope of first love, then feeling he isn't really interested in her, her insistence trying to attract his attention during her birthday party followed by the realisation he just isn't interested in her was beautifully portrayed in her solo. The bedroom scene and their pd2 really felt dreamlike when she let go of any character restrained, her pd2 with Bennet Gartside tender, mature, and gorgeous. What I liked so much about her Tatiana, besides her beautiful classical dancing, was that I really felt she took me on a journey with her, never was there a brusque sudden change or unpredictability, her characterisation (and the development) just flowed from one act into the other. For me too, this cast is the definitive one as I feel somehow this is how John Cranko must have wanted the ballet to be danced, and the characters to be portrayed.
  14. A memorable night, what more can I say. I have seen all four casts but this cast was a very special one. Frederic Bonelli and Yasmine Naghdi look so good together. Anna-Rose O'Sullivan is the best Olga out of the four dancers cast, on a par with Akane Takada who I also liked a lot. (I was disappointed in Hayward's Olga, besides her usual pretty dancing any depth in characterisation was absent). Yes Osipova is a glorious Tatiana, dancing in her typical unpredictable style, but with Naghdi we got a fresh, new and unique portrayal of Tatiana, she made the role her own, and in each Act she got the characterisation just right. I loved her in Act III as princess and married woman, dancing so tenderly with her husband in the ballroom scene, and her final pd2 with Frederico Bonelli brought tears into eyes. Yasmine was very clearly moved during the curtain call (I sat very close to the stage and I could see she had tears in her eyes, she looked emotionally drained). I have seen Naghdi dance Olga in 2012 and 2015 and to see her dancing Tatiana tonight was very special. A wonderful debut by the RB's newest Tatiana. Joseph Sissens was a lovely Lensky but not quite in the same league as Matthew Ball who I love in this role. Bennet Gartside was very moving as Prince Gremin.
  15. I am stating the obvious here Fonty, yes times have changed: the training of the current generation of ballet dancers is very different to the training dancers had a few decades ago, their bodies have also changed, their turn-out and extensions are different, and their coaches are different. Whenever I watch actors/actresses in a 50's and 60s Hollywood movies they also act very differently compared to the current generation of actors/actresses.
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