jmhopton

Yes it was and they did some great mixed programmes and triple bills. I've still got my bookmark from Preston. I remember seeing London City Ballet at the Grand Theatre Blackpool do a terrific mixed bill also. Far better than anything the RB did with their terrible Dance Bites. Such a shame that these days mixed/triple bills often means modern ballet when Companies have a range of traditional one act ballets in their repertoire that are in danger of falling out of their repertoire because of lack of use and lack of experienced practitioners to teach them. When was the last time a UK company staged Les Sylphides to name just one quite well known short ballet? Who decides people don't want to watch these sort of ballets? Focus groups? ADS? Surely with the right sort of promotion it might be worth trying a more traditional mixed bill in small venues like Blackpool or Cheltenham which have a ballet going public.

Because I was unable to book a return ticket back to Preston last Saturday I arranged to travel from Cheltenham on the coach to see Ukrainian Giselle last Friday, returning on Saturday. I'd forgotten I'd registered with Avanti to let me know when tickets were available. They emailed me on Wed to tell me the good news that tickets were finally available to book for Sat.! How can this be considered to be an acceptable way to run a major train franchise? How can people make arrangements if they can't buy tickets until 3 days in advance of travel? And that's nothing to do with strikes. That's just normal service from Avanti at the moment. Unbelievable!

Avanti run the West Coast Line which I have the misfortune to use. I'm keeping everything crossed there isn't a strike for Vadim's first Mayerling on the 21st Oct.

I emailed Marquee about this being free and the reply I got only mentioned the 16-26 Sept paying period though I was clearly asking about October. I'm sure it will be free to subscribers eventually like the original Putrov Ukraine concert was and still is but I think I will pay the extra subscription just in case.

If this link works, I thought this a lovely tribute from Carlos. Perhaps we should have a separate thread for the Queen. She did create the Royal Ballet and Birmingham Royal Ballet and people may have memories of seeing her or her mother at performances. The only time I've seen her at a performance (the only time I've ever seen her 'live) was at the 50th anniversary performance of Sleeping Beauty in 1996 (I think). It was a glitzy occasion with both the Queen and Ninette de Valois present. Just before the last act all the remaining performers of that first performance came on stage; (huge round of applause for Beryl Grey), and they all sat at the back of the stage for the last act. At the end all performers on stage turned and paid homage to them rather than the Lilac fairy and a shower of glitter came down. My memory of the Queen was when Ninette de Valois came on stage everyone (including the Queen ) gave her a standing ovation; not often anyone upstages the Queen! On the way out we all got a piece of 'wedding cake' in a box. A lovely, memorable evening.

There was a mention in one of the articles in yesterdays links that it will be free to Marquee subscribers from October. As I subscribe I might wait for this.

Thanks Bluebird. I'll try this.

I've not had a notification about the digital edition either and I always have done before. Will have to try and access it via the website.

I really enjoyed this gala and I'm not a great fan of galas; usually I find there are several pieces not to my taste and it's a long journey for partial enjoyment. However, I think this gala is a bit similar to the Fonteyn gala a few years ago in that because all pieces are so closely linked to the original dancer there were no ultra modern pieces which are usually the ones I don't like. I agree with what others have said re the size of the stage. I was amazed it was so small when I thought they usually staged large musicals. OK the orchestra took up most of the depth but it also seemed very narrow. I've seen larger provincial stages. I didn't find the orchestra on stage at all intrusive but I did wonder how the conductor managed with his back to the dancers! That did seem very strange. At least if there were the same cast every performance he didn't have to worry about changes in tempo to accommodate different dancers. I attended the Tues matinee and it was great to see Don Q fan and Sheila C as well as all the wonderful dancers. A brilliant start to the new ballet season. It all seemed very happy and relaxed and made me wish there were more happy ballets being performed at the ROH next season. You'd think after Covid Kevin would want to stage at least one 'feel good' ballet like Fille and Don Q, or a fun triple including (for example) The Dream or The Concert which would have been a great antidote to interminable Nutcrackers. During Laurencia, all I could think of was how fabulous a partnership Osipova/Coralles would be in Don Q! I really enjoyed most of the pieces but my favourite was the Laurencia pas de six. I could have watched it all night! All the dancers were incredible and Osipova and Coralles were on fire! Osipova did seem to be having a great time and not at all nervous at performing her own choreography which must surely be different to performing someone else's. It was great to see Choe and Ben Ella as I don't seem to have seen a lot of them lately and they are both so talented. However, it was a lovely touch to see Marianna Tsembenhoi and Daichi Ikarashi dancing together in such a prominent piece. A wonderful start to their new career in the Royal ballet. I'm sure they'll both go far; in fact I wouldn't be surprised if they both don't make principals eventually. They are incredibly talented and have lots of personality. The Gayanne and Flower Festival pas de deux were also highlights for me. I do love Bournonville choreography and we see it so seldom. I have very fond memories of Danish Ballet coming a few years ago (was it to the Elizabeth Theatre?) and doing a Bournonville programme and it was pure heaven. To finish with the Corsaire pas de deux which Fonteyn and Nuryev (especially Nureyev) made their own was a stroke of genius, Yasmine was terrific but Coralles pulled out all the stops and was on fire. An audible gasp went round the auditorium when he crossed the stage with grand jetes so huge you wondered how he managed to stay on the small stage. All I can say about his performance was it's the closest you'd get to a performance by Nureyev without it being the real Nureyev. They both brought the house down. All in all a terrific programme and one that left you wanting more which I think is always the sign of a good programme. Perhaps Mr Kish would be willing to curate another programme; there are so many highlights of Nureyev's career still left to explore; his Cinderella, Don Q, James in la Syphide, Marguerite and Armand, Raymonda; I'm sure the list can go on. But many thanks, Mr Kish for giving me and so many others so much pleasure. My only disappointment was I could only attend the once but am looking forward to purchasing the recording and re living that wonderful afternoon again.

