jmhopton

Can't find it anywhere today. can anyone help, please?

Great reviews, everyone seems to give it 4 or 5 stars. Would love to see it. Pity they're not bringing it to Sadlers Wells.

Do we know if the Osipova Giselle from Argentina will be available on their website/YouTube for a while like the Merry Widow was? or do we need to watch it as it's broadcast. It is 9pm UK time, isn't it?

If it was done in Richmond which is a fairly small theatre, I assume it must have been the small-scale Tour de Force which was mainly in the 1990s and did an excellent job of taking classical ballet (albeit small scale) to theatres that would otherwise have had little or no clasical ballet. Reading a potted history of ENB this was said about Derek Deane in his time of ENB AD in the 1990s. Deane preferred to focus on building a strong classical company, whilst still allowing for a rich variety of choreography, ranging from Balanchine to Bigonzetti. During the 1990s, the full evening classics were freshly produced, while shorter signature works like Etudes (first danced in 1955) and Graduation Ball (1957) were kept alive. Sounds like my kind of AD!

If they are, that reinforces what I said earlier about ENB not performing many 20th century heritage works. When was the last time either were performed, along with Sanguine Fan or Graduation Ball? I can't remember the last time I saw any Company perform Les Sylphides yet it used to be a staple of every classical Company. I don't understand this constant commissioning of new ballets when Companies have great works already that are never performed.

I intend to do this. Will let you know if I get a response.

For me, Floss's idea of a Gala sounds much more appealing. The new Valentino ballet is the only item that might even tempt me to purchase it as a stream (presuming the ROH are carrying on either filming or streaming each performance) let alone make the 400 mile+ round trip to the ROH. I've been thinking wistfully of Facade ever since I saw Sarasota do it as part of their pandemic streaming and Birthday Offering sounds a good anniversary choice. Though I'm with Briedem (?) or whoever it was who suggested if Kevin wanted to do a Friends celebration why not ask them what they would like. I bet it would be more classical than modern which is probably why he didn't bother.

It just seems to be like other streams, Dawnstar, that once you've paid for it it's yours to watch as you want until it expires on the 24th April. So you can watch some pieces over and over and fast forward through others you're not as bothered about.

Talking Pictures Sunday 17th April 10.40 Tales of Beatrix Potter BBC4 Sunday 24th April 8pm Royal Ballet Swan Lake Liam Scarlett production introduced by Darcey and Ore. Nunez/Muntagirov. SkyArts Tuesday 26th April 6am Royal Ballet Giselle. Says it's Osipova/Acosta but might be Nunez/Muntagirov. I think SkyArts has rights to both but the photo is always Acosta/Osipova but the recording isn't always.

Yes, I've enjoyed it too and like DanL says, great it's continuing to raise money for a wonderful cause. Don't suppose there's any hope that the RB Ukrainian Swan Lake could be streamed? Still no news about the Prince.

As a northerner I really welcome the idea of reaching a wide range of audiences around the UK. Re starting the Tour de Force small company would be a great start as well as performing full length ballets in larger theatres (starting with Raymonda somewhere in the North, please!) However, yet again the spec seems to concentrate on the classics and modern works and ignoring anything in between. Is it a coincidence that England's 3 largest ballet companies all seem to almost have a policy of largely ignoring twentieth century classics (especially short works) and collectively concentrate on the nineteenth and 21st century works? I know Macmillans full length works are in some reps, especially RB but that may be partly at least to do with the presence of Lady Macmillan who is around to promote them. Also they are seen as modern ballets. Alas, other choreographers such as Ashton, the Ballet Russes choreographers and even Balanchine (in this country) don't have an influential spokesperson and end up not being given the stage time they truly deserve.

