8 hours ago, Sim said:

Thank you Bridie for explaining our 'fatuous rationale' so clearly to those who don't understand.

Ah Mods out in force, curiously silent when one of their own was aggressive and rude. 

Sorry but advance casting insight does provide an advantage, it allows you to get the right seat for the right performance ahead of those who might be waiting to book. Thus before further seats are sold. It also limits any need to suffer a £4 cost, to change, if you hadn't booked already. Thus the email to friends was a specific advantage given to a limited group of people. Whilst the advantage is arguably not as great, it is therefore clearly comparable to the advantage of lower prices given to a specific group via the Macmillan offer. The rationale being used for the latter, was that ROH had not specifically given permission to enable it to be shared (although they hadn't done or said anything to prevent it being shared or to suggest they didn't want it shared). That rationale applies if you apply the same puritanical logic. As such your argument Mods + friends, is just wrong. I am not going to not say it, just because you don't like it sorry. The decision making is inconsistent and the decision on the offer was asinine - like this casting, it should have been freely allowed to be shared.   

7 hours ago, myrtle said:

Perhaps this is a special privilege granted to members and friends, not just any random member of the ticket buying public, who will (finally) be informed when the actual website gets updated later?

6 hours ago, Dawnstar said:

Per today's links, the casting has been published on the Gramilano website so it is in the public domain & therefore presumably not supposed to be just for Friends. However more casual potential ticket buyers are probably less likely to know of the existance of specialist dance websites such as Gramilano (I certainly didn't know of it until I joined here & started to see mentions of it) & are therefore less likely to find the casting info on it.

The email with casting was to Friends of the ROH. So it was clearly intended to go to Friends as they could have used their wider mailing lists they use for other things (like general promotions) to inform everyone about the casting update. Furthermore, there is nothing to suggest that Gramilano got it from the ROH, they could as easily got it from here (they will definitely monitor this site). So whilst they have published an article on it, there is nothing to suggest ROH have put the information out to the general public, nothing on their social media I can see, no news update on the website, and the booking page is blank. Gramilano certainly would not have felt obliged to not release the information however they got hold of it. 

I would assume the intention was to tell friends in advance of any general update of the website. 

Non-friends are lucky, if moderators were to be consistent with their fatuous rationale on not allowing the posting of the Macmillan offer code on to the forum, they would remove all of these posts until casting was officially announced by the ROH to the public. 

 

52 minutes ago, OnePigeon said:

Casting still isn’t on the website yet either so that won’t help ticket sales get off to a flying start.  I don’t think the duplicate programming helps either - most people will only choose one of the triples to attend.  Hopefully they will sell well over time though, or alternatively, maybe we’ll be getting in a miff about some people being emailed with a discount code come May 😉.

I assumed that casting wasn't up to give Friends an opportunity to book now with casting known before it was made public (I am rather surprised the puritanical moderators haven't banned us posting the Friends casting given ROH hasn't given permission for its onward publication, like they did with the offer code). 

I personally do not think there is any justification for the unnecessary duplication caused by running two sets of triples with repeated programming.  Rhapsody was last on in 2022 - there has not been that much ballet at the ROH since it was on (even more madness to put Rhapsody in both programmes).  This should be a Les Rendezvous/The Dream/Short Works programme. 

Ashton casting is now out...

2 hours ago, Birdy said:

I have a particular dancer I’m hoping to get to see in this year’s production.

Don't they only give the cast out a few weeks before - by which most of the tickets have been sold?

