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TSR101

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  1. TSR101
    ENB seems to be in chaos at the moment. She's only just joined, and was their attempt to replace Alina!.
  2. TSR101
    I am not saying she hasn't been but whats the basis for the assertion she has been very careful? My understanding from public comments on their relationship is that they weren't together in 2016 when Giselle premiered so that seems irrelevant. This forum is a splendid place, but I am sorry, many of the comments are sycophantic. It is not ridiculous that someone would favour their own partner, given all the evidence of human civilisation of people doing just that. That Isaac is himself a great dancer, would only make it easier to favour him. Yet I did not even suggest she would 'favour him' in some nefarious manner, I said it was also unlikely that she would not choose to create on him. Choreographers have often chosen who they wanted to work with to create - the history of ballet is full of it (not to mention full of protégées of choreographers - all evidence of an industry where favour matters). So actually 'favour' certainly does come into it. She would have had to actively choose not to use her partner to create, what is I think her first major ballet - I remain of the opinion, that that is unlikely. My original point was evidenced in three ways, I didn't make my point based on this evidence alone and together it makes a compelling narrative for that being the likely opening night cast. I intend to say no more on this issue as its clear that people are unable to have a reasoned discussion without overly dramatic claims that I have in someway impugned the honour of the ENB and its AD. p.s. partnering with Alina over herself is hardly a sign of disfavour!
  3. TSR101
    I can't help the naïveté. This is the real world, not a fantasy ballet. People look after they care for, people have preferences. The unsavouriness was to suggest I was being offensive. The idea you find it strange that she would not choose her partner to create on who is in the company, a principal, who would surely, like any dancer want to create a role is just incredible to me. Look no one knows at this stage but I'd be happy to wager he's there on opening night (if he hopefully remains fit and healthy).
  4. TSR101
    I would call you comments, naive to the extreme. Come on! This isn't about ballet, this typical of human nature. *Cough* Prix Benois de la Danse *Cough*
  5. TSR101
    I think the first night cast looks very much like Hernandez and Kochetkova. All the clips are these two and the trailer. It also seems very unlikely that Rojo, would not create this ballet on her partner. Additionally, Kochetkova was ENB big signing and states on their website "I would love to have the opportunity to work with choreographers on creating new roles and ballets" - you would think she would have sought to create this role when negotiating joining.
  6. TSR101
    At no point did I ask for general speculation. For me this is another example of over moderation. I asked if they had spoken about each other - I wasn't expecting people to talk about what conversations they might have had in the pub with them, but as public figures, what they may have said in public if anything. I then explain my rationale for asking this - if I was a British kid in Russia and I didn't speak Russian, I would naturally speak to the other British kids.
  7. TSR101
    I fear I am going to get told off for asking questions not about the RAH performance but so be it! Have either Vadim or Sergei ever spoken about each other? My understanding is that Vadim joined RBS in 2006 and Sergei left the next year. Maybe I am missing something about the intricacies of RBS Upper School life but it seems odd to me that Vadim who couldn't speak English, and Sergei who has talked of being alone in the UK, not having great English, would not naturally have socialised even if there differing personalities stopped them being friends. Who else would Vadim have spoken too?
  8. TSR101
    Now I just want to know who the female dancer was lol!
  9. TSR101
    I must agree with this post. I think its obvious that there is a lot strong feelings on Polunin, both for an against him (I personally am rather in the middle) I thought some people were unnecessarily snippy. The conversation naturally flowed from the discussion about the RAH performance. Do not see what's wrong with ballet fans chatting with each other about it if they are having fun.
  10. TSR101
    It is a real shame if that is the case. I don't understand why the RoH does not offer a fuller range - at least through download which reduces the cost to them. I think the above clips do prove my earlier point, its very difficult to find RB Polunin material to see what it was that create the legend - the boy genius. I am surprised the PoluninInk haven't thought to record this R&J for an additional revenue stream.
  11. TSR101
    I believe that there are some DVDs/Blu Rays that ROH sell that star Polunin - Alice in Wonderland and Ashton Celebration (Marguerite & Armand with Rojo) come to mind immediately. It is relatively rare to see the RB Polunin stuff I find. He himself posted a video of a short Sleeping Beauty clip (11min) with Lauren Cuthbertson - although given the ballet Lauren is very much the star in it IMO, she's sublime.
