MaddieRose

In St Pancras waiting for my train home and all I can say is wow! I loved Fumi and William, they were absolutely incredible! The whole performance was brilliant!

Another round of congratulations for Claire and Alexander, who are expecting a baby! https://www.instagram.com/p/CpMyPfzodhO/?hl=en

I'm also going to the matinee on the 4th. It's my first time seeing Sleeping Beauty and I'm really looking forward to it!

Birmingham Hippodrome run sold out according to the BRB website!

Nicoletta Manni posted on Instagram to say her and Timofej Andrijashenko are performing Petit's Carmen

I echo the recommendation for the Arcadian car park, as far as I'm aware it's cheaper compared to others in the area (first time I went to see a show in Birmingham my Great-Aunt recommended a horribly overpriced car park to my Mother- it's still a sore spot 9 years later. Thankfully that car park is now gone). I've previously sat in the front row of the stalls, the front middle of the circle and a restricted view seat in the circle (to one side). I found all three to be sufficient for what I paid for them. As a tall person I found the stalls front row to be rather spacious compared to other theatres I've been to, and obviously had a brilliant sight line. The front middle of the circle is okay too, and even the restricted view seat barely restricted anything, and for that particular production it was £20 cheaper than the one next to it. The sound has always been fine no matter where I've sat.

Not ballet but I was at the Royal Shakespeare Company's Tempest this afternoon (which was incidentally very good) and ended up sat next to a school group of what must have been Year 8s. I gave them the benefit of the doubt at first, and they were relatively alright in the first act, just a bit fidgety. At the theatre they give out interval drinks in plastic cups, and one of the schoolkids began to scrunch his very loudly at the start of Act II. I went to say something but before I could the man in front of us turned around and whispered 'Shut Up' They then, unfortunately, got the dreaded phones out, and as soon as one lit up the man whipped around and gave them what can only be described as Paddington's hard stare. They got the message then.

Looking forward to going to Nottingham for this! The dancing looks interesting, but I would happily go just to hear Jeanette Wong and Antonio Novais play the Rachmaninoff, it's blissful. The most well-known dances to me are in the 1st Act, but closing with Majisimo is sure to be fun.

I saw Northern Ballet's Casanova in March, with Lorenzo Trossello in the title role. I really enjoyed the ballet, especially the final scene (this sounds like a dig but it's not, I genuinely just found the final scene really moving and compelling). It was my first time seeing Northern Ballet, and the versatility of the company is very admirable. Trossello in the leading role was obviously the highlight, but my other favourite performances were Abigail Prudames as Bellino and Ashley Dixon as Bragadin. I also saw the Royal Ballet for the first time in their Ashton Triple Bill in April. I was so happy I made it down to London for this because I really really wanted to see Scènes de ballet in particular. My casts were Sarah Lamb and Vadim Muntagirov (Scènes de ballet), Marianela Nuñez and Matthew Ball (A Month in the Country) and Francesca Hayward and Marcelino Sambé. (Rhapsody). They were all brilliant, but my highlight was Marcelino Sambé in Rhapsody. In Nottingham in May I saw the BRB and the Royal Ballet Sinfonia's Evening of Music and Dance. It convinced me I need to see the full production of Coppélia, as Brandon Lawrence and Céline Gittens danced the Act III Pas de deux. Lawrence and Yijing Zhang were stunning in Ben Stevenson's End of Time Pas de deux, and I can replay the majority in my head I was that enthralled. The Spanish Majisimo (led by Yaoqian Shang and Mathias Dingman) was a wonderful ending to the evening. I then didn't see any ballet until September, when I saw the Nureyev Gala. Getting the opportunity to see Natalia Osipova and Alina Cojocaru (dancers who I idolised as a child) was brilliant. I also really enjoyed the range of pieces that were performed, and the audience favourite was Cesar Corrales, who I reckon could've jumped his way around the whole auditorium if he was given the opportunity). My last ballet trip of the year was Coppélia in Birmingham in October. While soured slightly by shoddy train journeys (Lincoln to Birmingham by train is not an experience I particularly want to repeat), I loved this ballet. Momoko Hirata and Tzu Chao-Chou were brilliant as Swanilda and Franz, as was Rory Mackay as Dr Coppelius, and the whole ensemble seemed to be on top form. I unfortunately had to miss out on the Royal Ballet's Mayerling and Northen Ballet's Nutracker in November because of train problems (ironically neither were strike days), but I'm sure the opportunities to see those will crop up again sometime in the future. My top three highlights of the year: Brandon Lawrence and Yijing Zhang (BRB) in Ben Stevenson's End of Time Pas de deux. I was lucky enough to be sitting in the front row that evening, and I think it gave the piece such intimacy, which is useful as the two dancers are supposed to be last pair of humans left. Cesar Corrales (RB) in the Laurencia Pas de six and the Le Corsaire Pas de deux at the Nureyev Gala. The whole company in BRB's Coppélia. Everyone was a joy to watch on stage.