1 hour ago, Angela said:

Berlin State Ballet Season 2024/2025

 

SEASON 2024/25 Reflection spaces between love troubles, climate change, and the madness of the individual   Berlin, March 27, 2024 --- On this Wednesday morning, the Staatsballett Berlin has released the program for the 2024/25 season. Artistic Director Christian Spuck and his team presented four premieres including one world premiere, five revivals, a guest performance by the Nederlands Dans Theater, and a broad framework and education program that will be integrated into the Staatsballett starting next season.    In his second season, Artistic Director Christian Spuck will present four premieres including one world premiere. The evening Minus 16 (October 25, 2024, Deutsche Oper Berlin) brings together works by Sharon Eyal and Ohad Naharin, two strong voices of the present. Choreographer Edward Clug is creating A Midsummer Night's Dream after William Shakespeare (February 21, 2025, Deutsche Oper Berlin), a full-length creation set to commissioned music by Milko Lazar. The ballet Winterreise, set to Franz Schubert's song cycle of the same name in the musical arrangement by Hans Zender (May 11, 2025, Staatsoper Unter den Linden), will be reworked by Christian Spuck with the ensemble. In the final premiere, Gods and Dogs (June 28, 2025, Staatsoper Unter den Linden), Jiří Kylián explores the madness of the individual, while Crystal Pite uses the dancing bodies to symbolize human transience and vitality.    The Nederlands Dans Theater, one of the most prestigious dance companies worldwide, will be a guest at the Staatsballett Berlin (July 2025, Deutsche Oper Berlin) presenting the trilogy Figures in Extinction, a four-year project by choreographer Crystal Pite and theater maker Simon McBurney on the theme of climate change. At the end of the season, the Ballet Week will offer eight days of full programming with three productions from the repertoire, two gala evenings, two education formats, and two panel discussions.   Returning to the repertoire is Swan Lake by Patrice Bart at the Staatsoper Unter den Linden. Also remaining there is Giselle by Patrice Bart, another major classical narrative ballet, as well as 2 Chapters Love with works by Sol León and Sharon Eyal. At the Deutsche Oper Berlin, Bovary by Christian Spuck and the triple bill evening William Forsythe will also be performed.   In the ensemble, nine dancers are pleased with promotions. Weronika Frodyma, Martin ten Kortenaar, and Haruka Sassa will become Principal Dancers from the upcoming season, while Danielle Muir and Kalle Wigle will become Soloists. Marina Duarte, Gregor Glocke, Leroy Mokgatle, and Clotide Tran will be promoted from the corps de ballet to Demi-Soloists.   Structural changes are taking place for Tanz ist KLASSE!, the education program of the Staatsballett, which will become its own department of the Staatsballett after 17 years as an association. A wide range of workshops for families, schools, daycares, as well as dance classes and holiday courses for various age groups and populations will continue to be offered. New offerings include 3D classes for teenagers, STEPahead, a training series for educators, and (K)nie zu spät, an event offering for seniors.   The behind-the-scenes look is further facilitated by the program of premieres conversations and training sessions for spectators. Opportunities for exchange are offered through ballet conversations, where ensemble members and artists invite the audience for more personal discussions. Or at the forum, where social issues related to dance on stage are discussed.   The upcoming season will be visually characterized by the photographic work of South African artist Caroline Mackintosh. The Berlin-based artist embarked on a colorful exploration of the Deutsche Oper Berlin with nine dancers for this project.   Artistic director Christian Spuck is setting accents with the program:  "Ballet, as well as dance as a living art form, creates spaces that reflect our present in a very special way, offer a look into the past, but also capture our current experiences in a deeply turbulent and torn world. The Staatsballett Berlin is for me a place of creative creation, networking, and mutual exchange that explores and enables these spaces."   Regular ticket sales begin on June 10, 2024, with members of the Friends Circle and holders of the Danceticket being able to purchase tickets in advance starting on June 3, 2024.