I thought POB performed Nureyevs Bayadere in 2000 as we went every night (unless they came twice)

I had my say on page one of this thread and have been following subsequent comments with interest. I'm glad I'm not the only one feeling the lack of twentieth century Heritage works by Ashton, De Valois, Massine, Nijinska etc. After seeing the wonderful Ashton film and masterclass streamed last autumn I had hopes that Kevin was 'getting' Ashton and would be more willing to stage more of his neglected works either on the main stage or even the Linbury. The staging of the Ashton triple was also a good step in the right direction. Alas, it was not to be. Not even a great Christmas mixed bill which we've enjoyed before the pandemic and is always a great antidote to a surfeit of Nutcrackers. I did think Cinderella might be a Nutcracker alternative but also not to be. While I quite enjoy Cinderella and obviously am pleased it is being revived again it's not a favourite Ashton. For me, Fille is miles ahead and would be a great curtain raiser to the season, starting in a fun, light hearted way instead of more doom and gloom. I would also prefer Sylvia which I thought terrific when I saw it a few years ago . I think whoever said that the RB often starts with Macmillan rather than Ashton because it's less classically rigorous after a long summer break is probably right. I was struck last autumn when both the RB and BRB opened with Romeo, and thought that might be the reason. Even more so then after the long covid layoff. I think I said on another thread that the RB extensive rep. and constant commissioning of new ballets is becoming a bit of a curse rather than a blessing. Of course we need new ballets but possibly not every year, especially when they're often not classical works. They cost money for the choreographer, music, sets and costumes and also take valuable stage time - usually at the expense of Heritage ballets. Whoever pointed out that the RB economies are often focused on Heritage rather than modern dance is spot on; but how can you call yourself a classical Company when you ignore your classical Heritage which is one of the most diverse of all classical ballet companies? At the moment the RB seem to be following BRBs rather dubious example of staging the big classics and having mixed bills of mainly contemporary dance rather than ballet. Despite the RB needing to make money to make up for covid lost revenue they seem to be happy to spend on new ventures which often don't sell well (how many make a return to the big stage for their investment as someone already pointed out?) and whose tickets are significantly cheaper than full length ballets or even a classical mixed bill. So the classics become even more expensive to finance these expensive experiments and genuine ballet lovers are priced out of good seats for the only ballets they want to see. Then you get a mixed bill like Diamonds which for me is a return to the bad old days of mixed bills where there are a couple of items I want to see (Diamonds and the Zucchetti ballet) and the rest I don't and even if I go I know the ones I want to see will be in the middle of the programme (they always are) so I won't even be able to arrive late or leave early. At least there is a matinee so if I do make the expensive journey I won't have the added expense of an overnight stay. On the plus side I'm glad the cinema screenings are continuing, hopefully at pre-covid levels, and they still seem committed to livestreaming which is great for those of us who live at a distance and even abroad. I hope they continue to screen or livestream every programme. That would be great publicity and hopefully income as well. Someone made an interesting point of what to do with principals during long classical runs when they may have only 3 shows each. Could lead to more visits abroad which is great for ballet enthusiasts abroad but not so good for those in this country. Lack of mixed bills also means there aren't the same amount of ballets to keep them here rehearsing. Also, the opposite may be true for the corps who can end up being very overworked. Let's hope covid doesn't come back in a big way next year or we could be having some very disrupted ballets or even cancellations. Sorry to add yet another rather negative voice to the crowd. I am looking forward to seeing the new Cinderella as long as it's a traditional production (I still think the lack of a stepmother distinctly odd and I'm sure many children ask when she's going to appear as they tend to take their fairy tales rather literally). Also sort of looking forward to Mayerling debuts (Bracewell?) though will be interested to see how well it sells. I didn't think it sold that well last time and there were only about half the performances then as this time. As I've said before I'll be going more for the debuts than the rep. and I'm sure there will be many of those to enjoy. Also good for me travelling from a distance and having to stay over that there are a lot of Saturdays with matinees and evening performances so I can see 2 performances for one overnight stay. I think one Cinderella weekend you can see 2 Saturday performances and a Sunday matinee as well so 3 performances for one nights stay. So, expect to enjoy performances but it would have been good to have more rep. to look forward to. Makes me even more appreciative of the Ashton triple to come as goodness knows when there'll be another mixed bill to enjoy. Not until 2023 at the earliest. We only voice our dissatisfaction because we care about ballet and are slightly concerned at the direction the RB seems to be taking. Let's hope this next season is just a post covid blip and the 2023/24 season will be back to exciting triple bills, La Fille or Sylvia , Onegin or Don Q; some fun, stimulating ballets we can all enjoy (or I can, anyway!)

