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jmhopton

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  1. jmhopton
    Thanks very much to everyone who has taken the trouble to reply to my query (especially Alison who sent me a personal message). Now all I have to do is to decide which date to attend! Given that one rehearsal date is 15th March and the other 10th May could those who have attended previously give any idea which ballets may be rehearsed. Is it ballets that are currently being performed at the time or ones more in the future?
  2. jmhopton
    I just placed a query in the ROH Public Spring Booking thread but perhaps it would be more appropriate here. I just want to know if it is better to book for the stage or balcony area for the Paul Hamlyn Hall rehearsals or if it doesn't really matter. Are the stage seats level with the dancers and so could the view be obscured? Are the acoustics more problematic in the balcony? Any feedback welcome as I fancy booking for them. they seem good value and 2 events mean a good days ballet watching and no overnight stay.
  3. jmhopton
    So why can't the ROH stagger the public booking for ballet and opera like they used to do? I too struggled to get online just after 9am. it took at least 15 minutes before I could even get as far as the queue and then the queue was paused. However, when it did start moving I was through in a couple of minutes and it was relatively stress free though I don't think 30 minutes is very long when you're trying to weigh up seat options for several seats. Also I'm sure one of the seats I purchased was priced in the next price band as on other days it was cheaper. I have emailed the box office so I'll have to see what they say. I'm tempted to book for a couple of the rehearsals in the Paul Hamlyn hall but don't know whether to go for stage or balcony. can anyone advise, please?
  4. jmhopton
    I've been going to the stage door on and off since the 1990s and have never met with anything but friendliness and politeness from those I have met. They sign and pose for photographs and nothing seems to be too much trouble. I do try and gauge whether or not they are in a hurry and not delay them if they are obviously rushed but usually they seem happy to spend a bit of time with people who have taken the trouble to say how much they enjoyed their performance. I don't usually approach anyone who hasn't been dancing that night as I'm not sure what the etiquette is in that situation.
  5. jmhopton
    Yes but with 2 modern ballets. Theme and Variations seems to be the only traditional ballet on on offer in the triples. As I'm not a huge Balanchine fan I think I'll give the entire year a miss next year. In the past I've seen Pineapple Poll, Checkmate and Daphnis and Chloe. There is nothing this year that attracts me at all. If I go at all it will be to see dancers rather than the rep.
  6. jmhopton
    Me too Janet but it's not just the Lowry. BRB are only performing outside Birmingham at Plymouth and Sadlers Wells in the autumn. Don't know why Giselle isn't deemed suitable to be performed elsewhere. Also why couldn't Don Q be performed outside Birmingham as few cities outside London will have been able to have it performed. Perhaps they're waiting to see how it goes in Birmingham but I don't see why Giselle couldn't be done elsewhere. Rather distressing to see the prevalence of modern ballet in the mixed bills. Up until now BRB have always performed some great mixed bills from Ashton, De Valois, Cranko, to name just 3 great choreographers. Sad if they're following the RB and ENB by concentrating on mainly modern triples. Also what is the Carlos Acosta Festival mentioned here?
  7. jmhopton
    I see SkyArts are showing Rhapsody/Two Pigeons again next week (with Patineurs a few days earlier). What a triple bill that would be! I bet there would be very few empty seats for that. Alison: Would you like to add that to the Sky thread, Joan? Have just done so, Alison.
  8. jmhopton
    SkyArts are repeating Les Patineurs 6am Saturday 26th Jan and also Rhapsody/2 Pigeons 7am next Wed the 30th. That's a triple bill I would love to see at the ROH! Ballet seems to be getting increasingly marginalised on SkyArts which, despite it's title, seems to be going increasingly down the populist 'pop' route, showing very little ballet and opera and virtually nothing new. A shame when so much is shown at the cinema you think they could broadcast on tv.
  9. jmhopton
    I had heard (though I don't know how accurate it is) that Two Pigeons is always programmed second so if there is a pigeon problem it won't hold up the performance while it is secured!
