San Perregrino

is this fact or supposition?

in a talk this morning Alex Beard said that in a survey of 'stakeholders' in the ROH, i.e. civil servants, ACE, sponsors etc only 2 out of 5 were cognisant of the ROH being about more than opera. it beggars belief I know. however, this is a major motivator for the name change and rebranding with a view to raising the profiles of, amongst those who can influence or fund. all three entities; the Royal Ballet, the Royal Opera and the ROH Orchestra.

I suspect that ballet has been bringing in more money and/or audiences than opera in recent times and may continue to do so going forwards. Giving greater prominence to the importance of ballet in the partnership has to be a good thing.

Bow 5 in this clip is a visual representation of this rationale: https://www.instagram.com/reel/C50eKh8vgm1/?igsh=MW90OTk5N2FseXE3dA==

That’s what I said

As I said in my previous comment, there is no right or wrong per se, there are conventions. Ultimately, the determination of the amount of applause given and when it is given, is in the hands of the giver (if you’ll excuse the pun) be it enthusiastic or smattered.

And that is a very subjective topic which we are discussing. There is no right or wrong per se.

https://nutcrackerinhavana.com Carlos Acosta’s brand-new production Nutcracker in Havana explodes onto its debut UK tour, featuring new choreography by Carlos Acosta CBE performed by more than 20 dancers from his Cuban company, Acosta Danza. Set to an exuberant Cuban newly-commissioned version of the magnificent Tchaikovsky score, arranged by Cuban composer Pepe Gavilondo, the timeless story is brought to life with ballet at its core, enriched with Acosta Danza’s unique style and with Cuban dance traditions beautifully woven throughout the much-loved and joyful family tale. Join Clara in her humble home in Havana, getting ready to celebrate Christmas with her family. The beer cans are on the tree and Cuba is suitably hot. When Clara is gifted a Nutcracker doll she embarks on the journey of a lifetime, to defeat the Rat King and travel into the world of the Sugar Plum Fairy accompanied by her Nutcracker Prince. With spectacular video projection and set design by Nina Dunn (9to5 Musical, Bonnie and Clyde, BRB’s Don Quixote), Cuba collides with the Land of Sweets, bringing snow to Havana. With lighting by Andrew Exeter (Oti Mabuse: I Am Here, The Full Monty UK Tour, Johannes Radebe: House of JoJo) and costumes by Angelo Alberto (costume designer for Goyo Montero’s ‘Imponderable’ and Raul Reinoso’s ‘Satori’ with Acosta Danza) Nutcracker in Havana is a visually stunning spectacular treat for all. For dance fans around the globe, Carlos is an international superstar of the classical ballet world. Born in Havana and trained at the National School of Ballet in Cuba, he went on to dance professionally with the world’s most prestigious companies, with London’s Royal Ballet becoming his home. Having tackled huge titles throughout his career, from Carmen to Don Quixote, Nutcracker in Havana is an opportunity for Acosta to fuse this festive treat with a little Havana heat.

London’s Southbank Centre along with regional theatres will have Carlos Acosta’s ‘Nutcracker in Havana’

I don’t think anyone is talking the performers OUT of applause but rather discussing when, during a narrative tale, it is appropriate to break the silence. A ballet isn’t a play, an orchestral concert, a rock concert nor a sporting event. Ballet has its conventions which seem strange when one first encounters them but which I have come to accept particularly if one understands that it is a way of catching one’s breath before continuing.

Isn’t applause & acclaim at the end of a performance enough? Perhaps one’s viewpoint depends on why one has gone to see the production in the first place, whether it is for the whole or just for the highlights. If I am particularly moved by a difficult slow section in say act 2 of Swan Lake is ok for me to express my appreciation by clapping and catcalling loudly at that point or would my reaction be judged as inappropriate by the very same people who clap and catcall at the end of 32 fouettés?

There’s also a revival of Pite’s Light of Passage included in the season.

Can anyone shed any light on why Red Riding Hood was wearing orange?

a revival of the Kate Prince/Zoo Nation production that sold out in the Linbury in 2014? https://zoonation.co.uk/productions/the-mad-hatters-tea-party/

Apologies for any confusion, I read your comment as wondering why they had not been selected as a pairing to be screened at the cinema this season hence my observation that they are a new and untried ROH combination perhaps to be enjoyed on-screen in the future. Reflecting further, it must be incredibly difficult to decide who should be cast in the cinema screening. Vadim is 1 of 8 current male principals (Fumi is 1 of 10 female principals) in the ranks and before this year has had a fair amount of screen time with different partners at the RB. It would seem only right that others are given the opportunity to be filmed, broadcast to, and become known to the wider world outside London too. As I say incredibly difficult to decide.