art_enthusiast

So who danced with Fumi in the Nutcracker matinée today?

1 hour ago, Emeralds said:

 

I wonder if a tech person or two might be off ill or something, and the rest are busy processing the returns. They might have to get extra staff in to man the phones to sell tickets. What’s more worrying for the ROH (or should be!) is that the opera Tosca is due to start in less than 5 hours and they still have over 100 tickets unsold and people can’t get through- the tickets are perishable. Great cast it is too - Freddie Di Tommasio is incredible and got rave reviews. At least RB has till tomorrow morning for the matinee. I’m going to leave it for several hours as mine is not so urgent. Best of luck, FionaE, and everyone trying! 

What's worrying is how their entire website system is built - its failure shouldn't be dependent upon the absence of one or two people (especially not in this current day and age!). I'd be interested to know how they built the website, and how its format leads to things like this happening...

14 minutes ago, Emeralds said:

It is highly unjust and wrong that as one of the most popular and dependable principals at the time, Chadwick was not given a medal and retired amid flowers and cheers (she could definitely have continued dancing for a lot longer)  but instead was treated so disgracefully. A stupid decision. Glad the House and the company are run so much better now. 

Indeed! It seems very absurd to want to let go of a Principal, especially due to the additional maturity and artistic expertise they bring to their dancing - as evidenced by many of the most experienced principals now.

2 hours ago, jmhopton said:

I've still got the series on video somewhere.  Never got round to transferring it to dvd as I found it disappointing and irritating.  I was hoping to find out how the ROH was run, how it was decided what ballets/operas were to be staged, the staging process, how the opera company was formed, is there a permanent chorus equivalent of the corps de  ballet; all these sorts of things. Instead the concentration seemed to be on extraordinary not ordinary events, such as substituting star singers at the last minute and management throwing phones across the room. Presumably the makers thought that made for more interesting TV but it was a big turn off for me. I think there was something about one of the dancers having her contract terminated but no explanation seemed to be given. 

Thanks for all the above replies everyone - sorry to have misdirected the topic slightly.

Regarding the series, I watched a few clips on YouTube and found it quite distasteful to see all the arguing (and swearing) about funding, and architectural complaints from the Covent Garden community. It seems more like a sustained reality TV argument than an in-depth portrayal of one of the most renowned theatres in the world, I assume that's what the producers were going for.

Also disliked the references to an 'elite' audience of the ROH, and the way they referred to such audiences as 'special' - it seemed quite derogatory to others.

Still great to see Fiona Chadwick (I've never heard of her much before, and have consequently looked up some of her performances) and also Anthony Dowell, and Darcey Bussell.

8 hours ago, alison said:

She did: they both featured in one episode of The House (which reminds me, I never did catch up with all of them on YouTube), being told that they'd got places with the company.  Little did we know then what either of them would go on to achieve ...

 

I didn't know about any growth spurts, though.

Just watched a few clips of the House on YouTube - very interesting historical look at the ROH and the different experiences and problems encountered by the RB and RO. 
Is there a thread about it potentially?

6 hours ago, Lenore said:

Not sure this is the right thread, but just as a heads up for those wondering about the seat views - was looking for tickets this morning (for Tosca, but tried for Swan Lake & get the same result) & I now get the option to ‘pay using the new checkout’. 
 

When I selected ‘yes’ to go ahead with that, it took me to a new seating plan which honestly hurts my brain a little (maybe it’s better on a laptop/computer - I’m on mobile). The upside is that the seat view preview is back when you select a seat. 

Not sure if this is just random, for now, as it does say feedback/suggestions are requested after checkout… 

 

Interesting, I didn't see this option when using the site today

45 minutes ago, Silke H said:

@Sim @LinMM At least there's some sort of choir this year.

In the very short-lived Covid version last year there wasn't even a recoding of the choir and the Waltz of the Snowflakes really felt a bit deflated with there being far fewer snowflakes and also missing something essential in the music without the choir.

Wow, it must have been very strange to hear that incredibly familiar music without the choir - I'm actually intrigued at to how it would have sounded though, and how they may have felt dancing without it.

23 minutes ago, maryrosesatonapin said:

I don't think I have ever seen Lamb/Muntagirov as dancing partners but now I wish I could!  I think they would be very well-matched in style and appearance/build.

