jmhopton

Yes, what's happened to Beatrix Stix Brunel as well? Is she cast in anything? I really enjoy her performances but haven't seen her much in any of the concerts streamed over the past year or seen her mentioned much in the upcoming ones. I know Kevin is spoilt for choice with the quality of the dancers available to him but even so to neglect someone so obviously talented... Unless for whatever reason it's her own choice.

Thanks everyone. With one interval it seems the programme will last just over 2 hours which is great.

Does anyone know how long the Balanchine/Robbins programme is, please? I need to know to book my train as I'm going straight home after the sunday matinée. No great rush as Arriva haven't even got their timetable ready yet for June weekends, or Sundays at least. Don't know how current train users are managing. However want to get booked ASAP as soon as the times are announced in case there's a rush.

I hope there will be season end promotions this year as dancers have such short carers and they all missed out last year. Also they have had stage experience with the earlier performances and (hopefully) all the summer concerts. I would imagine Anna Rose O'Sullivan will be the next female principal, given all the roles she has been given. Mayara Magri and Fumi Kaneko may also be in the running but if there is only one (and of course no guarantees of even one) then I think Anna will get it. Re the men, that's slightly more difficult. I would imagine Reece Clarke, William Bracewell and Cesar Coralles would be in the running for principals but I wouldn't like to choose one. Perhaps Isabella Gasparini and Benjamin Ella from soloist to First soloist. The lower ranks I don't really know so well but it would be good to see Joseph Sissens, Theo Dubreuil and Leticia Stock promoted to soloist. Also at least some of the Aud Jebsen dancers and possibly the Prix de Lausanne dancer, Marco Masciari given permanent contracts. These are only my wild guesses. I'm sure there are far more knowledgeable people who can guess more accurately.

Libraries were allowed to open to the public for book browsing and computer access from April 12 and most seem to have done that. Certainly the libraries near me have (Blackpool and Lancashire). Also, other authorities I have cards for; East Sussex, Gloucestershire, Westminster City Libraries and Devon seem to have fully opened. Obviously there will probably be exceptions and computers may well have to be booked anyway so it's as well to check beforehand. But it is usually an easy way of printing occasional items or even checking emails, buying tickets (if available!) etc.

I too really enjoyed this and look forward to revisiting it. It did seem incredible anyone could not only remember the multitude of steps Christopher was reeling off, but were able to perform them! It was especially interesting to catch up with the young men we first saw in Men at the Barre. They all seemed very talented and likeable and I hope they are able to get permanent contracts when the time comes. I will be looking out for them (hopefully) in the livestreams to come. Filming is a great way of spotting new talent as you can get far closer to them then you often can if you're in the theatre.

If anyone wants to print their tickets but is struggling with their printer your local library usually have printers at a reasonable cost (10p for a black and white print where I live). All you have to do is login to one of their computers, and print from your email. Just check beforehand you don't need to book a computer.

Well said Rina. I'd be more than happy to help out in any of the ways you mentioned (travel permitting as I don't live near London).

No I wouldn't want Ashton to be totally relegated to the Linbury either for those reasons, that's why I said it would be great if more of his more unusual work could be seen on the main stage where it would be seen and enjoyed by a wider audience. It was only if the option was either to see more unusual works in the Linbury or not at all that I thought of the Linbury as an option. Incidentally, I have emailed ENB and asked them if there is any chance of the school performance with Les Rendezvous being streamed. I'll let you know when I get a reply.

Emailed Sarasota ballet today, asking if there was any chance they could continue with some of their streams into next season. I was thinking especially of the new David Bintley ballet. However, I had a very prompt but regretful reply from their Marketing Director Jason Ettore saying they can't continue because of the cost and extra rehearsal time entailed in filming a live ballet, plus The other roadblock comes from whether or not choreographers and choreographic trusts will continue to allow for their works to be streamed online and if unions will continue to make the contract exceptions they have made for this past Season. They say it wasn't a decision they took lightly because of the worldwide appreciation of their streams they have received but they have no option but to continue with just live performances. Sad, but at least we were able to see some of their wonderful rep. and one more still to go.

