FionaM

I’ve been seeing clips of Onegin from Hungarian National company, where I see RBS graduate Louis Scrivener is performing the title role, partnering Maria Beck. https://www.instagram.com/p/C2e1eSxo820/?igsh=MXV1ZjdoOTJqY2ptZQ==

I’m guessing the role does not encompass company, people or financial management. Is it a combination of chief choreographer and person responsible for staging? Intrigued.

@alison I’m getting a long list of cinemas near me (and further afield) showing both live and encore dates. On this link https://www.roh.org.uk/cinemas/

Good to have update including Olga Golytsia and Volodymyr Kutuzov, principal and first soloist from National Opera of Ukraine

oh my, I wish I knew who he was referring to. I watched a broadcast of Vishneva in Giselle earlier this month and had exactly that same thought!

@Tattin The deputy wilis were Nina Tonoli and Naira Agnavean (the latter was also in Act 1 pd4)

Excellent initiative to bring high quality ballet to Belfast. I remember being starved of ballet when living in Northern Ireland. bravo Melissa 👏👏👏

Yes I’m excited to see Yaoqian Shang in Le Corsaire with Daniil Simkin. I think she deserves highlighting!

@jorge thank you for this information and recent history on Ballet de Santiago. You raise some interesting points that not all good dancers make good directors or good people managers or good business managers. It’s a complex job requiring working together with theatre management too. I hope Cesar has lots of support there.

Yes I wondered why it hadn’t appeared here. Sadler’s seem to differentiate between events that they ‘partner’ and those where the event has (I assume) only hired the venue. They don’t appear automatically in the home page. That applies to Alina Cojocaru’s ‘La Strada’ too If you click on What’s On then the page refreshes to show all events. Drives me nuts!

A ballet gala arranged by ENB’s Henry Dowden and fellow RBS trained choreographer and producer Ross Freddie Ray. - Interesting cast and super aims of inclusivity, all to raise funds for Children Today Charity https://www.instagram.com/p/C2PFmIdIylI/?igsh=MWdhZHA5dzFvOWM3Zg== https://www.sadlerswells.com/whats-on/children-today-charitable-trust-empower-in-motion/ Empower In Motion A Ballet Inclusive Combining well-known classical repertoire and original contemporary styles of inclusive movement, this gala brings together disabled and non-disabled dancers to tell a moving and inspiring story of unity, resilience and the transformative power of art. A world premiere – Maria Kochetkova & Daniil Simkin Le Corsaire – Daniil Simkin & Yaoqian Shang Sleepwalker – Joseph Powell-Main & Hannah Rudd Giselle – Sangeun Lee & Gareth Haw Tight Textures and Unplugged – Stopgap Ode to a love lost – The Royal Ballet School Reunion – Alice Bellini & icandance Romeo and Juliet – National Youth Ballet All In! Snow Queen – Propel Dance Passionately Defiant – Joseph Powell-Main Featuring a cast of extraordinary dancers. International superstars Daniil Simkin & Maria Kochetkova will be headlining the show performing a world premiere choreographed by International Dancer and Choreographer Sebastian Kloborg. Daniil Simkin will also partner with Birmingham Royal Ballet Principal Yaoqian Shang for the first time in ‘Le Corsaire’. We are delighted to have Stopgap Dance Companyperforming two excerpts titled Tight Textures, an ensemble piece and Unplugged, a solo performance. The further involvement with other organisations includes icandance, Parable Dance’s and National Youth Ballet’s All In! company, which is another area of inclusive dance that we are so proud to be showcasing. Through their mesmerising performances of ‘Reunion’ and ‘Romeo and Juliet’, the show challenges the limitless potential of the human spirit. Sangeun Lee and Gareth Haw, superstars of the English National Ballet will perform excerpts from the much loved ‘Giselle’. Also from English National Ballet Alice Bellini, Dance Artist Hannah Rudd, The Royal Ballet School and other highly established dancers will join forces with remarkable disabled dancers, including Professional Disabled Dancer Joe Powell-Main. Empower In Motion is not just a dance performance; it is a call to action. Throughout the show, audiences will be introduced to the numerous organisations that work tirelessly to support inclusive dance across Britain. Representatives from these organisations will share their stories and initiatives, shedding light on the transformative impact of their work. All proceeds raised on the night will be donated to Children Today Charitable Trust as part of their 30th anniversary celebrations. Children Today provide specialised equipment and care for families across the country that help them to thrive, not just survive.