  12. TSR101
    I am sure someone on here must know this but do ENB have a standard timeframe for when they announce casting and why do they leave it so late? I have previously bought late with ENB to try and get casts that I wanted but its such a pain! Raymonda opening night is only a month or so away and yet no announcement seems odd (unless I have completely missed it!)
  13. TSR101
    I agree with you they aren't very nice in my opinion but I personally have never noticed them as being so ugly as when I saw Osipova doing them last night (I am a Osipova fan btw). They stood out as noticeably 'clunky' and I can't ever recall noticing them before.
  14. TSR101
    I was actually thinking of the battle scene. Perhaps my memories of it are rose tinted but I remember as more dramatic and chaotic (in a good sense). I though Olivia Cowley was very good actually (apart from throwing the glitter a bit too early at the end lol!). Although the reason for the change is completely absurd.
  15. TSR101
    I was also there tonight - I thought Osipova was a little flat and not her usual sparkling self. It all looked far from her usual effortless best. I was wondering whether she had 100% recovered from whatever kept her from performing a week or so ago. At times it felt like it was really hard work for her to keep going - she came up very short on the Dance of the Sugar Plum Fairy finishing well ahead of the music. I haven't seen Osipova's Sugar Plum Fairy before, so this might have been an off night or just not her best role but it wasn't in the same league as Nunez's that I saw in 2020 & 2018 (or Cuthberton's I think in 2017). In general, I thought the performance was pretty ragged at times. I sense a quick switch from Giselle for the Corps probably didn't help. I wasn't a fan of the changes to they made to this production either. However, Reece Clarke continues to ask the question why on earth he is not yet a principal although even he seem to struggle a little more with the lifts in the Sugar Plum pas de Deux than I have seen from Vadim . When all is said and done, Nutty is still magical but not one of their best performances by far.
  16. TSR101
    So to add my two cents. I thought this was a reasonable production, nice to see something different and with one shining star in Alina and some strong performances by the junior male cast as mentioned above. They cast in general seemed a little under rehearsed but I think you have to give them credit for trying to put something like this on, without the backing of a proper company. For me Alina carried the performance and I came away even sadder than she has departed the ENB. Polunin was indifferent. At the very start he seems incredibly flat, the junior male leads seeming to possess more power and energy (the early choreography may not have helped)however this picked up somewhat , particularly when paired with Alina when I felt there was a lot of emotional intensity in their dancing. There were glimpses of brilliance with Polunin, never bad but in general I felt a sadness over what once was and what might have been - like seeing an ageing Muhammed Ali or Tiger Woods. Worth the £200 a ticket, perhaps as a one off. I wouldn't be tempted to go again, whereas I will see MacMillan's every time it is on regardless of price.
  17. TSR101
    Put it simply, its a way to make money from chumps (or those who believe in the idea of a digital metaverse). Technically, you do not necessary own the underlying rights to the work by owning an NFT (you usually do not). You also can't necessarily stop other people from sharing whatever the NFT is (many NFTs are for images or things you could just download on your computer). NFTs can however be traded to other chumps for more money (crypto of course). There is an idea that when big tech creates the metaverse (where you live your life inside a digital world), NFTs will be a part of that and in that situation they could indeed be unique assets to your digital self. There is a a lot of money to be made in this 21st century tulip fever. All the best to Natalia!
  18. TSR101
    I thought I would post that the MCB are doing performances of The Nutcracker and Swan Lake at Richmond Theatre I am rather dubious about the quality of these productions given that the quote they use to sell it is from this forum! - BALLETCO FORUM https://www.atgtickets.com/shows/moscow-city-ballet-presents-swan-lake/richmond-theatre/ https://www.atgtickets.com/shows/moscow-city-ballet-presents-the-nutcracker/richmond-theatre/
  19. TSR101
    I will admit Jan, I have seen a few bad swan lakes where I agree with you but never to the extent on TDP. The Prince was clearly a Prince type figure. the Evil guy, is always the evil guy etc. (Personally, I feel that RB's SL is fairly clear (I took a Ballet newbies to it last time and they seemed to grasp what was going on)). If you took someone to TDP and they didn't know the title or and didn't have the programme, they wouldn't have the foggiest what was going on imo, the ballet just doesn't tell itself. Almost no one would go, oh this is Dante's divine comedy in Ballet. Compared this with the much maligned Frankenstein where you can follow that narrative story very easily, even if it could be improved (not more drunken revelry in a brothel!). As with SL, I took two ballet newbies to that ballet and they loved it, they and have since asked to go back again having never been before. That is surely what RB/ROH need.
