FionaM

@Balletfanp @Silver Capricorn I’d like to echo both your sentiments about the Fumi/Vadim onstage partnership being something special. It touched me too. You can see the connection between them carrying on into the curtain calls. I am especially looking forward to their Swan Lake. Siegfried which is possibly Vadim’s signature role. Will has the edge in some adagio technique, but not in jumps and virtuoso. I saw Fumi’s debut as O/O and it was nothing short of spectacular. And I also like the mix and match approach. I prefer dancers to not always be paired with the same partner. For me, that’s a tradition that can happily die out with Sibley/Dowell. Having seen Yasmine Naghdi and Reece Clarke this last weekend being fabulous in the R&J balcony pdd and Spring Waters …. this is a pairing I’d like to see more of. Though it seems unlikely at ROH.

thanks @Jan McNulty. And lovely they were too. (I chose to not repeat all the names, as others had given the full details further up the thread. )

#1, 3 and 5 for me. But nothing was weak. Hannah Grennell compèred with a light touch, knowledgeable and invested. #1: (ENB) dance for me is music, so Rentaro’s piece nearly lost me, but Angel and Julia are superb dancers and mostly kept my attention until the music kicked in, when the piece soared for me. #3. (WMc) Jordan James Bridge is a new find for me … his dancing of his own choreo the evening before at Ballet Nights had gripped me, as did his choreo for these two amazing female dancers. Alternating solos and occasionally together. #5: (RB) Caspar Lench wasn’t falling asleep off his chair, he was sliding to the floor in agony from some emotion crushing him. I thought this piece was the most interest and different as it showed emotional support through dance. That’s complex and I thought they did a good job for very young dancers and a young choreographer. Denilson did explain that the poems were in Portuguese and perhaps it would have helped audience understanding if they had been translated. Personally I didn’t need it. The moves and the dancers spoke to me. #2 (Northern Ballet). Nice to watch, and the only duet with anyone en pointe. #4 (ENB): Ashley Coupal was particularly engaging in this piece. Aitor was his usual muted emotions. Some interesting partnering and side by side. And I enjoyed the a Capella accompaniment. #6 (WMc) : strong moves and well rehearsed. The only duet where the choreographer also danced. She spoke about the different process vs being a non-dancing choreographer. A hugely enjoyable hour in the close-up venue that is the Clore Studio. It must have been interesting experience for the dancers as the same programme was repeated three times in the one afternoon. For 3 audiences. The last seemed full of ballet community … plenty of ENB dancers, Javier Torres from Acosta Dance Centre, etc.

I see they performed Ratmansky’s R&J last time this company was at Sadlers Wells. I have to say I am sooooo disappointed by the programme they are bringing. Similarly to NYCB it is mostly contemporary. I realise Sadler’s has a bias for contemporary, but I wish to see more classical. I’ll probably give the Canadians a miss this time around. Unless Siphe is performing. I don’t suppose the casting will be announced in advance?

Mayara Magri tall? She’s shorter than Marcelino Sambe. Here she is wearing heels and still shorter than Marci. https://www.gettyimages.fi/detail/uutiskuva/james-frecknall-marcelino-sambe-francesca-hayward-cesar-uutiskuva/1192961472

Did anyone else from this forum attend either of these shows? I will write about the dancers and the pieces, but first to say what a well presented show this is … both in content and slickness of the show itself on the night. There were no awkward pauses between pieces or obvious lighting errors, as I’ve recently experienced elsewhere. The sold out audience at the Saturday night show applauded each piece enthusiastically. As an extra bonus, there was the opportunity to meet the dancers after the show in the bar. Professional photos too.

Rhapsody pdd with Akane Takada was another wonder for me. Such musicality and grace. From one of the Covid divertissement galas in late 2020

talking of Isobelle, I’m thrilled to see Davi Ramos has joined Aus Ballet ( 🇧🇷 -> RBS -> Dutch National -> Australia) and is partnering her. She’s great and deserves chance to do the great pdd as well as solos.

