Emeralds

I've seen a number of Don Q productions - some brilliant and some not as enjoyable. I think for me Nureyev's version comes out ahead of Acosta's two versions, and Acosta's BRB version comes out slightly ahead of his RB version. But Carlos needn't feel too upset about that conclusion- Nureyev had had a lot of practice staging the classics before he did his Paris Opera Don Q, while the RB Don Q was Carlos's first ever attempt at a full length classic. By the time he did the BRB production, he had had a bit more practice, and he could improve or correct some parts that didn't work so well. The only bit of the BRB version- which I enjoy immensely- that could probably do with some revisiting is the costume and hairdo for Amour because they look perfect on some dancers and strange on others! Have a look at other versions by Nureyev and some others on YouTube or DVD and see what you think.

Ah, Dawnstar, my longwindedness might have implied I didn't agree but I think we're actually singing from the same hymn sheet, so to speak. I think we agree that the current lead principals are correctly ranked and I'd say the current absence of (non-lead) principals is just coincidence. Like you, I thought it was surprising that Haw wasn't offered a principal position, but as there is a big jump in pay from first soloist to principal at ENB, perhaps Watkin was being cautious of offering a promotion before audiences, the board or both had seen him dance a full ballet here. I think Haw, McCormick and Khaniukova deserve promotion to (non-lead) principal now, for the quality of the performances all three have given recently.

Operalia has probably overtaken Cardiff SOTW in terms of influence as a competition in the last two decades. The equivalent of these two would be the International Ballet Competition which rotates around Varna (Bulgaria), Jackson (in Mississippi, USA), Helsinki, New York and Shanghai each year. Previously Tokyo and Moscow were part of the same group while Helsinki, New York and Paris were initially organised independently. Moscow now goes it alone (more so after February 2022). The Tokyo one has stopped although there are now competitions in Nagoya and neighbouring Seoul that replace it. Not quite sure if the Paris one has stopped as well. There are actually more dancers who have taken part in them than people realise: Lauren Cuthbertson and Laurretta Summerscales each got noticed more and cast in lead roles then promoted, after returning with a medal from a competition; Shiori Kase, Jeffrey Cirio, Isaac Hernandez, Tamara Rojo, Carlos Acosta and Sarah Lamb, for example, have all won medals at one or more of these competitions. Not all winners go on to succeed in professional dance careers and you don't have to enter one to have a successful career, but it's often useful for getting a good first job or getting lead roles and promotion.

Really sad to hear that you or anyone you know has been charged extra, Peanut68. Simple standard variations (OK they are not simple to do well) should be taught at all ballet schools. Music students get taught standard sonatas, etudes and concertos as part of their syllabus and they can enter competitions with that. No need for extra fees. (Of course, not everyone is necessarily good enough to win, not without a lot of study and practice.) Ballet students should get the same. If they aren't learning the Giselle, Don Q and Swan Lake variations, what in the world are they doing all day?? (Practising the technique, some might say, but it has to be put together into a variation. Many ballet schools abroad are teaching the variations as young as 14- not in a precocious or freaky fashion (that would be teaching it at 7....which unfortunately does exist!) but educating them about the phrasing, line and meaning, so they gradually build up the difficulty. I don't know of any successful winner at a major competition who went with a teacher- you've been tricked if a teacher said they must go. Katherine Healy (silver, Jackson, gold, Varna) went with her mother to Jackson because she was underage (14) but most go on their own. If they are young, and it's a city where English is not the first language, going with a parent or trusted relative can help. Don't pick an expensive hotel. There's absolutely no need to bring a teacher or coach- it's too late to learn anything new, and there's no need to analyse a performance afterwards- it really doesn't help the student. Many competitions such as YAGP put the rounds on YouTube. Competitions shouldn't be expensive either- you're don't get more points for a couture tutu, and you're not expected to fly direct to get there. You do have to get costumes but there are inexpensive second hand tutus, or you can dance Giselle and Swanilda's variations which have cheaper skirts, and Medora's variation can also be danced in a costume with a flowing skirt which works out cheaper. Likewise there are sensible ways to create a good male costume. Don't be quick to fork out a lot of money or assume you must. But graduates do need to have the drive to get ahead. There are an awful lot of very good graduates all competing for the same job. That said, companies that advertise auditions when there are no jobs or charge money for auditions- both are deplorable. You must ask before going to any audition- any decent company will tell you how many jobs are available. They're not obliged to hire if nobody is good enough but they should be honest about no vacancies.