Yes I think I would have remembered those dresses and striped blazers! I hope ENB don't borrow them for their students. It might put them off Ashton for life, having to wear outfits like that!! To return to the idea of an Ashton society I have been looking at the Foundation website and noted their aims:- The Frederick Ashton Foundation aims to realise its objectives through coordinating and encouraging the work of Associates working in a broad range of areas, including: a) creating opportunities to identify and develop future Ashton repetiteurs to ensure the continuation of performances of Ashton's rich choreographic legacy around the world to the highest standard. b) establishing an online Ashton Archive to include the filming of relevant work in the studio, master classes, and interviews with those who worked with Ashton; cataloguing film archive material in connection with Ashton and his work; and making the catalogue and as much of the original material as possible available to the dance sector and the wider public through the Archive. c) writers and archivists carrying out research and publishing material in connection with Ashton and his work; cataloguing written and photographic material; and making the catalogue and as much of the original material as possible available to the dance sector and the wider public through the online Ashton Archive. d) organising and arranging exhibitions, conferences, seminars, lectures and lecture demonstrations on Ashton and his work and other events promoting the Foundation's aims. They are a registered charity so I suppose anyone who wants could donate to them. There seems little sense in creating a competing society, especially as there is no obvious way to fund it. The lack of a single repository for his ballets, such as the Foundation created by Balanchine, seriously hampers any effort to maintain standards in new productions of his ballets, unless they are staged by someone with personal knowledge of the ballets and Sir Fred's wishes. It also hampers staging not so well known works if research has to be done to even locate the ballets and who owns them and negotiate with different owners. Sadly, people who know the ballets well enough to authentically stage them will be increasingly fewer which is why the first aim; 'to identify and develop future repetiteurs' is so important. I can't see how anyone can do this better than the Ashton Foundation with their impressive list of Patrons and Trustees, and also being based at the ROH with Kevin O'Hare, Monica Mason and David Bintley among the Trustees. The annual Ashton days where a rare work is rehearsed and filmed is also an invaluable way of preserving his works and legacy and indeed was used by Iain Webb in his Sarasota Ballet staging of Walk to a Paradise Garden. What we really need is a regular Ashton programme of such works being performed, even if it's just at the Linbury, so the dancers can become more used to the Ashton style which is probably increasingly different to the majority of the works they perform. Also, if younger people can be involved in the staging then the chain of continuity will be maintained. If it could be an annual event in the main house this will also raise Ashton's profile and introduce him to new balletgoers who may never have heard of him. I'm sure this idea would be very welcome for the Forum's many Ashton supporters. I have mentioned something similar to Kevin O'Hare in emails a couple of times but just had a noncommittal reply. I know the dancers have a very full schedule and many of the principals also guest all over the world but it would be worth it to promote our founder (and greatest) choreographer.

Slightly off topic but I just noticed that ENB Schools summer programme includes a performance of Ashtons Les Rendezvous, staged by Christopher Carr. It said details are to follow shortly but I hope it will be streamed. I cant remember if I've ever seen Les Rendezvous or if I have it's years ago so it will be a real treat. Thank goodness some UK company is performing rare Ashton while there is someone familiar with the original around to stage it. Incidentally, my answer to the original topic question is YES!

Really pleased that both Alice Pennefather and Valentino Zucchetti have been nominated for her beautiful films and his outstanding choreography. I hope they both win and go on to create more magical films and ballets. We need their creative imaginations even more at the moment. Am so looking forward to seeing Valentino's new ballet in the Beauty programme.

It would suit me and many on the Forum but wouldn't it result in even less audience members as everyone would have to be socially distanced from everyone else.

I never go for a central seat (unless I'm on the front row of any area; very seldom) as I find if I get someone tall in front it completely blocks my view. I always prefer a seat more to the side.

I must admit I don't recall a ROH Onegin film and I've seen most of the cinema broadcasts and I thought would have registered an Onegin as it's one of my favourite ballets. I think I heard there was a Bolshoi recording about that time with Lantratov which might have been shown on their TV rather than a cinema broadcast though no dvd, alas. I do think it's terrible that none of the great RB casts have been able to be filmed; such a wasted opportunity. I'm thinking especially of the very early cast with Rojo/Cooper/Cojacaru/Putrov or any of the Cojacaru casts when she was Tatiana. Not to mention the more recent casts. It does seem to be a ballet that the RB really embrace and love dancing and it would be fabulous to have a film record of their interpretation. However, your efforts have been amazing Dan and I'm looking forward to having a more detailed look and having a nostalgic wallow for those days when going to the ballet was a taken for granted experience, limited solely by finance and not by a virus.