You and me both MaddieRose. Perhaps there will be a mixed/triple bill that hasn't been announced yet. I would have preferred Symphony in C to Diamonds if we're just having one Balanchine though if the programme is entitled Diamonds I suppose it has to be that. I thought it was possibly too soon for Onegin again though I'm still longing to see Vadim in the title role and see so many debuts of dancers promoted since 2020. Like Sim I was hoping for la Fille. Wasn't it 2015 it was last staged? Far too long to go without it though am pleased to see Cinderella though I don't know anything about the new designers. Personally, I was fine with the old designs, especially the coach and ball scene and I hope the new designers have kept the magic and haven't gone all modern and minimalist. I remember when David Bintley was staging BRB's new Cinderella he suggested to his wife he was thinking of a more minimalist design and she said if he did that he must be prepared to encounter angry and disappointed parents and children at the stage door every night so he changed his mind and with great results. I would have liked the Ugly Sisters to be toned down a bit but I suppose that would mean interfering with the choreography itself which doesn't seem to be in the brief. I hope they film it for cinema with Vadim. I assume this will be staged around Christmas as an alternative to Nutcracker (would have liked to see Coppelia instead of Nutcracker but perhaps next year). Would be great if there was a good triple bill at Christmas, preferably including Patineurs. Mayerling was expected and would love to see Morera and Bonelli filmed but not to be, alas. I wish they'd filmed them before. It was a fabulous performance. I expect they'll film Matthew Ball whom I haven't seen so that will be great given the reviews he got previously. Wonderful that Valentino has a new commission though not sure of the others with it. For me the new season is OK but lacking in excitement. I think the main excitement for me will be the debuts rather than the rep. itself. Just seen what others have posted about the lack of 'heritage' triple bills and am really disappointed. There are just so many great short ballets that are getting more and more neglected in favour of modern works. Of course every Company needs modern works (I expect it's a requirement of the Arts Council to increase diversity of audience and hopefully attract a younger audience) but not totally at the expense of great works already created and which a young audience has probably never seen. How do we know a younger audience wouldn't enjoy works by Ashton, Cranko, De Valois, Massine if they never get the opportunity to see them? I'm certainly not young but can hardly remember when I last saw a short work by any of these chorographers at the ROH apart from a selected Ashton few.

I checked with the box office re return of tickets as it says check website for returns but also says no refunds or credit vouchers given. Apparently if you want to return a Ukrainian ticket to the Box Office you have to do it as a gift and they will resell it. I also asked about Vadim in the Swan Lake and they said an announcement should be made soon on the website.

Onegin and lots of Ashton, please. (I'm sure I've bored everyone with with this before but I keep hoping if I say if often enough it might happen!)

Didn't Liam Scarletts Frankenstein end with a back projection of a building in flames and the creature walking towards it? Or am I getting it mixed up with something else? It's a long time since I've seen it.

Yes, this interview with Federico is in the new Dance Europe magazine together with a photo of him partnering Fumi Kaneko in Swan Lake on the cover. A beautiful photo of a lovely dancer and person. I hope he has as great a career with Northern Ballet as he had done with the RB. Also if he can return Northern Ballet's visits to the Grand Theatre, Blackpool I will be very grateful.

Exactly. Sounds like a waste of money to me at a time the ROH is pleading poverty. Would be great if the money could have been spent on reviving ballets by great choreographers such as De Valois, Massine, Ashton and Macmillan which are in danger of never being performed again. Surely with Macgregor and Wheeldon as well as other one-off modern commissions we have enough modern dance for a classical ballet company?

For some reason my ballet search in the online TV guide didn't throw up:- SkyArts Tuesday 15th April Rhapsody/Two Pigeons 7-9am. A repeat of the McRae/Osipova Rhapsody and the Vadim/Cuthbertson Two Pigeons. A fabulous double bill and great to have a foretaste of Rhapsody before seeing the Real Thing on stage (though not with James Hay, alas) Would be wonderful if the new season would include 2 Pigeons as well, hint, hint!