STAATSBALLETT BERLIN Season 2024/25   Productions 2024/2025 Premieres Minus 16 SAABA Choreography by Sharon Eyal  Minus 16 Choreography by Ohad Naharin 25, 28, 29 October, 7, 8, 21, 24 (double performance), 29 November 2024 Deutsche Oper Berlin World Premiere Ein Sommernachtstraum Ballet by Edward Clug after William Shakespeare  Music by Milko Lazar  21, 23, 26 February, 1, 9, 10, 30 (double performance) March, 21, 28 May 2025 Deutsche Oper Berlin Winterreise Choreography by Christian Spuck Music by Hans Zender after Franz Schuberts Winterreise  11, 14, 17, 23, 29 May, 7, 9, 14 June 2025 Staatsoper Unter den Linden Gods and Dogs Gods and Dogs Choreography by Jiří Kylián Angels´ Atlas Choreography by Crystal Pite 28, 29 June, 2, 6, 13, 18 July 2025 Staatsoper Unter den Linden  Revivals Bovary Choreography by Christian Spuck after the novel by Gustave Flaubert Music by Camille Saint-Saëns, Thierry Pécou, György Ligeti u.a. 7, 8, 13, 22, 26 September, 3 (double performance) October, 21, 25 December 2024 Deutsche Oper Berlin Giselle Choreography by Patrice Bart after Jean Coralli and Jules Perrot Music by Adolphe Adam 20, 24, 29 (double performance) September, 10 October, 1, 2 November, 4 December 2024 Staatsoper Unter den Linden  2 Chapters Love Stars Like Moths Choreography by Sol León 2 Chapters Love Choreography by Sharon Eyal 15, 17, 23, 26, 30 November, 6 December 2024, 14, 17, 19, 22 April, 30 May 2025 Staatsoper Unter den Linden  Schwanensee Choreography by Patrice Bart after Lew Iwanow and Marius Petipa Music by Peter I. Tschaikowsky  14, 19, 26, 28, 30 December, 16, 18 January, 15, 19, 22, 28 March, 5, 6 April 2025 Staatsoper Unter den Linden  William Forsythe Blake Works I Choreography by William Forsythe Approximate Sonata 2016 Choreography by William Forsythe One Flat Thing, Reproduced Choreography by William Forsythe 24, 29, 31 January 2025, 27 February 2025, 6, 12 March 2025, 2, 10, 18, 25 April 2025 Deutsche Oper Berlin Special Events Ballet Week 25 May TanzTanz Spezial Staatsballett Berlin, Studio 26 May TiK Workshop Staatsballett Berlin, Studio 27 May Forum Deutsche Oper Berlin, Rangfoyer 28 May Ein Sommernachtstraum Deutsche Oper Berlin 29 May Winterreise Staatsoper Unter den Linden 30 May 2 Chapters Love Staatsoper Unter den Linden 31 May Ballet Gala Staatsoper Unter den Linden 1 June Ballet Talk Staatsoper Unter den Linden, Appollosaal 1 June Ballet Gala Staatsoper Unter den Linden Guests Nederlands Dans Theatre & Complicité 4, 5, 6 (double performance) July 2025 Deutsche Oper Berlin Staatliche Ballett- und Artistikschule 25, 29 June 2025 Deutsche Oper Berlin Conversations Pre-premiere Conversation Talk before the premiere  13 October 2024, 9 February, 27 April, 15 June 2025 Ballet Talk Artists and guests of the Staatsballett Berlin in conversation 3 November 2024, 2 February, 23 March, 1 June 2025 Staatsoper Unter den Linden, Appollosaal Forum Discussion Event Event series discussing socio-political topics related to dance and ballet 12 November 2024, 14 January, 27 May 2025 Deutsche Oper Berlin, Rangfoyer Backstage Ballet Class Up Close 17 November 2024 Staatsoper Unter den Linden Season Opening Festivities Stage rehearsal „Bovary“ 31 August 2024 Deutsche Oper Berlin

Didn't they only just do Giselle and Bovary at the end of this season (they may still even be doing Giselle). 

3 hours ago, LinMM said:

A friend has pointed out that the downstairs cabinets in the cafe have the designs for Alice and Onegin. 
I don’t know how long they’ve been there as haven’t been to RoH for a while but could this be a clue as to next season? 

I did notice this and wondered whether it had any meaning. 