I did wonder if Watkin was doing away with 2 categories for Principal, Dawnstar, but the truth is that the dancers he elevated to Lead Principal, Hawes and Arrieta, had actually been performing at Lead or "Etoile" level for some time now. Whether one likes their performing style or not, the quality of Hawes' and Arrieta's dancing and acting in the last season and this season show that they've earned that elevation. And although I complained about Sangeun Lee getting an instant promotion to Lead Principal on entry to ENB, she proved straightaway in the new Dawson work that she's definitely dancing like an etoile, or Lead Principal, and deserves that rank. Every performance I've seen her give has been that of a true star. I think Gareth Haw is dancing like a principal too, and deserves promotion soon. although I need to see him in a few more classical variations to be able to say whether that's more like Premier danseur/Principal/junior Principal level or more like Lead Principal/Etoile level. Certainly his partnering is like that of a Lead Principal. I just need to see more of the other side of his skills. 😊

I'm afraid 200 dancers to audition for just 4 places is actually common around the world - 12 is actually a massive number- if you shortlist it to only 25 or even 30, the 170 who weren't called will say "why wasn't I shortlisted? At least let me turn up to show you what I can do in person. A photo can't dance". There isn't an easy way to answer the question. Nobody wants to believe they will be the 13th dancer who won't get hired for one of the 12 spots or the 5th dancer who doesn't get one of the 4 jobs available. That's how you end up with 200 at one audition. I personally wouldn't pay for pre-audition classes/sessions/talks etc. I suspect sometimes they get organised because they get so many queries by phone or email from candidates (or their parents) hoping for tips. (I personally wouldn't organise one either- the costs of studio or room hire, cost of music or a pianist, insurance etc....) If you're very good, they will hire you whether you've done the session or not. And unfortunately, with the arts scene the way it is nowadays, LCB could even have filled all their positions with experienced freelance dancers in Britain without sp much as an audition because there are many of them. I have mentioned this next suggestion before and some parents have strong views about this: competitions. Not any fly by night one but just YAGP, Prix de Lausanne and International Ballet Competition Varna, Helsinki, Jackson (in Mississippi, USA), New York, Tokyo, or Shanghai. Ballet company directors do attend them, watch the rounds, and offer jobs to medallists and finalists they rate highly. Yes, there is a cost involved to prepare and get there. But if you think about it, travelling to every company individually for an audition adds up by the time you travel to 10 companies especially if they are abroad. (I understand PdL covers or subsidises travel expenses but you might need to double check current rules.) At a competition, 15 or more directors could be watching to select dancers. So with an international competition it could end up cheaper than going to audition at 15 different companies across the UK and abroad. You will be given a chance to perform your solo or pas de deux on stage whereas at auditions you could be rejected even before you have finished barre work. If you do really well in a competition you get a certificate or medal (or even prize money as well) which nobody can take away from you and will always remain on your cv (eg "finalist, senior women, IBC Helsinki" "bronze medal, junior division, YAGP Rimini/Tamps/New York etc") whereas you can't put down "made it to the last 6 of audition for X Ballet but didn't get hired". There is video preselection for competitions of course- some competitions are more tough to get through and others less so. With regards to ballet companies, graduates/students/parents might also want to look up Grand Audition and see if that is something that will work for you/your offspring. 10 companies currently take part. This is not advice saying what one must or mustn't do. Just options to consider. Being a dancer is a realy tough career nowadays.

They have those blocks at the back which the dancers move themselves on the stage ...hopefully the company has checked they fit the venue OK! Would be curious to know what you think of the production, Sophoife!