  10. jmhopton
    To go back to the question of the pigeons, when Terry and I were leaving after the opening night we overheard people ahead of us having a discussion as to whether or not the pigeons are real!! I suppose it is obvious to us but if people are more cinema goers than theatregoers computer imagery is king and people are more used to this than real birds. Like other posters I find I can get very emotional at Ashton ballets; far more so than Macmillan. I think it is the beauty of the movements he creates and I find 2 Pigeons a definite tear jerker but I have cried at Patineurs and La Fille just because they are so perfect. It is just a perfect match of choreography, music, sets and costumes and of course the fabulous, amazing, technical and romantic interpretation of them by all members of the Royal Ballet (and the orchestra). That is why (much as I enjoyed Asphodel Meadows) I think 2 Pigeons should have been paired with another Ashton ballet for a perfect programme. I see SkyArts are showing Rhapsody/Two Pigeons again next week (with Patineurs a few days earlier). What a triple bill that would be! I bet there would be very few empty seats for that.
  11. jmhopton
    I too think this was a lovely double bill. I enjoyed both performances of Asphodel Meadows (first time of seeing it) though I would have ultimately preferred 2 Ashton Ballets (which might have sold better too). The only thing I didn't like was the rather distracting moving sets and that very dazzling back light which I found distracting. Also thought it was a bit confusing that 2 of the 3 main couples had clothes of very similar colour so though I was able to distinguish the Friday cast that I knew a bit better I kept getting them a bit mixed with the Saturday cast whom I didn't really know. Thought both casts were wonderful and liked the music. However, I agreed with an earlier poster that though I wouldn't mind seeing it again it's not a ballet I would specifically choose to see again; unlike 2 Pigeons. I could see 2 Pigeons all the time and never tire of it. Frederick Ashton is such a genius choreographer he doesn't need lighting or gimmicks; his steps just speak for themselves and they do so wonderfully especially when they have the current Royal ballet dancers to interpret them so beautifully. What more can I see about Vadim? Every role you see him in seems to be his best until you see him next time. Like Capybara this is the first time I've seen him at the ROH since Winter Dreams which I thought absolutely sublime, a landmark performance (and told him so at the stage door Friday after I told him how much I enjoyed his 2 Pigeons performance). Is there anything he can't do; acting, dancing, pigeon whispering? His pigeon control is faultless and he makes it look so easy as he does every facet of his performance. His youthful charm especially comes across in this most endearing role in a most charming ballet. his 2nd act solo is the epitome of carefree happiness and stylish dancing and the tricky lifts that follow in the pas de deux are executed with great style and elegance. The final pas de deux is just so emotional and beautiful I am always on the verge of tears, especially when the final pigeon appears. I was there with my husband and he looked at me at that moment and kissed me and we had our own romantic moment and I nearly cried again! It was beautiful. Really enjoyed the matinee performance too. Thought Reece Clarke and Beatrix Stix Brunel very well matched and danced beautifully together and would like to see Beatrix or Naghdi do it with Vadim. Thought both gypsy couples very good too. Great to see Laura Morera as I missed her last time and was surprised by the strength of Claire Calvert's performance as it wasn't a role I'd really visualised her in.
  12. jmhopton
    Ratmansky's Bayadere sounds wonderful. How I wish we could have it at the RB instead of the Makharova version which I've never liked because so much has been left out. If Kevin O'Hare doesn't want to replace the Makharova version perhaps Carlos could acquire it for BRB as they were cheated of their Bayadere? That would be a great eye-catching coup for him. Or even Tamara acquiring it for ENB. They have Corsaire now and that seemed popular. Why not Bayadere?
  13. jmhopton
    A friend sent me a clip of Ovcharenko doing one of the short solos from Sleeping Beauty which I thought was pretty stunning and included a move I don't seem to have seen before where he holds his legs almost parallel in the air. I'll try and copy the link. https://youtu.be/iuUhYx6vHx8 hope this is OK.