I hope it isn't true that Bayadere will vanish from the RB rep as its one of my favourite ballets. I love the drama music and choreography. That said, like Floss, the RB version is one of my least favourite of any I've seen in 30 years 'Bayadere watching'. Dislike most of the costumes, not overly keen on the set, don't like the reconstructed last act, especially as so much has to be ditched to make way for it, and don't like what Makharova has done to the choreography either. My favourite Bayadere is still POB and I was thrilled when they opened the Lowry with it and went every night. However I've put up with the RB production and still manage to enjoy it, as I know there's no way Kevin is going to prioritise the expense of staging a new production. When it was staged the last time (2019?) there was a lot of talk then about its suitability or not and Kevin went out of his way to stress its 'fantasy', story aspects and the fact it wasn't meant to be in any way an authentic representation of India. Perhaps this would suffice again. It seems difficult enough these days getting a programme I really want to see (such as Ashton and a lot of the 20th century rep) without having to compete with woke ideals as well.

Fabulous to get tantalising glimpses of the principals in this beautiful ballet. What a shame it wasn't filmed or streamed. I would love to have seen it, especially Vadim dancing with Fumi. That's a partnership I would love Kevin to develop at the ROH. Interesting that Vadim also pointed out he got 4 performances there as opposed to the two he usually got at the ROH! I do wonder about what principals will do for this seasons long run of comparatively few ballets as there aren't that many to rehearse let alone perform.

I tell a lie I did receive it in the Friends newsletter. However, I found it so uninformative as to be absolutely useless, my eyes glazed over and I think I'd forgotten it before I finished reading it! Living 200 miles away I knew I couldn't be there anyway but even if I lived nearer more information would be helpful especially if you have to book and can't just turn up on the day.

I'm a Friend and I didn't receive it either. Very strange and uninformative. If that's the best the publicity department can come up with it doesn't say much for them.

Shows how long it's been since any ballet was shown on TV. I had to go back 3 pages before finding the link and even the ballet I'm posting is an often repeat. SkyArts Wed 7th Sept 7am Giselle. Stock photo of Osipova/Acosta but could just as easily be Nunez/Muntagirov.

Wasn't there something reported here a while ago now that the Arts Council now values 'relevance' more than 'excellence'? I seem to remember reading something like this as it made me very angry and it still does! It's just if this attitude is true, or perceived to be true by organisations that depend on the Arts Council, it may explain about 'relevance' in the survey.

Personally, I'd love to see James Hay dance Florimund with anyone!!! Perhaps Francesca or Anna Rose by choice in the second run. However, I'd also love just to see James Hay DANCE. He must be one of the most underused first soloists and it's such a shame when he's such a great dancer. He hardly ever gets any major roles; only supporting roles if he's lucky. I seem to remember Reece Clarke got leading roles when he was still a soloist and of course many more when he became first soloist. Why is James Hay so overlooked? I know he's not very tall which may limit his choice of partners but then neither is Sambe and it's never held him back. Same with Mcrae. Alex Campbell is another dancer who never gets as many roles as other principals. I know it's very difficult for Kevin with so many great dancers to choose from so he can never please everyone. Surely James will be the prince in Cinderella, there are so many performances, but I want to see him before then.