Very interesting and informative points, thank you @Linnzi5. Regarding the autocue issues, I wonder why they can't print out what is on it (since it's obviously pre-written) and give Darcey a copy in advance so that she can prepare/memorise it, and even if she changes a couple of words, it's better than witnessing her stumbles onscreen. Had no idea it was Petroc Trelawney co-presenting.....I'm sure if they had said, to him "Do a summary of the meaning and text of Fauré's Requiem to fill 2 minutes" he will do so beautifully as he will have covered it for Radio 3 before. He also presents at the Proms and Cardiff Singer of the World so he's used to filling in x number of minutes or seconds on a live broadcast. And of the current classical music presenters working today, he and Katie Derham are the only ones I've seen who are able to discuss ballet knowledgeably. They could also have got Darcey to fill in about Requiem being a tribute to Cranko as she has danced the ballet many times. What a shame about cast list for cinemas being wrong .....especially when the correct one was online at the same time! I assume the printed lists are done far in advance in their office but perhaps the cinemas could have put up printed notices saying that cast changes are online and given the link address or QR code.

I came here thinking there were some more reviews about the last performance on 6 April or suggestions about future debuts/performances to look for and got slightly confused by the Matthew Bourne discussion. 😉 Don't mind me..... 😁

Thanks for the report about this interesting event, @FionaM! I think it's brilliant initiative to take ballet as an introduction or "teaser event" to new places outside a conventional theatre or opera house. Was the event free or was there a charge (if so how much?) Great news to hear that they are close to sold out in the stalls and first circle! I'd say the event was successful if it made you consider buying another ticket to see Miki and Yasiel. 😀

Oui....I believe @Lizbie1 counted, or made a rough count.

Thank you @Scheherezade- the child discounts look new- they weren't there some time ago when I looked. The ticket situation is looking rather complicated and I sense some dynamic pricing is going on! I think I'm still going to wait for casting 😀....If they are reading our forum (and why not? 😉) I'd say a multibuy discount wouldn't be a bad idea and will shift volume: it's easier to persuade one person to buy three tickets than to persuade 3 different people to buy just one ticket each.

Odette-Odile, yes. But not other leads straightaway. In a TV interview she speaks of having difficulty (like many dancers today!) of persuading Ninette de Valois to give her roles she was interested in afterwards- BG: "May I do Myrtha?" NdV: "You can't have Myrtha. You're not mature enough" (Very soon afterwards...) NdV: "I think you would be suitable as Hamlet's mother". So much for being not mature enough....🙄 😂

To clarify, they (RB and ENB) won't be the exact same size as POB as that must mean the UK is ridiculously rich to be able to afford to subsidise two massive ballet companies, but simply to illustrate that I'm not comparing POB with smaller companies like Northern Ballet where the dancers share a lot of roles from character to lead to small group roles (the "Friends of Juliet/Giselle/Romeo" type roles) and corps roles quite often. That said, your point about the difference in numbers demonstrates why POB's ranking system can't have exact equivalents in all but the largest companies eg Bolshoi Ballet, and that's probably the reason why first soloists in RB, ENB and similar companies will still have to dance in the corps ensemble from time to time, while premiere danseuses/premier danseurs at POB don't have to- due to the numbers available. In fact in many medium and large ballet companies around the world, the only distinction between principal dancers and other ranks is that a principal doesn't have to dance in the corps ensemble- it doesn't guarantee them Giselle/Aurora/Juliet or Romeo/Florimund/Siegfried type lead roles, which can be assigned to soloists and occasionally corps dancers as well. Hence that could be why many POB dancers regard premiere danseuse/premier danseur as equivalent of principal dancer and an etoile as a senior principal or lead principal.

@bridiem, you are right that Ross MacGibbon hardly/never ever appears onscreen for these cinema relays. I think I've seen him talk once for a TV broadcast but that's it. (Happy to be corrected if there were appearances missed or not reported on!) He danced with RB from 1973-86 and was in the casts for Requiem and Different Drummer (probably not Danses Concertantes as I think the revivals didn't occur during his time at RB). Did they chat about that in the interview? 😊

I think just to add that a lot of MacMillan's more groundbreaking pieces took place around or after the time of hard hitting or experimental themes being explored in ballets and theatre in Germany and the Netherlands. I wouldn't use the phrases "inspired by" or "followed on from" as none of us can know what inspired him or where he got his ideas from, unless he specifically says he did in interviews or bookss, so I won't make assumptions. But certainly his ideas were ahead of their time for ballet in Britain and a lot of the English speaking world. It's also tempting to assume that other dancemakers subsequently followed his example. However I think it's more the case that choreographers and other artists have always sought to express what people go through, and once the critics and the public get used to the idea that this is a possible option, and stop putting art in pigeonholes ("ballet must be pretty-why is this not pretty!", "ballet is about being refined and elegant- can't you show torture and murder in an elegant way"), then choreographers get to stage such works more often, as directors or theatre managements get more confident that the works won't get empty houses or be cancelled, but can in fact draw audiences in.