  14. jmhopton
    What about Lantratov, Chudin, Ovcharenko and Tikhomirova? They're the ones I want to see. I would like to see Ovcharenko and Tikhomirova especially in Bright Stream and Don Q. I'm surprised Tikhomirova is still only a First Soloist and not a Leading Soloist. I also want to see Andre Mercuriev even though he's now only listed as 'Working under contract' which presumably mean he's some sort of guest artist.
  15. jmhopton
    Osipova and Muntagirov for Don Q on March 30th, WOW!!! I really booked for Coralles and am disappointed not to see him but to see Vadim with Osipova is something I've dreamed of for ever. I wasn't really envisioning Don Q; was thinking of something more classical but see no reason why it won't be sensational and my husband has a ticket for that performance too. Just wish it was the one being filmed; it could be sensational. Incidentally, although it is the main item of ROH News the performance pages still haven't been updated. On a sadder note I'm sorry Coralles' injury seems to be so serious and hope he is well enough for Romeo and Juliet with Hayward. it's such a shame he is missing out on debut roles he must have been so looking forward to. I was disappointed not to see him in Bayadere and 2 Pigeons and now Don Q but my disappointment must be nothing compared to his. Get well soon!
  16. jmhopton
    Really thrilled to find the Radio Times letter I submitted about the Swan Lake Christmas broadcast is in this weeks Radio Times. it is only the second time I've written (well emailed) both about ballet and both were printed. This one didn't get the Letter of the Week like the first one did but I'm still pleased. of course, looking at it I realised I could have added so much more and said it a lot better but hindsight is a wonderful thing. Here is the text. 'What a treat it was to see the Royal Ballet's Swan Lake on BBC 4 on Christmas Day. It is We lost ourselves in the beauty of the music and dancing. A full length ballet is so rare on tv these days that as a ballet enthusiast I often feel an endangered species but no longer! With Royal Opera House cinema relays showing about 12 ballet and opera performances every year there are plenty that can be broadcast on tv. Please don't let us wait too long for the next production; they are all truly magical and television makes them accessible to everyone.' They missed out 1 or 2 details I mentioned like Swan Lake being a new production and I said amazing music and fabulous dancing but still a good plug both for the ROH and the cinema broadcasts. Perhaps we might gain some converts of those who don't know about the cinema broadcasts. Just realised this is my 500th post so another milestone past!
  17. jmhopton
    Checking out the website for Sarasota Ballet I see they have a triple bill entitled Victorian Winters which contains Les Patineurs, Enigma Variations and Balanchine's Diamonds. Leaving aside Diamonds dubious Victorian credentials (I suppose Tchaikovsky is 'Victorian') is Enigma Variations especially wintry? (I can't remember) and would it be a more suitable pre-Christmas offering than Winter Dreams? I was very impressed with their programmes in general (especially the 2 recreated Ashton ballets) and have emailed the Artistic Director to ask if there is any chance of a UK visit, citing Forum correspondence so he knows there is interest. I'm not holding my breath but I'll pass on his reply and you never know, it might just plant a seed of thought for the future.
  18. jmhopton
    Just been torturing myself by looking as Sarasota Ballets programme; so many great things to see. However, they are also performing Enigma Variations (as part of a triple with Patineurs and Diamonds) and says it is 50 years since it was first performed. Do you think this might give Kevin ideas for autumn? They are also premiering Ashton's Varii Capricci which sounds intriguing and his Apparitions. Lucky Sarasota!
  19. jmhopton
    I am going to see their Cinderella at the Grand theatre, Blackpool next Friday so I'll let you know what I think. I saw their la Fille in Blackpool 3 or 3 years ago and don't know why they've never repeated it there as is was virtually a sell out. Slightly different music to the Ashton version as obviously no John Lanchberry special arrangement and a slightly different style. there was a sort of clog dance I think but not performed in clogs which I heard people complaining about as I left. But it was still a very pleasant evening, especially if you didn't know the Ashton version to compare it to and good to have a live orchestra and not recorded music.