1 hour ago, Emeralds said:

ROH/RB do have a stash of free tickets for company members eg dancers' family members coming to see a debut, an artist's grandparents who might have travelled to see them dance for the first time etc etc.

Is this actually true? I sat near a couple there to see their daughter debut and they had had to pay for tickets, they weren't given them, everyone around them thought that was poor form from the RB!

Surely more annoying for those seated next to her!

2 hours ago, Melz said:

Yeah he looks about 165-170 cm tall maybe, in addition to having narrow shoulders, which is quite small for a male ballet dancer, even for the average modern jumper/turner. Luckily his partner is even shorter, she looks about 155-158 cm tall. But even so it’s pretty impressive that he can partner her so well considering he doesn‘t have the optimal build for partnering. 

Is he really that much smaller than Sambe?

1 hour ago, Don Q Fan said:

I'm happy with Don Q and Jewels that'll do me! 

I for one would never have guessed that you would be happy with Don Q being on the programme... 🙂

44 minutes ago, LinMM said:

It can be disappointing to see the technique of a once much admired dancer start to become less….I experienced this with Nureyev and felt sorry that some people were seeing some of his very late performances for the first time. I loved him too much for all his past performances to ever say anything denigrating about him but certainly wished he had stopped performing a little earlier than he did. 
I’ve never seen Osipova under perform

as yet…. but wasn’t at the gala…though she can sometimes be a little untidy in her technique she always seems to make up for it in other ways as in her recent Manon. 
Fonteyn stopped performing the really big classics like Swan Lake and Sleeping Beauty near the end of her career but then I  wouldn’t have wanted to miss her in Marguerite and Armand!! 

It must be a difficult decision for any dancer who has had a fairly long and illustrious career to know exactly when and how to stop. 
Osipova in my opinion still has much to offer so wouldn’t want to see her go just yet and was generously giving time to this gala so perhaps a little harsh on her but as there is so little time for rehearsal and warm up for many of these galas perhaps what you decide to dance has to be carefully chosen. 

Not to restart the argument I found both Fiona and Geoff's words a bit too strong. I think Fiona's words were a bit over the top based on the evidence available and a little agressive in tone, and Geoffs defensive/aggressive in return. 

In terms of her performance, I think Osipova was as I described wild during her performance. I had a real feeling of her not being in control, but pushing to keep the energy high and to keep going. However, to be honest, I don't think really you can make the judgments on her as a dancer based on a gala (this is my fundamental disagreement with Fiona's points). I think it's fine to critique this performance but it is what it is, a thrown together mix of bits of ballets, underprepared between other proper ballet performances. All in all, it was perfectly enjoyable wild energetic fun. 

I have though had more concerns about Osipova as a dancer in recent years. Whilst she still is a good emotional dance actress, her physical abilities seem to me to have declined more rapidly than some of her peers (Nunez being a slightly older ballerina who has managed to maintain her physical ability remarkably well). This has led me to ponder how long she would go on doing the big classical works and whether she would transition to a full time touring ballet 'star' doing her shows.  I would say that I missed her Manon and she withdrew from the Don Q performance I had most recently so it's possible she has demonstrated her physical abilities in these that I have missed. 

Hmm a far less attractive programme than POB from my perspective and I am also not sure that this really makes the most of the dancers that this company currently has at its disposal. 

2 hours ago, Missfrankiecat said:

What is their rule?

POB has a mandatory retirement age of 42 (which is what Myriam has reached). I presume the rule is due to French labour laws and the grant of a pension at 42 but I mean imagine the Royal Ballet forcibly retiring Marianela next year! Sarah Lamb would have been retired last year! 

Possibly the pension conditions may limit whether they could join another company/how much they perform. 

47 minutes ago, alison said:

 

At 18 quid, I'm not surprised.  I remember people on here complaining when the price went up to £7!  It may of course not be the same champagne.