I haven't seen them as an obvious last resort cover, but more in the first performances of a run, especially if that work is being filmed- I recall seeing Akane Takada in the Dryads corps in the early performances of Don Quixote while a First Soloist, Yuhui Choe and Valentino Zucchetti in the corps (not in the same run) of Requiem, just to name a few examples. Their experience and skill enhance the overall look of the ensemble and if it's a new production, enables them to familiarise themselves with the work before being in the leading role (eg the case of Takada she danced Kitri later on). Towards the end of the run, the newer artists and some RBS students fill the corps ranks. We've had this "is it urgent cover or planned casting" discussion before 😉. ENB first soloists do it very often throughout a run eg Nutcracker, Giselle, Corsaire etc.

I too would see Marco as Romeo, Franz or Colas (if the hints passed by KOH means Fille might return in 2025 or 2026), yes. Also, if Alice's Adventures in Wonderland return, as Jack. He'd also be a good Brother Clown in the upcoming Winter's Tale although admittedly the company is full of excellent potential Brother Clowns (Valentino Zucchetti, Luca Acri and Marcelino Sambe's old role) at the moment!

Actually, Deborah Bull, Darcey Bussell, Christopher Wheeldon. Tetsuya Kumakawa and Viviana Durante- among others- all entered the Prix de Lausanne while students of RBS. Maybe the trend now is for RBS to enter other competitions instead. I think with the right attitude, competitions are useful learning experiences and may even boost your career. You are basically casting yourself and you get a performing opportunity. Win win! Prix de Lausanne is the most prestigious student ballet competition in that it's open to students from all over the world (the Adeline Genee competition, now called the Margot Fonteyn competition, is only restricted to RAD students who have passed the highest level so that immediately eliminates a lot of competition from excellent dancers who haven't paid to take the "correct" exams.) YAGP is bigger and has cash as well as scholarship prizes, but is not so discerning about standards - one way to increase their revenue (by allowing anyone to pay to compete and just eliminaing them after the first round) and pot of prize money. The winners are of a high standard of course. William Bracewell and Melissa Hamilton did YAGP instead of Prix de Lausanne and won (Casalinho did both). Well, Munich/Bavarian State Ballet and Royal Swedish Ballet are both very different companies to Royal Ballet-as indeed Casalinho and Sellman are to Masciari. One is happy for the opportunities and successes that all 3 have had but I think it's futile to compare milestones and fret about which is better and who is missing out. There are many instances of dancers in the corps de ballet who danced Juliet....or Giselle....or Romeo one season (maybe one or two performances) but was still languishing as a first artist 10 years later. Yasmine Naghdi might be one example of someone who got overlooked for early opportunities after the initial heady excitement of being given a job in the corps de ballet by Monica Mason before her RBS training had even finished. But apart from Olga in Onegin she was passed over for many other big roles. She said her reaction was simply to tell herself to work harder so that she would be cast the next time. She was then given Juliet and she's now a Principal who has danced all the major classics, Balanchine, Robbins and McGregor as well and a popular guest artist- she got invited to dance as a guest with San Francisco Ballet before many of her peers did. I wouldn't worry about who is seemingly getting further ahead or doing it faster.

I think that sounds like a better experience than some ROH experiences I've had, Tango Dancer! That means there were more staff to serve you than there were customers to serve 😄 .....luxurious! You got the gist of the ballet there. Woyzeck is slaving away and putting himself through hell for Marie and their baby but she's already switched off from him - her interactions with him are just routine at best, cold at worst. The sashaying walk that Hayward did when she makes her entrance conveys how blasé she is with regard to Woyzeck. It's tragic for him and you can sense it's all going to end badly. Funnily enough I wasn't very fond of the ballet when I first saw it decades ago, but in today's society and perhaps with the passage of time, I realised what a brave thing it was for MacMillan to cover all these unpleasant and hard hitting topics that ballet hadn't really dealt with prior to 1984.

