annamk

Disappointed/baffled on 3 counts: electrifying partnerships come along so rarely and the Kaneko/Bracewell partnership was THE ONE since Cojocaru/Kobborg, I'm very sad that is not to be repeated; a pity that some of the Lescaut/Mistress casting is doubling up rather than giving opportunities to a Soloist - why not give Leo Dixon or David Donnelly a chance to show what they can do ? Bolle has had a magnificent career but he is nearly 50, surely Des Grieux is a young man's role. Is there really no alternative to bringing in a guest star ?

I agree, do post your thoughts @capybara I see Louise Levene at the FT was less enthusiastic than other critics.

David Hallberg appeared before the performance started for a brief "thank you for the welcome etc" speech; one thing he said was - and I'm paraphrasing here - that the pieces selected for the gala represented Australian ballet now not what it was.

That's all true Geoff although you can get some idea of how well things have sold in the weeks before the performance, it was obvious for quite some time in the run up to the last outing for Frankenstein that it was selling really badly and that they would have to paper the house to avoid a total embarrassment.

Very happy to see that Gerald Dowler is back reviewing again at Classical Source !

Surely they need regulars to buy multiple tickets, are there really enough new audiences to pick up all the unsold tickets ? I guess we will see this Autumn, I suspect there will be plenty of empty seats, particularly in the Amphi, no one I know would pay those prices. I hear that a lot of West End shows are really struggling to sell seats at the moment. I am also wondering whether the price increases are partly that the RoH is just stuck between a rock and a hard place with the huge funding gap they have to fill ?

The casting for Cinderella was released a bit more than a month before the start of the run and although the new director was not full time then I assume he was involved.

Also, I have often been able to buy a standing on the RoH website in the week of the performance.

But did they all come to London ?

Was there a list of all the dancers somewhere ?

I definitely bought less than in the past. All SCS so for me probably less about price and more about not very interested in the rep. If I couldn't stand I would be buying very little. 3 Don Q 1 Dante 3 Nuts No Cellist/Anemoi In the Linbury 1 The Limit 1 Northern Ballet I was looking at a few of the main stage ballet performances yesterday evening so before public booking opened and I was shocked at how few Amphi tickets have sold for many performances. It appeared to me as though Friends had voted on the Amphi pricing structure although of course some of the performances are still months away.

I did enjoy it. I'm not familiar with R.B.M.E. other than to know that it was created by Cranko on his most important dancers, but I think on reflection that I'd have got much more out of it had I read this review beforehand: https://www.seeingdance.com/stuttgart-ballet-remember-me-230727/#:~:text=The dance nestles perfectly with,ballet of so many highlights. I know Requiem from the Royal Ballet (although I asked myself after why it has been more than 10 years since they performed it) the music is so beautiful one can't fail to be captivated and of course it was beautifully danced by the Stuttgart company. While I'm here I may as well add (although it's not the right thread) that as well as the Vogel /Badenas Onegin we also saw the performance on 21 July with Paixa/Aleman. I haven't seen this pair in Onegin before and I was really impressed. I half expected the performance to be a poor relation of the one the following night but it absolutely wasn't. A tribute to the company that they can field many fine casts. We particularly noted the young Gabriel Figueredo as Lensky - his pre-duel solo was a thing of astonishing beauty. I think David Mead nails it here with this review https://www.seeingdance.com/stuttgart-ballet-onegin-230730/ except I'd delete the ? at the end of the first sentence int he title ! Both reviews were in the links, I just reposted them here for convenience.

25 years ! He's an amazing artist, I hope he doesn't have plans to retire any time soon. I saw his performance as Gremin on 22nd July in the Onegin cast with Friedeman Vogel and Elisa Badenas (both of whom were completely MARVELLOUS of course) and his portrayal was full of the nuances and sensitivity that come from a lifetime of performing. I so wish I could have stayed for his performance in the title role but sadly it wasn't possible.

Apologies if you are aware of this already Susan, but, up to 24 hours before the performance, you can return your ticket to the box office for a credit note less a £4 fee. I think you have 2 years to use the credit note.

The Remember Me bill had quite a few performances already in the season just finished (I saw it earlier this month) so I would be surprised if you have a problem getting tickets even for a Saturday. I was too late to get our tickets via the pre-booking (they only accept a certain number) but I had no problem buying them on line when general booking opened. I've bought tickets for Stuttgart performances both via the pre booking and online when general booking opens and I've never not been able to get tickets. If you choose to sit in the stalls it's worth being aware that the seats in the very centre are offset so you are less likely to have a problem with your view being obstructed by someone tall in front of you. I would like to have seen Remember Me from the Front row of the 1st rang rather than the stalls. The box office are very helpful if you have any queries and they reply to emails quickly.

Ticket spoken for.

Bumping this up before I return to the BO.

Both tx now spoken for.

D38 is spoken for.

£14 each, message me if interested. Anna

Frankly, irrespective of the fact that Sergei Polinin’s dancing is a poor shadow of what it once was, his open support for Putin (see his Instagram) means that I never wish to see him dance again.

Totally agree with you, the phrase a jack of all trades and master of none comes to mind. I really had my eyes opened by Tiler Peck's Turn it Out; two dancers particularly caught my eye : Jillian Meyers and lex Ishimoto. They danced with an extraordinary fluidity that I have not seen here in classically trained dancers in contemporary work. I think the forum has discussed this in relation to Natalia Osipova's forays into contemporary work.

D37 £10 Message me if interested. Anna

After all that the Don Q standing are £14 ! Pleasantly surprised as I didn’t see the earlier posts.

This doesn’t fall strictly in the title of the thread but as it’s the summer ballet recess I have to get my fix from clips on youTube and Instagram. There’s a very exciting young (just 22) Georgian dancer (Giorgi Potskhishvili) that at Dutch National Ballet who’s recently been promoted to Soloist - one rank below principal. Only a matter of time before he hits the top slot. https://www.operaballet.nl/en/dancers/giorgi-potskhishvili He puts clips on his Instagram account https://www.instagram.com/reel/CuPDu8bIDVY/?igshid=Y2I2MzMwZWM3ZA==