Shiori Kase said in an Instagram post she had injured her foot (about a fortnight ago) so it could be because of that, as she's not performing in the Sadler's Wells mixed bill either.

Wasn't quite sure where to put this but BRB have announced that Vadim Muntagirov will guest in Swan Lake (opposite Céline Gittens) at the Theatre Royal Plymouth on Friday 17th and Saturday 18th March 2023.

Back home after the matinee today (I had 4 trains there and back and 3 of them were delayed/cancelled ) But the show was fully worth all the travel havoc. Momoko Hirata was as weightless as ever, her pointe work is brilliant. She was incredibly clear in her mine, had all the comedic timing the role requires, and was a joy to watch even when not dancing (especially in Act 1, when she's very miffed at Franz). Tzu-Chao Chou, who, if you read my posts on the forum before you'll know I'm a fan of, was brilliantly cheeky. The ladder being brought across the stage was a highlight. But of course, as he is Tzu-Chao Chou, when it came time for the jumps and whirls he went whizzing off. Joining the whizzing off club was Enrique Bejarano Vidal leading the Call to Arms- if my faulty memory serves me right his turns got the only untimed applause (by that I mean when there was no indication to applaud). Back to Act I, Ellis Small made a wonderful debut as the Gypsy. Apprentice Olivia Chang Clarke in the role of Coppelia was doll-like, which would be something I could use as a compliment in other circumstances but here I am just stating fact. Rory Mackay was glorious as Coppélius, getting large laughs from the audience over and over, and him and Hirata were a comedic duo worthy of the ages in Act II. Rosanna Ely was radiant as Dawn (as you'd expect), and Lucy Waine was graceful in the Prayer solo. Reina Fuchigami and Gus Payne were the Betrothal couple, and were rigidly easygoing, if that makes sense (they were doing the steps as choreographed, but looked as if they were just having a fun little time in the inn). Overall the corps were brilliant, giving the audience a lively Mazurka, a blissful Waltz of the Hours, a glorious Work, a mighty Call to Arms, and so much more. There were a lot of families there which was nice to see, and everyone had a good laugh. I even got an ice cream in the first interval! Two trains and a taxi later and I am back home knowing I got to see an outstanding performance.

Quick thoughts on the matinee while I’m waiting for my train. My Mum has a category of dancers she calls ‘jumpy men’. This category existed of Tzu Chao-Chou and Marcelino Sambé, and now also consists of César Corrales. I see what people meant about the orchestra; he needs the whole stage. His turns were out of this world, I was spellbound. Natascha Mair had a bad stumble towards the end of her Sleeping Beauty solo, and had to use a hand on the floor to keep herself from properly tumbling, but she recovered. Her and Vadim Muntagirov did some splendid fish dives. Frola and Hawes were brilliant. As Frola’s been highly complimented I feel other’s words have been enough. Hawes has an excellent musicality, and both of them were acting and playing their parts well. These are my ‘quick thoughts’, though they are longer than I intended them to be. But all in all I’ve had a very good day.

Here's a blog post about the 1946 Sleeping Beauty premiere with some photos: https://royalwatcherblog.com/2021/02/20/gala-performance-at-covent-garden-1946/

Paul Kay has also been taken off the website cast listings for the role of Bratfisch. It now reads TBA.

Germain Louvet is injured and has had to drop out, so Guillaume Côté will dance at all 5 performances.

English National Ballet have announced that Aaron S. Watkin will become their new Artistic Director. Watkin previously served as Artistic Director of the Semperopera Ballett in Dresden, Germany (since 2006) and has danced with ENB in the past. https://www.ballet.org.uk/blog-detail/aaron-s-watkin-new-artistic-director-english-national-ballet Today, we announce that Aaron S. Watkin has been appointed as our new Artistic Director, taking up the position in August 2023. Aaron comes to English National Ballet from the Semperoper Ballett in Dresden, Germany, where he has served as Artistic Director since 2006. During his tenure, he has built an internationally respected reputation for the company, known for the diversity of its artists and repertoire. He has presented works by some of the world’s most renowned choreographers, from George Balanchine to Pina Bausch, William Forsythe to Martha Graham. Aaron’s appointment as Artistic Director sees him return to English National Ballet having previously danced with the Company thirty years ago. Born in Canada, his stage career also saw him dance with National Ballet of Canada, Dutch National Ballet and Ballett Frankfurt, before becoming a Choreographic Assistant to William Forsythe, staging his works throughout the world.