I believe they did Manon together before? I've seen the recording and it's definitely amazing.

5 minutes ago, alison said:

The choir is recorded this year, I believe.  That's what it's sounded like so far, anyway.

Oh really? Because of Covid restrictions I assume.

2 hours ago, FionaE said:

You’ll likely have to travel somewhere (hopefully in Europe rather than further afield) to see performance #3 😉  I’m hoping for summer 2022 🤞

If Covid permits!

40 minutes ago, maryrosesatonapin said:

We both remarked on that, @FionaE.  I actually think Alina lifted him.  I know it sounds incredible.  And I agree it was incredibly moving and dramatic. 

Really makes me wish that they had recorded it!

On 27/11/2021 at 23:26, alison said:

 

I said that at his graduation performance, when he was in Lilac Garden - or Jardin aux Lilas, whichever they called it.  Not that there can be a "new" Watson, Dowell or whoever, but you know what I mean - I was referring to his acting potential more than anything, I think.

 

 

Indeed.  And hopefully we will get to discover more of what's exciting about him in the not-too-distant future.

Definitely. I loved his performance as Romeo with Fumi Kaneko, just incredible. Very evocative acting from both of them.

20 minutes ago, prs59 said:

 

RB might probably be playing rock/paper/scissors to decide who goes on instead.... 😉

that's what makes Nutcracker season interesting, the uncertainty of who will actually dance on the day/night....  it also tends to throw up some 'scratch' pairings which one might never have got to see otherwise.  we've already had Reece (Clarke) & Fumi (Kaneko).

Yes sure - I'm guessing it won't be William Bracewell, as he's already on that day!

12 minutes ago, EVWS said:

For anyone with tickets on Friday, Steven McRae has just posted on his Instagram that he won't be dancing the Sugarplum Prince - ROH website not updated yet though

Such a shame! But of course recovery is most important.

Do you know who might be standing in for him?

21 minutes ago, FionaE said:

I’m hoping to see her in lead role of the new Kyle Abraham, as she was in the short excerpt earlier this year.   And she is cast to do Juliet in the next run of R&J.  
 

Also she does get international guesting opportunities … regularly with Roberto Bolle (seems to be his first choice of partner) and also in Russia.   She performed Cathy Marston’s “In Our Wishes” with Lukas BB in St Petersburg at the annual Dance Open Festival in November.  How I wish for some video of that! 

Yep, would love to see that.

Did she do Manon with Roberto Bolle? I saw a video on the ROH YouTube of her rehearsing Manon with Matthew Golding. I don't believe there's any recordings of that performance?

I suppose it's not possible to predict when she might be doing the Arabian Dance in the Nutcracker again? (After tonight). I'm going in a few weeks and I was hoping to see her in that role, or as the Rose Fairy.

6 minutes ago, alison said:

 

Ooh, is it actually going out live?  I can't get used to the concept

I believe it's streamed live directly from the Royal Opera House to cinemas?
So all real time.

1 hour ago, FLOSS said:

My suggestions begin with three autobiographies  Karsavina's  "Theatre Street", "Dancing for Diaghilev" the recollections of the English dancer, Lydia Sokolova of working for the great man coauthored by Richard Buckle, and the first volume of Bronislava Nijinska's autobiography. I would add  Richard Buckle's biographies of Diaghilev and Nijinsky. While the  scholarship may have dated a bit Buckle, a ballet critic who studied ballet to understand it, and staged the first great Diaghilev exhibition to mark the twenty fifth anniversary of the impresario's death in 1954, was the first to write seriously about both men and of course he had met and knew a lot of those who were involved with Diaghilev's company over the years.

Thank you for the recommendations.

Just wondering if anyone has read Holding on to the Air by Suzanne Farrell? I'd really like to read it, to get more of an insight into the New York City Ballet's early years.

49 minutes ago, FionaE said:

Geksey Kirkland’s Dancing on My Grave is rather shocking … and possibly not entirely honest (in my personal opinion) about how much drug taking was going on in order to perform. 
 

I’m sure there are dancers now having operations/procedures to improve their appearance … more arched feet, less chunky thighs, smaller breasts, etc. 

Yes, I've heard that her book is quite detailed about this. It seems like she went through a lot (I haven't read it yet). I'm interested to see more of the performances she did with the Royal Ballet, if I can find any. I think I found a recording of her Juliet performance, which was amazing. It looks like she had a great experience with the RB.