Radio Times are running a competition for 2 tickets to either Nureyev matinee on 6th or 12th September and a 2 night stay for 2 at the London Marriott Hotel, County Hall, including breakfast and evening meal. Closing date 19th August. https://www.radiotimes.com/win/

The only one I know of is Dance Europe and that's gone from monthly to every 2 months but it is still a great read. It is available both in hard copy and online. Just thought, could Dancing Times survive as a bi monthly magazine? I'm sure the owners must have considered this. Dance Europe is priced for 6 issues but that of course means a years subscription. Sorry Janet, our posts must have clashed! https://danceeurope.net/store/

I currently subscribe to the online version which is great but not very expensive. Perhaps there aren't enough subscribers to pay staff wages even if they didn't need an office and worked from home. However, it would be great if it could continue online. Such a loss of a great magazine that has given so much knowledge and enjoyment to ballet enthusiasts for over a century.

This is probably a bit of a niche event being rather out on a limb unless you live in West Lancashire but I couldn't find a suitable thread to attach it to and it does sound interesting if you can get there. I didn't know about his previous talk so I don't know what he's like as a speaker but he comes with good ROH and RB credentials. Guests may attend the lecture – £8 pp (pay on door) [Don't know how this works. Sounds as if you may not be able to book in advance so if that is the case I might join Fylde Arts as it's only £20 per year]Nigel BatesThis is lecturer Brian Bates’ second visit to The Arts Society Fylde. He last visited us in December 2013 when he delighted members with a mix of slides, music, and video to accompany his lecture on Tantrums and Tiaras – Behind the Scenes at the Royal Opera House.Nigel Bates has been a performer for more than 40 years in and out of the Royal Opera House Covent Garden, including 17 years as Principal Percussionist with the Orchestra and eight years as the Music Administrator of The Royal Ballet.He has worked with many of the leading figures in the classical music industry and was also a producer for both the BBC’s Maestro at the Opera and Pappano’s Classical Voices documentary series. He is a regular contributor to the printed and online content of the ROH.He has given lectures for over 30 years, including many arts societies and conservatoires in the UK and across Australia.Further information is available on Nigel’s website.The Nutcracker ballet has delighted audiences at Christmas for many decades yet it was deemed a failure at its initial performances. Based upon the current Royal Ballet production by Sir Peter Wright, this lecture takes a close look at how this well-loved ballet now takes its rightful place on stage and how the music of Tchaikovsky along with story-telling, design, dance and a little bit of stage ingenuity all come together to make the most magical escape for young and old alike. The lecture will include several performance video clips. Contact: theartssocietyfylde@gmail.com Website: http://theartssocietyfylde.org.uk Phone: 07399 870179

Very interesting Yaffa and thanks very much for this. Unfortunately I can't often make it to the Summer School Performances because of the expense but I am slightly put out that students get to dance rare treasures like Ninette de Valois The Arts of the Theatre (which I hadn't even heard of) and Ben Stevenson's Three Preludes which I couldn't find in the Performance database, so assume it's not been performed by the main Company in the ROH. if these ballets can be staged for students (lucky students to get to dance such historic and interesting works) why can't the main Company dance them? I saw Swedish Ballet's stream of Three Preludes during the pandemic and it would be great to see the RB perform it. Anything from Ninette de Valois would be a bonus as we get to see so little of her choreography despite her being the RB founder.

I find it's worth being a Friend just because you get direct links to the current booking season without having to 'drill down' to whatever performances you want. However, the ROH used to perform this useful service for free with their annual calendar, listing every ballet/opera by season. Then of course they discontinued it in favour of the clunky un-user friendly offering they have now.

For me, Irek Mukhamedov is my favourite of previous Rudolfs and Federico Bonelli of more recent performances would be my choice of great Rudolfs. I'm sure Adam Cooper would have been great if his Onegin is anything to go by (still my gold star Onegin) but I didn't see him. Similarly, I'm sure Matthew Ball will be a great current Rudolf but I haven't seen him yet. That treat to come in this coming run.

These families just don't understand the importance of ballet scheduling; surely they could have postponed?!😀😃 Hope you enjoy the Friday performance. Might see you there.

I've booked to see the Melissa Hamilton cast at the matinee on 12th Nov as it follows on next day after one of Vadim's performances, though a 12.30 start may be a bit early for some if you're travelling from a distance. Also its the cinema broadcast cast for anyone who can't make it to the Opera House. For admirers of Hayward, her and Sambe's cast also feature Annette Buvoli and Isabella Gasparini (debuts?) Some great casting I'm looking forward to seeing.