Here's why I think there is some overlap and Principal Dancer isn't exactly a clear cut equivalent of etoile and First Soloist isn’t definitely Premier danseur/premiere danseuse. In the UK system, Royal Ballet and English National Ballet are probably equivalent size wise to the Paris Opera. In the Royal Ballet and English National Ballet, first soloists do have to dance corps de ballet roles ie being part of the ensemble of wilis (not Zulme or Moyna but the rows of wilis), the Shades going down the ramp in La Bayadere, the rows of Dryads in Don Quixote. Likewise for the men, who could be cast as the unnamed rows of pirates in Le Corsaire, or the ensemble with no solos in Requiem, partners in the Act 1 waltz. The only ones who are exempt from corps de ballet duties are principal dancers. Some principal dancers have only ever danced Myrtha, Gamzatti and the Shades, but never Odette-Odile (or never Juliet), Giselle (or never Sugar Plum Fairy) or Aurora, though they may have danced the leads in many contemporary works. And likewise some male Principal Dancers have danced Lescaut, Mercutio. Hilarion but never Romeo, Des Grieux, or Siegfried. English National Ballet did create a title called Lead Principal which sounds like etoile- all female Lead Principals get to dance Juliet, Odette-Odile, Aurora, Giselle, Manon and all male Lead Principals dance Siegfried, Albrecht, Florimund etc. This could be why the Paris Opera didn't translate principal dancer ranking for Trusch and Sambe automatically to etoile. That said, I think Trusch and Sambe's seniority and level of experience in their companies (both dance Romeo, Albrecht, Siegfried etc) indicate that they have the same kinds of roles and skills as an etoile.

Not yet, but if all goes well she is likely to dance on the first night.

Sadly I can't go again tonight either to ROH or a cinema relay after all but for those who can, it will be great - even the bleak/harrowing story of Different Drummer notwithstanding! Besides Cuthbertson sitting out Requiem, it looks like James Hay will be sitting out Different Drummer again too. Aside from the main leads in Danses Concertantes, do look out for Zucchetti, Dean, and Maeda in the pas de trois in Danses Concertantes, Francisco Serrano as Drum.Major in DD, and Lukas B Brændsrød as Lamb's strong, gentle partner in Sanctus, and of course Lamb, Hamilton, Bracewell and Sissens... simply beautiful in Requiem. Hope the camera work takes in the subtle details of Hayward and Sambe's excellent solo dances. Enjoy, everyone!

I didn't say anything about parachuting someone in. I think we should probably let the thread get back to people who have actually joined RB, such as Darrion Sellman- making his debut as Siegfried tonight, woo hoo! Anyone who just happens to have tickets and is in Stockholm for his debut tonight or his second performance next Tuesday, please do start a new thread under Performances and tell us what you thought!

Marianela Nunez and Alina Cojocaru were both 15 and ready for dancing full time (as were lots of NYCB principals), but they couldn't be hired as full time dancers at that age and were enrolled as RBS students instead. Fernandes is closer to Nunez and Cojocaru in terms of ability than to an average 16 year old student starting out in Senior School dance training. But the question is irrelevant, as Fernandes wasn't setting out to get a job anyway (she actually insisted on completing high school studies when she began her demi soloist position in Munich). I was simply answering the question posed upthread about whether RB would offer a job to a phenomenally talented 16 year old. PS I don't think Fernandes and Casalinho have indicated publicly that they are life partners, just close friends and long time friends. They were only 16 and 18 when he auditioned! I think you might be confusing descriptions of both as being dance partners on stage with the term life partners. Having the petite Fernandes in the company was an advantage for the artistic director as Casalinho is mot tall and partnering women in the company significantly taller than Fernandes might have been challenging as a dancer starting out; yet they didn't want him just to do walk ons or be in the back row of the corps- with his virtuosity they wanted him in solo roles so he needed a partner.