12 minutes ago, FionaE said:

Also David Hallberg’s A Body of Work 

I've read that - probably my favourite, it's an amazing book.

Just wondering if anyone can recommend any other good ballet biographies/autobiographies? I read Rudolf Nureyev: The Life recently (by Julie Kavanagh) and found it extremely detailed and interesting.

56 minutes ago, LinMM said:

Well I don’t mind looking at tutus in an exhibition for example as some of them are beautifully made and nice to look at ...I just don’t like wearing them ...not even in the days when was more sylph like let’s say! 
I don’t mind other people wearing them either but I’m more of a Juliet dress type myself. 

Sure (love all the Juliet costumes). I also have nothing against beautiful tutus - the Raymonda Act 3 ones are amazing.

I was just observing that they have played a part in giving ballet the "frilly/feminine" reputation it has had for a while, which may have put potential dancers off, boys being teased for choosing it, etc. I used to think that ballet was reserved for a girly/feminine type myself, until I realised that it is actually extremely athletic and requires immense strength and skill, just as much as an Olympic sport. 

It's also interesting to see current artists exploring different representations of gender within this art form (men wearing tutus and pointe shoes, women being encouraged to try more male-specific choreography, etc).

I'm fascinated by gender-based variations of famous ballets, like Matthew Bourne's Swan Lake. Also I think in the ROH Late cabaret event in November, an LGBT reinterpretation of Giselle was performed? Not sure as I didn't attend, but the schedule looked very interesting.

3 minutes ago, LinMM said:

Pink tights are a nightmare in their variation in colour in fact 😳Especially if you need XL ones. 
Im just not a typical ballet person really as I HATE pink tights and shoes with ribbons! And dislike ballet buns for hair ( sorry bun lovers) and wearing tutus etc etc. But this is definitely not typical! Most dancers including amateurs can’t wait to put a tutu on!! And see sewing ribbons onto ballet shoes as a labour of love! 
In the past ten years or so I‘ve only worn  pink tights and pink shoes with ribbons strictly for performances .....so when I’ve had to!! 
I flirted with various dance practice skirts in class for a couple of years but usually these days am happy in black/grey/ blue yoga type leggings and shoes with elastic...preferable already sewn on when bought! 

Sorry this has virtually nothing to do with Giselle but Anna C’s post about pink tights just set me off. I don’t know why I can’t love them like everyone else seems to. 

I don’t mind the Giselle dresses though.... a nice reasonable length!! And loved being a wili in the very last performance I did as an amateur dancer a couple of years ago now. 

I'm also not a pink tutu/tights/tiara fan. But I think a lot of ballets now are veering away from that "pink and frilly" costume stereotype (except for the classics like Nutcracker and the Sleeping Beauty). That might be why I loved the Dante Project so much - I thought the costumes were very interesting, fresh and dynamic. And the costumes in other abstract ballets and Wayne McGregor works of course.

A lot of the Balanchine ballets are commonly known as "leotard" ballets - no tutus needed. Tutus are also quite hard to dance in due to their weight, I've heard.

1 hour ago, Bluebird said:

I first noticed the following message early today (it might well have been there since yesterday):

Our internet services provider is currently experiencing technical difficulties that affect our website and others around the world. Please do not call the Box Office, but bear with us and we hope this will be resolved soon.

I work in the technical field so I understand how unpredictable and complex these things are. However, I think maybe the ROH should switch their services provider, because technical difficulties do seem to be quite prevalent on their website. (I've had upcoming events disappear for me before, and well maintained websites should not be prone to crashing due to numbers of visitors).

Given that mostly everyone accesses their tickets digitally now, it is important that people are able view current bookings and upcoming events digitally without difficulty. (Indeed, printing something out and showing it is quite abnormal for many consumers now, and also leads to more spreading of variants!) It's simply part of the 21st century good customer service experience.

37 minutes ago, zxDaveM said:

 

Got mine 🙂

Would be interested to hear your opinion on it after reading! I'm very interested in what Yasmine's experience may have been like in the Upper School, I think one chapter focuses on that.

15 hours ago, oncnp said:

 

Of course I can't find the article now........and it was pre-pandemic. Much may have changed. 

Do you mean that after the pandemic, he would want to extend his career?