A rather large number of prestigious dance schools seem to be searching for heads this year - RB - ENBS - Dutch National Academy - Palucca - Australian Ballet School - National Ballet School of Canada Others?

Sadler’s website now says 2 hours and 5 minutes, including one 25 minute interval. Implying a ballet of 1 hour and 40 minutes. Hmm. I see the problem! The poster says 1 hour 45 minutes including an interval.

and this is exactly why too much happening at once reduces the impact of key moments amongst the leads.

I was at the last show and Katja was lovely but not brilliant in every way. (I don’t want to nitpick.) I can think of 5 or 6 other ballerinas soloists at ENB that I feel have more range and potential. Sadly some good dancers are passed by for principal promotion (Yuhui Choe at RB for one). I’m glad it’s not me who decides.

UK showtimes according to official website, but worth checking your local cinemas directly too. https://www.giselleballetcinema.com/tickets/

@Mary Names of pas de quatre couples: Edo Wijnen and Yuanyuan Zheng Sho Yamada and Naira Agnavean (I wasn’t there, I am going to the 2nd showing on 1 February. Names via a Dutch friend who is a close follower / benefactor of the DNB)

Lovely performance from the final cast today. The unison and quiet scariness (no noisy pointe shoes here) of the Wilis was remarkable, Congratulations ENB! Aitor was dreamily in love with his Giselle, and I was especially impressed with Katja’s waft like quality in Act 2 and also her entrancing madness scene. My highlight was Alison McWhinney’s Myrtha .. dynamic movements from her arms and legs in addition to steely looks. This Myrtha means business! Enjoyable and accomplished peasant pdd from Bueno and McCormick. And Fabian Reimar as Hilarion moving the story along naturally without gimmicks.

Cesar Morales has been appointed new AD at Santiago Ballet from March 2024 https://www.instagram.com/p/C2TYHSwMTgO/?igsh=MXBwNnN1MWc1NDZlZw==

Alina explained it is a mix of classical ballet language and contemporary for the more circus performers. plenty of clips on her social media … Facebook, Instagram and X. search for “ACWorkroom” Alina/Gelsomina with the two angels https://www.instagram.com/reel/C2ST6rnNMAY/?igsh=MTdwcnUwdjN3OHFrdA== Whole cast https://x.com/acworkroom/status/1745822948479393864?s=46&t=71xu8ENiUnOaGlNNf_J20A

The organisers of the Icons Gala are not native English speakers. These words might be the Brazilian Mariana Gomes who is Artistic Manager

correcting myself. (Surprised no one jumped on my obvious error!) Actually the licences for both Onegin by Cranko and La Dame aux Camelias by Neumeier expired, and the Bolshoi Theatre has honoured both.

would be great to see these two in Onegin final pdd

I am short (5’1”) and have had no problems viewing ballet on this stage from the stalls from rows in middle to rear (both sides and centre). A few of the closer rows have same problem as ROH and many other theatres … you’ll start to lose the feet. But of course you gain on other advantages of closeness.

I’m excited about many participants who are not regulars of the Icons gala in recent years particularly Semionova & Motta Soares (Berlin) Brandt & Cornejo (ABT) Abbagnato & Battistoni (Paris) and more from Munich and Amsterdam too. It seems quite a different mix this year, which for me is the point, to see dancers in UK without having to travel to their opera houses.