  20. TSR101
    🚨 Warning Strong Negative Review 🚨 So I went to the premiere of this ballet, knowing I was unlikely to be a fan (give me MacMillan any day). Ballet starvation and the hope that the RB wouldn't waste a new full length ballet opportunity was to blame (and to add to my red programme collection!!!). I honestly thought it was pretentious garbage with a forgettable score (oh give me Tchaikovsky, Prokofiev, Massenet, Khatchaturian). I thought the staging was a little dull (particularly A2 & 3), given what could be achieved in 2021 to set the scenes. Even the name, 'The Dante Project' - like some nonsense working title - god what drivel! I do feel that if a proper full length ballet can't tell a story from what happens on stage, without any programme notes or prior knowledge then the ballet is a failure alas I wasn't surprised that the critics fawned over it - as they do other forms of modern 'art'. I accept quite a few on this forum seem to enjoy it. I was pleased for Ed Watson and even if I thought it was drivel its good the RB is continuing to try new full length ballets. However, I honestly can't see how this ballet is ever going to be vaguely good business for the RB. It is not something I personally can see drawing in the crowds beyond the first run, its not something I'd expect to bring in more regulars back to CG to try more ballet. They are going to struggle to shift tickets if this goes on again IMO. People like stories. With stuff like this, you target a very narrow band of people and won't get the people who want to watch that one ballet a year or every few years. I was curious if the people who loved it, actually think it will able to draw people in to watch it year after year if it was revived?
  21. TSR101
    So to state the facts: Isaac won the Prix Benois de la Danse in 2018 whilst in a relationship with Tamara who happened to be on the (small) jury panel. All the best to both of them, but I think if I had been a nominee that year I wouldn't have been happy with that clear conflict!
  22. TSR101
    Polunin was 20, Cojocaru was 20, Nunez was 20 (or there about) - all are undoubted stars. Polunin has gone off the rails a bit yes. Cojocaru was frankly underused in the RB recognised as one of the best dancers yet not a single full length creation by the RB on her. Nunez thankfully is still glorious at the RB (although no full length creation either I don't think). Who are the precocious talents coming through? May Magri is 26/27 and has yet to conquer the major roles. Hayward is probably the closest recent promotion and hopefully she will keep on developing.
  23. TSR101
    Whilst I am happy for all those people who got promotions on a personal level. I can't help but feel on a company level some of them aren't right and it is further evidence of less talented pool of dancers coming through. The gulf in class and ability between those classes as 'principals' in my opinion (feel free to debate) is huge and the rank is losing some of the lustre. I appreciate people will have their personal favourites but ROH have struggled to find and develop the hugely talented young principals who burst on to the scene at a young age and gain principal status and then what might awfully be considered 'superstar' status. There hasn't really been a Nunez, Cojocaru or Polunin for some time. I don't see where it is coming from in the future either. Whilst RoH has covered this with solid recruitment (for example Muntagirov and Ospiova), much of the internal promotions have been solid rather than spectacular. Few people are rushing to grab tickets to see them perform the principal roles and whilst I have enjoyed O'Sullivan - little sets Magri apart from many of the other First Soloists in my opinion as a Member of CG and a paying spectator, regardless of what internally RoH think.
  24. TSR101
    I am going to be controversial here - in my first post - but I think the ROH (and Royal Ballet particularly) has missed a trick here. They are able to reach an audience they perhaps wouldn't normally, those people who are stuck at home and perhaps would not go and spend money on a ticket but would flick it on the tv. I know there is scoffing at ROH trying to draw in a new audience rather than look after the old, but its a fact of life that they need to continuing to refresh the audience from those who inevitably stop coming. Some of the ballets they have chosen and are continuing to chose - whilst brilliant for balletomanes - are not visually that impressive (its terms of the production rather than dancing) or well known. What has been the RB equivalent of La Traviata? Where is R&J, Manon, Sleeping Beauty, Swan Lake or the Nutcracker etc? I think something, even like Frankenstein - which I know most people on this forum hate - but every single person i know who went on reduced priced tickets loved, is a visually impressive modern production and a household name, would be far more popular than The Cellist and has a greater chance to draw more people in in the future. Just some thoughts!
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