This is me probably being unrealistic and totally wishful thinking, but I don't suppose Kevin has seen the light (and what so many people want) and is starting the season with La Fille? To open up with such a happy, fun, colourful ballet after 18 months of practically no full length ballets would be a real joy and a great reply to the months of stresses and strains experienced by so many. It's probably too good to be true but all the other full-length ballets mentioned in the programme outline in March seem to have been accounted for later in the year if the School/NHS programmes are accurate. Unless they're doing spilt performances of Romeo and Juliet in September and February. If Wayne Macgregor's new full length is in October surely they wouldn't open with another debut with Like Water for Chocolate, or a contemporary triple bill when they know people are desperate for a full length work after months of short ballets. I can only hope, I suppose until June when more should be revealed.

Glad it's not just me!

This is interesting but I thought I'd read somewhere that Romeo and Juliet were opening the season in September and yet here they're scheduled for February. Does anyone else remember this or have I got it mixed-up?

Yes I noticed this and considered subscribing to Medici for a month (I think that's possible) just to get it. Like Jeanette my recording is very old, videoed from the old Performance channel over 20 years ago and transferred to dvd. The double bill has an added attraction of being introduced by Margot Fonteyn and also containing Graduation Ball, another short Ballet that seems to have fallen through the ballet net of short ballets no one performs anymore, possibly because it's fun, attractive and undemanding and traditional. Things that don't always seem to be at the top of many artistic directors lists of priorities. Similarly my first recording of The Merry Widow (Canadian Ballet and the fabulous Karen Kain) was transferred from video. Its only recently I managed new recordings from Australian Ballet and Argentina. However I look forward to checking out the various suggestions here. Thanks Jeanette and oncnp.

Yes, his Merry Widow is one of my favourite ballets and the only favourite full length ballet I haven't seen live. If only Kevin O'Hare would consider acquiring it instead of being so in thrall to modern choreographers. Oh well, I'll just have to hope that if Canadian and Australian ballets make future visit to the UK they bring it with them. In the meantime I'll have to trawl YouTube and see what I can find. Happy birthday Mr Hynd and many more of them.

SkyArts are showing Moulin Rouge again on Sunday 25th April at 6am Also Australian Ballet Cinderella (Ratmansky version) Wed 28 April at 7am Anastasia Friday 30th April at 7am

Yes, I hate the way all the 'tributes' to Liam's wonderful choreographic talent have started with comments that have nothing to do with his choreography. I am going to remember Liam by his great talent and the way he enhanced the repertoire of the RB and any other companies he chose to work with. He is the only modern choreographer at the RB (until Valentino Zucchetti) I would happily pay money to see and know I was going to enjoy the performance and his undoubted talent in creating it. I don't even especially like Swan Lake but I really enjoyed his version and think it is a great gift to the RB and I'm so pleased we'll be able to see it for many years to come. It will be his greatest and most fitting legacy and surely the way he would want to be remembered and people would want to remember him.

Indeed not. I'm really looking forward to that but it is just a one off programme for the RB first and greatest choreographer. He deserves more. Sarasota Ballet do so much more as has been seen in their streamed performances. The list of Ashton ballets they perform make my mouth water; Apparitions, Illuminations, Les Rendezvous, Varri Capricci and others. Really looking forward to Walk to a Paradise Garden after seeing the Ashton Foundation. Also never heard of Peter Wright's Summertide until they streamed it during the last year and they're doing Ninette de Valois Rakes Progress which I don't think I've ever seen.

Some great ballets and, as usual, a generous nod to UK choreographers including a new full length David Bintley Ballet A Comedy of Errors. Also Ninette de Valois Rake's Progress and a tribute to Sir Peter Wright for his 95th birthday (first time I've heard that mentioned) with his Giselle and Summertide. Doesn't seem 5 years since I saw him at Birmingham to sign his autobiography for me. Also Kobborg's production of the third act of Napoli which I hadn't heard of before. Slightly disappointing there is no mention of some continued streaming but I suppose we can hope. https://www.sarasotaballet.org/sarasota-ballet-announces-its-2021-–-2022-season