On Joe Sissens’ Instagram story today he says it’s his debut as Lescaut tonight alongside Leticia Dias … in addition to first full run of Swan Lake with Mariko Sasaki earlier!!! What a special day for him. https://www.instagram.com/stories/joseph.sissens/3308985071505020509?utm_source=ig_story_item_share&igsh=NGtxejNqbjd6YWd3

Munich have an audition height for men of 1.8m. Maybe it’s guidance only because clearly Antonio Casalinho and Shale Wagman don’t match that.

completely agree! Wonderful

Watching Leo Dixon and Teo Dubreil rehearsing / learning the role of Benno, only serves to remind me of how easy Alex Campbell made this part look when it’s clearly very tricky. It was created on him. Going to be a challenge for the newbies.

Takumi Miyake (top male graduate of RBS 2022) performs tonight in the opening night of ABT’s Swan Lake season. He is one of the Neapolitan duo, alongside Jake Roxander. I believe this is his first soloist role since progressing into the main company from ABT2. Cast list from ABT instagram story https://www.instagram.com/stories/abtofficial/3307908526403960731?utm_source=ig_story_item_share&igsh=dGM4cTg4bHNyOWFi

Corrales was very good in Rhapsody last time around. He has the panache, though not the purist of classical techniques. (Hips wide open on jetes which should be forward facing, for instance. But this is a purist quibble that doesn’t matter to many.). I didn’t see Sambe … I assume he was super in this role. McRae was on return from previous injury and it was substandard for him. I was surprised that Vadim wasn’t cast last time… perhaps it clashed with him being in the other parts of the triple bill. I can’t remember the details. Daichi Ikarashi should be doing Rhapsody. His technique surpasses dancers in higher ranks including Corrales. And he’s done it at school level. He could show the panache too, though it was rather dampened in his Acteon solo at the Erik Bruhn competition. That’s a fault of RB coaching IMO. I wonder which of the other other technically advanced dancers like Nakao, Jun, Lee, Masciari, Sissens, Hay, Rovero, Boswell … have all the attributes to pull this role off. I’d hope some of these are shadowing. Where is Valentino Zucchetti? Shame David Yudes isn’t around. Both would be good. The virtuoso technique required is beyond what I’ve seen of Ball, Bracewell, Clarke. I hope to be pleasantly surprised by the casting 🤞

I should think Kevin O’Hare would be approached for suggestions of people for roles such as this.

Wonderful memories of recent performances - brilliant Des Grieux with Francesca Hayward in the last run - clever Lescaut only last week with Osipova, Clarke and Magri. Never seen the brother sister relationship work this well - audience stunned into silence by his Romeo with Yasmine Naghdi - masterful lead role in Dances at a Gathering I could go on!

We do need a 😢 button. This is disappointing news when Birmingham City (it seemed to me) has been so supportive of the arts and culture.