SkyArts Monday 4th April Rumpelstiltskin Ballet Lorent 7.30-9am Saturday 9th April. Royal Ballet in Cuba 6.50-8.30am BBC4 Sunday 10th April Yuli: the Carlos Acosta story. 10.30pm-12.15am

The Anything Goes production that was filmed and shown on TV last Christmas is on tour before arriving at the Barbican. I've purchased a ticket at the Palace Theatre, Manchester. Bristol Hippodrome 11-16 April Liverpool Empire 20-30 April Edinburgh Festival Theatre 11-21 May Marlowe Theatre, Canterbury 25 May-4 June Palace Theatre Manchester 9-18 June Barbican 15 Jul- 3 Sep. I just want to say my Palace Theatre ticket is a Senior midweek matinee ticket, side block, front row of the lower circle for £34 for Wed 15th June, 2.30 Supposed to be unrestricted view and photos don't seem to show a rail. It is normally a £54 ticket. I don't know their criteria for 'senior'. I'm 65 though don't receive my state pension until a month later than the performance when I will be 66 so I hope I count. The reduction only applies to the matinee and not the Wed evening performance which is £54 so probably accounts for more matinee than evening performances sold that day. They are doing 3 matinees but the other 2 are on Saturday so no reductions there. In fact, the same seat seemed to be £60 on Saturday matinee and evening (still considerably less than at the Barbican for front row circle). The cheapest Barbican tickets seem to start at £36 though of course you would expect them to be more in London. Re casting I'm disappointed not to see Sutton Foster and don't know her replacement. The show will star Multi Award Winner Kerry Ellis (Wicked/We Will Rock You) as Reno Sweeney and Olivier Award Winner Denis Lawson (Bleak House/Star Wars) as Moonface Martin. Joining them on board is Oliver Award Winner Simon Callow (Art/Death in Paradise) as Elisha Whitney and Musical Theatre Royalty Bonnie Langford (EastEnders/9 to 5) as Evangeline Harcourt. I think they're keeping the original Billy Crocker, Erma, Lord Evelyn and Hope Harcourt so that's good. Incidentally, I have a ticket I bought for the Barbican before I realised about the tour if anyone is interested. It is for Saturday 30th July, 2.30 matinee, upper circle B42 for £45. I will take £25 just to see it go to a good home. If anyone is interested please send me a personal message. I can either forward the e-ticket or post it.

Love the look of the new Bintley Comedy of Errors and very disappointed I may never get to see it. If they every visit the UK I do hope they bring it. It seems just the sunny, light hearted fun filled ballet we need at the moment. Here is a (very) short trailer. Sorry I wanted to make this just a link but can't seem to get rid of it. Perhaps a mod could alter.

I'm sure you're right Emma Rose but I wasn't really thinking of Valentino in a major role imminently. Despite me not really enjoying his choreography I suspect Wayne Macgregor is here to stay (at least in the short term) so if the RB wanted a more classical choreographer it would probably have to be under an 'Artist in Residence' sort of title. That way, Valentino could divide his time between dancing and choreography until such time as he felt able to commit more to choreography. It's a shame he's never had more chances at a dancer, never really given many opportunities at the more romantic or classical roles. He made it clear in the Men at the Barre documentary that he thought he'd been rather underused as a dancer which is possibly why he turned to choreography. Perhaps he will make his name through choreography. It will be interest to see his next attempt. I certainly want to see it so I hope its not buried in a mixed bill of ballets I dont want to see!

Valentino Zucchetti would do it for me. I know he's not a big name like Wheeldon or Ratmansky but he does understand classical choreography and I've really enjoyed the choreography of his that I've seen. Although recognisably modern, his ballets are also recognisably classical, which seems to be quite a difficult combination to achieve. As I think I've said before, apart from Liam Scarlett, he is the only current RB choreographer I would pay to go and see (current in the sense of fairly contemporary and current rep). Also, didn't Liam have an official Artist in Residense post? Perhaps Valentino could have a similar official or semi official role depending on how he wanted to divide his time between his dancing and choreography roles. The RB should have a classical choreographer as well as (or even instead of) a contemporary one though I think we have to accept that barring a miracle, the days of genius choreographers like Ashton and Macmillan may have gone.