Actually the ROH lowered the 'quality' of the champagne generally on offer following the pandemic without changing the prices to match. They also reduced the availability of half bottles I guess to increase the amount of single glass sales (which have a higher margin). They also have different availability depending on which bar you use. Someone somewhere in the ROH has clearly been thinking about how to profit most from attendees taste champagne!

 

42 minutes ago, EVWS said:

 

Marianela posted rehearsing Swan Lake on her Instagram yesterday as well, so could be workload management for her as well? 

If this is the case, I think it's very shoddy of the RB/KOH tbh. You should have considered workload when you were planning your season and the casting for this came out very late giving you even more time to consider this issue. I think putting the big names to performances and then removing them is something you should avoid as much as is possible, even if you add all the caveats around no refunds for cast changes, you know its why many people buy for certain performances. I am curious about whether the poor sales has played into this decision too, albeit we will never know. 

On 19/03/2024 at 13:25, Dawnstar said:

Several cast changes for Danses Concertantes & Requeim have appeared on the ROH website:

Isabella Gasparini is replacing both Anna-Rose O'Sullivan & Mayara Magri in Danses Concertantes and is therefore dancing all 6 performances.

Melissa Hamilton is replacing Marianela Nunez on 20th, 4th & 9th. Isabel Lubach is replacing Nunez on 22nd & replacing Hamilton on 13th.

 

Magri, Nunez & O'Sullivan are all still currently listed for their upcoming Swan Lake performances so it'll be interesting to see if they all still do those or not.

Magri just posted from her last rehearsal for Swan Lake so seems like it isn't an injury for her - perhaps just workload management. 

Well glasses of champagne are small...

I imagine this is a major revenue source for the ROH, and so having a reasonable length break even in triples is important to them. 

Is she actually retiring or just leaving the POB given their ridiculous retirement age rule?

I mean if you are stuck in a slow moving part of the auditorium then it probably takes you about 10 minutes just to get to the bar.

Yes I think I may have to make some trips to Paris for this season!

I have forgotten which thread this was on but there was a recent discussion about the number of non-principals in principal roles and so although it may be just a case of who is available and fit, it is Interesting that all those replaced are principals and all the replacements are not.

I have always rather liked Lubach as a dancer but she is a massive change from Nunez (possibly the most established principal to a first artist). 

https://www.dailymail.co.uk/tvshowbiz/article-13209177/Strictlys-Nadiya-Bychkova-showcases-endless-legs-dazzling-white-mini-cosies-star-boyfriend-Kai-Widdrington-star-studded-ballet-gala.html

I feel for many of my temporary cohabitators in the stalls this was really what the night was about! 

12 minutes ago, Jan McNulty said:

Fouettes do not a whole performance make!  OK in a gala it may be unfortunate if something goes wrong with a party piece but in something like Swan Lake or Don Q does substituting a different step or coming out early but gracefully does it matter?

Yes there are other important elements to the role - can you embody both Odette and Odile for a start - but it is so iconic, and in a proper performance where you've have been picked by your company and had proper preparation and coaching, then personally I'd say it does matter. If you can't do it, when the role demands it, then you are exposing a technical deficiency regardless of how good otherwise a dancer you are. 

1 hour ago, Missfrankiecat said:

 

I was too far away to see Brandt's face but she was travelling quite a bit from the outset on the fouettés and I thought from her head movement she had lost it quite early on - better, of course, to pull out into simple turns than fall and a lot of people aren't any the wiser.  I didn't feel nearly as alarmed with Fumi - she wasn't quite 'on' the music but I didn't ever fear she was going to come a cropper.  You are right - it's easy to forget how fiendishly difficult these moves are

I had forgotten this, but she was travelling a lot. Almost half the stage. The orchestra was clearly calling to her. 

2 hours ago, Missfrankiecat said:

Misty Copeland gets roasted when she does that sort of thing.

In a gala or in the actual ballet? Personally I would think unforgivable in Swan Lake.