https://www.royalacademyofdance.org/rad-announces-alexander-campbell-as-its-new-artistic-director/ Royal Academy of Dance announces Alexander Campbell as its new Artistic Director Alexander joins the RAD in his first Artistic Director position since departing from The Royal Ballet Today the Royal Academy of Dance (RAD) announces Alexander Campbell as its new Artistic Director. Alexander will begin his tenure in April 2024. Succeeding the RAD’s previous Artistic Director Gerard Charles who retired last year, Alexander comes to the RAD after over a decade at The Royal Ballet. Alexander has performed across the breadth of The Royal Ballet’s classical and contemporary repertory. Principal roles have included Albrecht (Giselle), Basilio (Don Quixote), Franz (Coppélia), Prince Florimund (The Sleeping Beauty), the Prince (The Nutcracker), Colas (La Fille mal gardée), Young Man (The Two Pigeons), Oberon (The Dream), Romeo (Romeo and Juliet), Des Grieux and Lescaut (Manon), Florizel (The Winter’s Tale) and roles in Dances at a Gathering, Jewels, Within the Golden Hour, Woolf Works and Carbon Life among others. Born in Sydney, Alexander trained locally at Academy Ballet. He has longstanding connections with the RAD, completing all RAD examinations up to Advanced 2 and winning a silver medal at the 2003 Genée International Ballet Competition (now The Fonteyn) which was held in Birmingham. Through this experience Alexander was introduced to Birmingham Royal Ballet, the company he joined upon graduating from The Royal Ballet School in 2005. In 2011 he joined the Royal Ballet as a Soloist; promoted to First Soloist in 2012 and Principal in 2016. As well as having an exceedingly successful career as a professional ballet dancer, Alexander runs a production company called Alexander Campbell Productions which has spearheaded projects for theatre and dance including Sleepwalker, featuring the differently-abled dancer Joseph Powell-Main, and The Limit in association with The Royal Ballet for which he provided the original dance concept and performed in at the Linbury Theatre with fellow Royal Ballet Principal Francesca Hayward. Alexander’s last performances with The Royal Ballet will be as Des Grieux in Kenneth MacMillan’s Manon on Saturday 2nd and Friday 8th March 2024. Speaking of the news, Alexander Campbellsays: “I’m thrilled to be joining the Royal Academy of Dance and feel privileged to have been offered the role of Artistic Director. The RAD was formative in my training and I believe has the power to shape how people interact with ballet and dance. I am motivated and excited to play a part in how we develop and offer these exceptional and positive interactions, not only for our current and future members and students but also for society in general. I have been fortunate to enjoy a wonderful career performing with The Royal Ballet and Birmingham Royal Ballet with experiences and friendships I will cherish for a lifetime. My thanks to Kevin O’Hare for supporting me in this next step in my career and I can’t wait to get started.” Tim Arthur, Chief Executive of the RAD, says: “I am delighted that Alexander is joining the RAD at such an exciting time for our organisation. We have big plans for the future that we can’t wait to share with the world, and Alexander will play a key role in helping to define and be part of that journey. He has a wealth of experience, passion and knowledge, and is admired by so many of our RAD students and members. I can’t wait to start working with him to build on our Artistic team’s brilliant and diverse body of work.” Dame Darcey Bussell, President of the RAD, says: “As a friend of Alexander, I’m thrilled by this news. He has such great passion for dance, and I look forward to seeing all the exciting developments his time at the RAD will bring.” Kevin O’Hare, Director of The Royal Ballet, says: “Alexander has been a key member of both our Royal companies for almost two decades. His passion for dance has always been obvious from across his many stage performances in a vibrant and diverse range of roles, to his great aptitude in more recent years as a presenter for World Ballet Day and his concept production for The Limit. I know he will continue as a wonderful advocate for dance in this exciting new role and I look forward to our continued working relationship providing more people with positive experiences of our powerful artform.”

What?! Here’s the link https://www.instagram.com/p/C3m9hO3oflc/?igsh=bzhjcmhweGt5a2h3 I can’t believe he’s no longer going to dance. This is too soon.

Maybe this thread should be labelled legacy UK TV channels? I watch these digitally online, as with everything else. Sometimes on big screen (TV if you will) or on tablet and smartphone. Occasionally on my laptop/PC.

oh! So it’s worse than I thought. Tamara is either a poor people manager, or doesn’t want anyone else getting the limelight. Possibly both. Sad to see when she has so many other great skills.

@Naomi M thank you for the information on Asami Maki and the Asuka ballet. And for the video of Lunkina and Skvortsov. Both superb Bolshoi principals. Lovely to see clips of them performing with this company. I’ve since scrolled through the company Instagram to see other top quality guests in prior years. Clearly a company of influence and connections.

@JNC completely agree that the Pina Bausch version was good. And agree that the experience of working with Mats Ek is a gift for any dancer. His version was less of a gift for the audience, IMO. Though I did appreciate parts of it and the roles were challenging for the dancers. The other less successful Rite of Spring type work was in the recent triple by Andrea Miller, though called Les Noces. Hopefully not to be repeated.

I was fascinated by Creature 😉 Jeffrey Cirio was extraordinary as a creature (or human treated as a creature) showing more humanity than the humans around him. And then surprised by Isaac Hernandez in the role. Quite different Curio and easily the best and most honest and committed portrayal I’d seen Isaac perform.

I am personally very happy with Aaron doing more or less the same as Tamara. I think ENB is positioned well as it is. I wouldn’t want him changing the repertory drastically from here. As others have said he may not have the finances to do it yet, and a new Nutcracker has long been in demand and won’t be cheap. It is too early to determine whether he has vision and creativity to step in a new direction in terms of repertory, and will that be a direction that takes the audience with him. I too am very encouraged by his nurturing of the company members as individuals. And I am especially looking forward to soloist/lead roles for the many talented dancers in this company, which I’d say have been too long delayed. I hope Aaron will ditch Tamara’s mistakes … too many unsuccessful versions of Rite of Spring, plus her own Raymonda which hides the actual dancing of the ballerinas under those long heavy skirts.