annamk

I didn't think much of Corybantic Games when it premiered, I hate Anastasia and I find most McGregor more style than substance so I only have tickets for Morera's final performance and I am even dithering about that. 

Hi Susan, thank you. I sent you a message. 

Looking for a ticket for this if anyone has a spare, happy with a SCS.

Anna

There are some performances of Manon in Stockholm over the next few weeks and I am wondering if anyone who reads this forum has plans to go and if so maybe they could post some words about it. 

I actually don't know the company at all, it came to my attention because Friedemann Vogel is guesting there as Des Grieux for 3 performances. His Manon is Sarah Erin Keaveney who is British and joined from the Royal Ballet School in 2018, so she is young. She's currently only a second soloist and this is a debut for her. 

So so annoying last night that in the middle of Akane's wonderful Rose Adagio a woman opened the door to the stalls circle left side and marched noisily along in her heavy boots all the way to the back of the standing places. It was totally distracting and broke the spell. How does anyone think that is ok ? 

It was even worse than the person standing next to me during the live relay who spent more time on her phone than watching the stage and left in the middle of the grand pas. 

Not an usher in sight on either occasion. 

I was really impressed with Sae Maeda beautifully dancing 2 soloist roles (Fairy of the Woodland Glade and Florestan's sister) in the Naghi/Ball Sleeping Beauty on 17th May. She's currently only a First Artist. 

8 hours ago, Sim said:

Yes. He also gave a finely considered Paris, one of the best I’ve seen. He really made something of the role.  

And he was memorable in The Invitation - I thought things would take off for him after that but they didn't really. 

I went to yesterday evening’s show on the strength of the forum reviews for this cast’s first performance.

I thought Yasmine Naghdi’s Aurora was sublime: grace and warmth personified, utterly enchanting and entirely unaffected or showy. She is so technically able she makes the tricky steps look anything but and her stamina is quite extraordinary. Brava.

Matthew Ball was a generous, charming, affectionate partner. His pre Dream scene solo was danced with more freedom than I’ve noticed from him before - his style reminded me very much of William Bracewell. His grand pas solo was really a step up from any dancing I’ve seen from him previously. Bravo.

The grand pas was executed flawlessly; the affection between them was unmistakeable; musicality and dancing in fine harmony. Bravi.

Elsewhere Joe Sissens and Isabella Gasparini gave a phenomenal account of Bluebird and Princess Florine. I admired Calvin Richardson’s Florestan and his sisters, Sae Maeda and Annette Buvoli were exceptional. It was, I felt, taken at terrific speed by the orchestra and is so much more exciting for that.

A showcase for the talents of the RB across the ranks, it will look terrific in the cinemas. 

50 minutes ago, Lizbie1 said:

They won't publish the Ashton pricing till next year.

 

Don Q pricing is (no seat maps!):

 

Stalls: £150, £125, £104

SC far sides: £52, £36, £26, £14

SC: £150, £125, £104, £83, £67, £52, £36, £26

Grand Tier: £150

GT boxes: £150, £104, £67

Balcony: £125, £104, £83, £52, £26

Balcony boxes: £52

Slips: £26, £14

Amphi: £104, £83, £67, £52, £36, £26, £14

 

(Copied manually so there may be the odd error!)

Is there no mention of SCS or Balcony Standing prices ? That's odd ..... 

I really enjoyed the evening. 

James's elegance and refinement and Akane's delicacy perfectly compliment each other. 

It was a pleasure to see Annette Buvoli make easy work of the Lilac fairy variation.

And interesting to watch younger dancers being given opportunities: Denilson Almeida as one of the cavaliers and Harrison Lee as Florestan. 

I loved the orchestra under Jonathan Lo, I wonder if he will continue to guest conduct once he goes to Australia or whether his commitments there will be full time. 

And here I go again ....... James is such a beautiful classical dancer, it saddens me that he has had relatively few principal opportunities in his career. With a long run of Nutcracker and Swan Lake next season would it be too much for him to pick up a couple of performances as the prince - preferably opposite Akane.

3 hours ago, Sim said:

The question arises for me as to whether an opera critic should be writing about classical ballet or dance.  

I was curious about this too but when I googled him I found to my surprise that he has written a book about Diaghilev and has been following dance for many years. Wiki says he was the Mail on Sunday dance critic but I don't remember seeing his name against any dance reviews before the Spectator. 

https://www.faber.co.uk/journal/behind-the-book-diaghilevs-empire-by-rupert-christiansen/

15 minutes ago, Sim said:

I so agree, Dave.  I am only going once, and that's only because it's Laura's final performance (in London) with the company.  Otherwise I would be skipping it altogether.  

Me too.

In fact I'm still dithering about skipping it.

Not sure I can think of a more crushing choice for an incomparable dancer to bow out on; I suppose in some ways it kind of reflects how under appreciated and under used she's been by the RB for much of her career. 

I am sorted thanks to the RoH website ! 

Ticket now spoken for.

Still looking for this. 

£12. 

Message me if interested. 

Anna 

4 minutes ago, FionaE said:

The Wheeldon choreography, story and stage construct is very different (and much better in my view) than RB.  It would be a stretch for any dancer unfamiliar with this ballet to take on a lead role.  (Much like the stretch of Tissi, Camargo, Andrijschenko taking on MacMillan’s Romeo at RB some years ago.)

 

Personally I don't think Wheeldon's Cinderella requires anything like the partnering or acting skills of MacMillan's Romeo. 

If anyone has a spare for either of the Naghdi/Ball performances please message me. 

Maybe the Balletcoforum should run its' own awards ...... 

No disrespect to the critics but members here know at least as much as they and see many more performances. 

There could be fun awards too; like the best member photograph, the best post, the most liked post, the best costume, the daftest costume ..... 

I am only half joking ! 

Does anyone know when Stuttgart will announce 23/24 season ? 

And 2 ashton programmes including The Dream/Rhapsody 

Both tx now gone.

14 minutes ago, RobR said:

Interesting to read the majority of posts in this thread about the athleticism of various male dancers and minimal mention of female dancers. Even before I had any particular connection with ballet, when I just went to enjoy a performance, it was the grace, co-ordination and the choreographic symmetry of the female dancers, which entranced me. 
 

David Drew, doubtless being over modest, told me (and others) that when he joined the company his principal job was to support his female partners. 
 

So, great though it is to watch all the guys jump and leap about the stage, I’m not sure that that’s what ballet is all about 🙂

Most of these posts referring to the male dancers athleticism are written in the context of the class on stage; the dancers were just having a bit of fun and the audience responded. 

When it comes to performances I think everyone here appreciates the ladies as much as they appreciate the men. 

D15 is spoken for, D14 still available. 

I love Don Q but I don’t really like the Acosta version - he has dumbed down the choreography for Basilio and Kitri so it really isn’t exciting.