  20. jmhopton
    Brilliant, thanks very much for this, JohnS.
  21. jmhopton
    It's a relief that Onegin was last danced by RB in 2015; I was thinking it was earlier than this, possibly 2013. Therefore, even if there is a 5 year period during which it has to be performed if the RB were to keep it we should still be ok (just) for the 2020/21 season if the travesty of not programming it for next season is committed. Though if it is not programmed then perhaps we'll have to fall back on the idea of chaining ourselves to Kevin O' Hara's desk until he agrees to schedule it! Alternatively writing en masse to Alex Beard as he actually seems to read people's correspondence and reply. Incidentally, where do people find out about past RB performances on the ROH website? I don't find it very user friendly for things like this (or indeed most things these days).
  22. jmhopton
    As 2019 has just got underway and next seasons programme is due to be announced in three or four months perhaps now may be a good time to discuss what we'd like to see in Kevin O'Hares announcement. You never know, there may be a gap in his schedule that may benefit from a few suggestions. My main wish list is very brief and consists of Onegin, Onegin and Onegin! Not just because Onegin is one of my favourite ballets but of the horrible prospect of possibly losing it from the RB rep. If it isn't performed then as it hasn't been performed for several years. I keep thinking of all the potential new Onegins and Tatianas there are currently in the RB (not to mention Olgas and Lenskys) and imagine whom I'd like to see. It's a very long list! After Onegin I'd like to see more Ashton and possibly see the reinstatement of the Ashton double/triple bill. Also Sylvia filmed for the cinema with Vadim (and preferably Naghdi) as it should have been last time. This would also boost what seems to be the rather paltry, half hearted Fonteyn celebrations. Also If more obscure Ashton could be revived that would be a real bonus as there is a very real danger of losing more obscure works as time goes by. I sometimes feel our founder choreographer isn't appreciated by current management in his old company as much as he should be. Finally, though I have been concentrating on the Royal Ballet company as they are the company I see the most of and have the largest rep. and the most opportunity for choice there is no reason to limit the wish list to one particular company or indeed, country. Nothing to stop it being an international wish list.
  23. jmhopton
    Can only echo Bruce's heartfelt words! It was only when the previous forum came to an end that I realised how much enjoyment it gave me and how much a part of my everyday life it had become. Living a long distance from London I depended on it so much for news and information and just the shared experience of chatting to fellow enthusiasts some of whom have become friends. When the new forum opened it was as if a light had returned to my ballet world! Long may the current forum continue and many, many thanks to the moderators who make it all happen and the happiest of new years to you all.
  24. jmhopton
    Well I had a rather stressful Christmas day so it was wonderful to switch on Swan Lake and just lose myself in the fabulous music and dance. It was a really beautiful end to the day and though the presentation was rather rushed I have criticised the BBC a lot for not showing performances so all credit to them they were prepared to show this and on Christmas day as well when tv ratings are so competitive. I do agree with a lot of the above comments about the ending and Benno but I think the Benno situation seems more accentuated because of the lack of Siegfried dancing and this in spite of Liam Scarlett stating beforehand that his version was going to focus a lot more on Siegfried. This does not seem to have materialised but perhaps something to consider for the future. He seemed happy to insert music for the new act 4 pas de deux so perhaps he could do something for Siegfried. Also it seems a shame that in the cinema version you miss the entire scene transformation between the palace and the lakeside as the lighting is so dark. However, well done BBC for this; worth the licence fee all on its own. Bayadere at Easter, please!!
  25. jmhopton
    Was at the ROH for a full day last Thursday; matinee and evening for the triple bill. In the evening second interval I was in the new open up area which I always think of as the Euston concourse because the 2 are practically interchangeable. A few bill boards giving the starting time of the next performance and no one could tell the difference. Nearby a rather posh lady who immediately reminded me of the Laura Morera character in the Concert was berating her husband whom she had been unable to find. Her final remark was ' Why did you expect me to look for you in this rubbishy cafeteria?' which I thought summed up the new multi million pound public space very nicely.
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