San Perregrino

I think Laura said Stage rehearsal, which may or may not be the same thing as there are several rehearsals in the lead up to the General.

The trailer has Federico Bonnelli & ?? how I wish that recording was available to Stream… And Luke Jenning’s review in The Guardian was of three different Manons resulting in 5 Stars. Dance Manon review – touching greatness, three times over Royal Opera House, London As vixen, coquette and victim, the Royal Ballet’s Francesca Hayward, Natalia Osipova and Marianela Nuñez all touch greatness in the coveted role of Kenneth MacMillan’s tragic heroine Luke Jennings @LukeJennings1 Sun 15 Apr 2018 07.59 BST

I’m sure she’d be totally ‘Zen’ about the situation 😇

I went in April 2018 and again in October & November 2019

the SOLT Get Into London Theatre New Years Sale still had tickets available earlier today in Stalls, Dress & Upper Circles for tonight, tomorrow and Thursday evenings discounted to £30, £40 & £50 depending on the seat. (not balcony)

That said, even though the tickets were reasonably priced at full face value, they didn’t sell quickly. Even with generous discounts of up to 50% it has been a struggle to shift 100s of seats until recent days. I think the blanket advertising on public transport plus 4 star reviews have really helped this week. Perhaps there’s been some papering, perhaps not.

I hope this helps: click on 'Stream' click on 'A-Z' and you arrive at a Search function. BROWSE PERFORMANCES AND EVENTS Scroll, search or filter our catalogue of performances and Insight events. You can search by performance title or a description of the work. FILTER All performances Opera and music Ballet and dance Insight events

when you refresh the page it automatically defaults to the 11th January perfomance, hence Katja & Aitor. select today's date from the drop-down menu and you get Katja & Gabriele.

A fresh series of strikes has been unveiled by the main train drivers' union, Aslef, in its long-running pay dispute with 16 train companies. The stoppages between Tuesday 30 January and Monday 5 February will affect different operators each day. The drivers will also refuse to work overtime from Monday 29 January until Tuesday 6 February. The first strike in this dispute by Aslef was in July 2022, and the row is now in its third calendar year. The Rail Delivery Group - which represents the train operators - said "nobody wins" when strikes take place and called on Aslef to work with them to resolve the dispute. The Department for Transportcalled the action disappointing. Which train companies are affected on which day? Tuesday 30 January: Southeastern, Southern, Gatwick Express, Great Northern, Thameslink, South Western Railway and SWR Island Line Wednesday 31 January: Northern Trains, Transpennine Express Friday 2 February: Greater Anglia, C2C, LNER Saturday 3 February: West Midlands Trains, Avanti West Coast, East Midlands Railway Monday 5 February: Great Western, CrossCountry, Chiltern Operators not involved in industrial action, for example ScotRail and Transport for Wales, should run normal services. Previously, most of the train companies involved have not been able to run any trains when drivers are on strike. A few have run a limited timetable using managers to drive trains. There will be no strike action on Thursday 1 February or Sunday 4 February.

Posted to the wrong thread?

Or choreograph a ballet perhaps?

Perhaps being lined up to take the baton from Lady MacMillan?

I last saw Cesar Corrales on 19 January 2023 when, after some announced cast changes and then reversal of the aforementioned, he partnered Mayara Magri in Sleeping Beauty. He was re-injured and unable to dance again on 14 February 2023 being replaced on that night by Matthew Ball. I am keen to see him fit again to dance Siegfried in Swan Lake on 7 March 2024 as his portrayal of Siegfried in March 2022 was a revelation.

? Bruce Springsteen's Giselle ? 🙂

This particular version of Giselle is new to me and highly anticipated. Yesterday’s matinee Act 2 left me emotional for the right reasons. Sangeun Lee and Gareth Haw were outstanding as Giselle & Albrecht. Sangeun Lee became the ghost of Giselle, floating as she danced on stage like an ethereal spirit yet the mettle of her determination to save Albrecht from beyond the grave was rock solid. Gareth Haw’s Albrecht was distraught in his grief as he was forced to dance to exhaustion and the brink of death. Precious Adams was a fierce not to be argued with nor swayed Myrtha. And Junor Souza’s Hilarion was strong and equally racked with grief. The corps of Willis was both sublimely seductive and darkly menacing. I witnessed all of this from row A in the stalls, it truly was a ringside seat. And I am really glad that I spent my Christmas money in this way because I got to see a real treat of a performance. However, whilst I accept that Act 2 takes place in the middle of a forest at the dead of night and therefore the lighting needs to be low so as to create the atmosphere, I do think it a shame that the lighting is so low at times that, even from row A of the stalls I had to strain to see what was happening and choreography and characterisation were lost in the gloom. Junor Souza was literally lost in the darkness, his graveside presence nigh on invisible let alone his grief and, his dance to death and exit hardly registered in the darkness. Again Albrecht’s graveside grief is all but invisible to the naked eye. A lantern left by Giselle’s grave or a candle lit on it would have shed enough light in that far corner of the stage to highlight its importance to the story and illuminate the faces of the grieving Hilarion & Albrecht. Similarly from any distance I would have been unable to see any of Precious Adam’s Myrtha’s range of emotions. It is a bugbear of mine that contemporary choreographers spend months in the studio creating masterpieces that are so poorly underlit that the paying audience can only guess at what they are watching. It would seem that Mary Skeaping was doing it decades ago. Just because something was done once upon a time doesn’t mean it can’t be revisited and evolve for revivals.