MacMillan’s Isadora as well. Enigma Variations perhaps? Ashton’s Nursery Suite. Boris Eifman’s Red Giselle and Musagète are based (loosely?) on the lives of Spessivtseva and Balanchine respectively.

I saw my first live ballet with BRB's Romeo and Juliet last October, César Morales and Momoko Hirata (Romeo and Juliet) and Tzu Chao-Chou (Mercutio) led an absolutely amazing cast, all of whom looked just as happy to be on the stage again as we did watching them. The lady next to me pointed out Miki Mizutani (as one of Juliet's friends) as most likely to be a future Principal, and that lady was indeed correct. Northern Ballet's Casanova had another excellent cast headed by Lorenzo Trossello (who I hope to see at ENB in the future) as Casanova, that showed off the versatility of their dancers and the range of performances they can bring to such a vary of different roles. The ending scene with the pages falling and Casanova standing on the table is one that will stick with me for a long time. Then it was back to BRB in Nottingham in May, and it was nice to see some of the same dancers as in Romeo and Juliet. Mizutani once again shined opposite Max Maslen in the Bluebird Pas de deux. But my ultimate non-Royal Ballet highlight of the year has to be Brandon Lawrence and Yijing Zhang in Ben Stevenson's End of Time Pas de deux. I was lucky enough to be sitting front row, but I imagine even if you were further back you'd be just as spellbound. The pair were absolutely incredible, and it's another that will stick in my memories. I'm excited to see the companies again next season (my lineup so far includes BRB's Coppelia then the RB's Mayerling, which is about as opposite as you can probably get), and hope to catch up with ENB and see that company for the first time.

Paris Opera Ballet Étoile Germain Louvet has been announced for the line up, I assume to take the place of Hugo Marchand

I've done a search in Russian, and every relevant result for Nerubashenko Ballet leads back to the Moscow City Ballet (granted most were from a few years ago). So unless they are a very new company set up by Lyudmila Nerubashenko I think they are the same thing. Perhaps it is a new name because Nerubashenko is from Odessa?

https://www.brb.org.uk/post/joiners-leavers-2022 Promotions: Yu Kurihara from Soloist to First Soloist Max Maslen from Soloist to First Soloist Lachlan Monaghan from Soloist to First Soloist Beatrice Parma from Soloist to First Soloist Miki Mizutani and Yaoqian Shang's promotions to Principal were announced earlier in the 2021/22 Season. Joiners: Riku Itu joins the company from Northern Ballet as Soloist Jack Easton, graduate of The Royal Ballet School, joins as an Artist Frieda Kaden, graduate of The Royal Ballet School, joins as an Artist Mailene Katoch, graduate of Paris Opera Ballet School, joins as an Artist Oscar Kempsey-Fagg, graduate of The Royal Ballet School, joins as an Artist Mason King, graduate of The Royal Ballet School, joins as an Artist Madison Penney, graduate of The Royal Ballet School, joins as an Artist Hannah Martin, after a year as an Apprentice with BRB, joins as an Artist Leavers: Anna Ciriano - Artist: Anna joined BRB in 2021 after having danced with Orlando Ballet and English National Ballet. She trained at English National Ballet School. While dancing with BRB Anna demonstrated her beautiful artistry in several corps de ballet roles. She was a valuable member of the cast of Don Quixote for that long run of performances and always showed a willingness to help the company in any way that she could. Anna also showed off her talent and versatility during the Don Quixote tour by performing the lecture demonstration section of First Steps Cinderella’s Storybook. Josue Gomez Sarria - Artist: Josue joined BRB in 2021 after having trained at Elmhurst Ballet School. Josue proved himself to be a very talented dancer with great potential during his time with BRB. Josue danced the Seguidilla as well as many performances of Rascals in Don Quixote and always brought energy and commitment to each role that he was given. Alexander Yap - Artist: Alex joined BRB in 2018 after having been a member of Northern Ballet from 2015. He trained at Royal Ballet School. During his time as a member of BRB Alex has excelled in many roles. He appeared as Honneur in Sir David Bintley’s The King Dances, Hilarion in Sir Peter Wright’s Giselle and most recently was fantastic as Espada in Don Quixote. During The Nutcracker he broadened his artistic experience by taking on the role of Drosselmeyer. With his impressive set of skills and exceptional work ethic, he has a very exciting career to look forward to. Alex is joining Hong Kong Ballet as a Soloist.

Alexander Yap, who was praised earlier in the thread as Espada, will be dancing his final performances with BRB at the Thursday Matinee and Saturday Evening shows. He leaves to join the Hong Kong Ballet.

I have 26th July when I'm logged into my account, but that's for Young ROH.