Re: Provisional Running Time for New Works in the Main House 15/2, 16/2, 20/2 & 21/2. “Thank you for contacting the Royal Opera House. It is looking like the Festival of New Choreography is running at 1 hour and 51 minutes. I hope this is helpful.

ENB’s version last year was enough to keep me going for a while. But for this is happening today at the new Woolwich Works space for those who have a free afternoon: LES NOCES - THE DEPARTURE NEW MOVEMENT COLLECTIVE PRESENTA century after Stravinsky and Nijinska crafted the powerful masterpiece Les Noces, the New Movement Collective is set to present a reimagined version of this iconic ballet, culminating in a grand celebration. Les Noces - The Departure View Dates and Book Event information Date: Sat 13– Sun 14 Jan Advance Price: Standard £26.50 | Concessions £20.00 Venue: Fireworks Factory Age Guidance: Suitable for all ages. | Please note: the performance contains poetry which uses adult language. Event Categories DANCE MUSIC One hundred years after Stravinsky and Nijinska created the powerful masterpiece Les Noces, New Movement Collective presents a re-imagining of this iconic ballet with a mass celebration. Performed in Stravinsky's audacious choice for pianos and percussions, the cast includes singers from the Opera Holland Park Chorus, musicians from the Royal Academy of Music and Royal College of Music, and new choreography will be staged by a some of Britain’s best contemporary dancers. Les Noces is a deeply emotive exploration of what is at the core of human relationships and commitment; New Movement Collective have additionally commissioned three contemporary composers to respond to Stravinsky’s score: the project's music director Yshani Perinpanayagam, emerging RAM composer Andrea Balency-Béarn, and Beatbox Champion MC Zani. These new compositions will see choreographic explorations on the work’s themes performed by English National Ballet’sENBYouthCo and Manchester-based Chameleon Youth. Please note the performance contains some poetry which uses adult language.

it would seem that all the stall seats will be removed too with dancers in that space as well as or instead of onstage. per the website: BACKGROUND Dark with Excessive Bright imagines the invisible forces of our universe in human form. The dance captures the growth, decay, chaos and consistency that always co-exist in our world. The music acts as the gravitational force, holding these elements in orbit. Dark with Excessive Bright reflects the world we live in, but with the addition of the principles we need in order to shape a more possible future – care and community – bubbling to the surface. The audience enters an environment already alive with music, light and movement, staying for a period of 45 minutes and then moving on to make way for another wave of people who enter as they exit. With the floor clear of seats, each individual can define their own experience of the work by moving between three performance areas or standing back to take in the full picture. Moments of extraordinary intimacy – watching a person dance just a metre away – can be contrasted with a bird's-eye view of the entire performance from the balcony. The movements are never improvised but exist within a structure that holds multiple possibilities through in-the-moment decision making from the dancers. This means music, dance and light are constantly realigning so that with each performance this ballet is created anew and never replicated. Audience and performers both have freedom to shape their experience and that of each other, making this ballet an intimate exchange and an expression of free will.

The promenade performance that you were asking about

Joe Sissens has posted pics on IG of himself rehearsing with Melissa Hamilton for DWEB.

you had me going for a moment, I thought Fumi Kaneko & Vadim Muntagirov were lined up to dance. Yasmin Nagdhi & William Bracwell will more than suffice though 🙂

I'm also gutted not to be seeing Frola & Oliveira tonight.

Question to those who might know: is the choreography of Albrecht’s dance towards death a choice for the dancer and a chance to display his skills or was it dictated by Mary Skeaping? I’m used to seeing the entrechats six and Aitor Arrieta danced a different, albeit beautiful, sequence last night. I just wondered if it might be different at other performances? (btw the bells heralding the dawn and thus the breaking of the Willis’ enchantment were so soft last night that had I not been expecting them they would have passed unnoticed).

As this run hasn’t yet opened I’d politely suggest that you were putting the cart before the horse. Who knows what performances might happen over the next 2 weeks… amongst others Franceso Gabriele Frola is scheduled to debut as Albrecht, Emma Hawes was a standout Odette/Odile this time last year, Sangeun Lee and Gareth Haw are new to ENB etc etc etc

MANON CAST CHANGE Dear We hope you are looking forward to seeing Manonat the Royal Opera House. Please be aware that the following cast changes have been made: 19 January, 7.30pm: Ryoichi Hirano is replaced by Luca Acri as Lescaut. 2 March, 7pm and 8 March, 7.30pm: Akane Takada is replaced by Francesca Hayward as Manon.