bangorballetboy

As the casting for the next run has already been announced, I hope the casting fairies won't make this happen (as that would require someone leaving, being injured or taking ill).

Another one, circle seats for £19.50 on 14 June (mat) and 19 June (eve): https://uk-offers.timeout.com/deals/entertainment-romeo-and-juliet-english-national-ballet?cid=TOL%7CDD%7CEM%7C_Image%7Centertainment-romeo-and-juliet-english-national-ballet%7C2014-06-06T19:53:40

Definitely there, at 3.35 yesterday

I don't believe that's the position. HMTQ has said a number of times that she intends to keep the promises she made in 1947 and, accordingly, will not abdicate. I think HM is relaxed as she's in a sort of job-share with her eldest son!

I doubt it, given the non-story was a leak of something that's not yet been published.

Then, with respect, your friends should calm down. An incorrect non-story sensationalised by, would you believe it, the Murdoch press.

I find the new version much less user-friendly than the pdf versions in previous years.

Here is Claudia's message to us all [reproduced here with her permission]. When you grow up you're taught to chase your dreams... I was lucky enough to reach them. Sometimes though, when you get there, they don't live up to your expectations. I've asked myself: Does hard work always pay off the way you want it to? Life is too short to not be 100% happy. They say you can't judge someone until you've walked a mile in their shoes and I know there will be people who will not understand, nor agree with this but if I can just ask for everybody to please respect my decision. I have decided to resign from the Royal Ballet Company at the end of the season. I am moving back to Australia, to live a normal life, to have a normal job, but most importantly, to be surrounded by the people whom I've missed greatly and who have supported me for the last 21 years; my family. I'm someone who knows what I want and will always be true to myself. It's truly incredible where life can take you. Thankyou to everyone who has been a part of my journey over the last 5 years here in London - it's been amazing! But I am beyond excited to start this new chapter in my life and... Cheers to new beginnings!!! : )))

Thanks. Much more about this and the rest of the 2014/15 RB in the thread on that subject here

Yanowsky, Underwood, Benjamin, Watson, Bussell, Avis, Nuñez, Bonelli.

I've edited the title of this thread to correct Nancy's surname.

Luckilly I was born in Northern Ireland where the school admission year runs from July, rather than September in England, so summer born (like the Leo I am) are more likely to be advantaged rather than disadvantaged.

Possibly because Degas and Toulouse Lautrec were in Paris not London (but then again, so was Sickert for quite a while too, which is why the theories are generally discredited). If you do any reading on the subject, you'll see how the theories develop (and it's not just because of one of the paintings).

but also because the title is reserved for the heir apparent, which Eddy never was. We digress...

Doesn't arouse me either (but then I think one of the sexiest moments in ballet is the blue girls in Les Patineurs looking up and smiling as they "walk" across the stage). I found that looking at the Sickert pictures after my first viewing of the ballet brought a number of narrative (and choreographic) threads together.

I see that nowhere in Melody's long post of interview extracts is there mention of Yanowsky believing Mason was treating her as a soloist.

Oh yes. The Albert Hall programmes used to say: "Gentlemen are requested to refrain from striking matches during the music."

*ahem*

This has been discussed by the moderators in response to a report on the thread and the decision was that there is no breach of the AUP. In my opinion, facial expressions of a performer are a valid subject for criticism. Some may like MG's funny pout; I do not and find it distracts greatly from what he's doing from the neck down (which is often, but not always, very good). We know that MG can smile (it's there in one of Rojo's TV programmes), and it's a very nice smile, but he chooses to have a different facial expression when performing. This, in my opinion, is valid criticism. On a similar vien, I wish Osipova would lose the facial gymnastics in DGV. A neutral face, as her predecessors in the role maintained, would be far more in keeping with the feel of the piece.

And I think it's a valid criticism. Each to their own.

If that were the case, then why did Yanowsky not leave? Roles include Odette/Odile, Chosen One in Rite, Manon, Sylvia, Myrthe, Terpsichore, Black Queen in Checkmate, Nikiya, Natalia Petrovna, Queen of Hearts in Alice (created on ZY), Marguerite(!), Raymonda and principal roles in The Lesson, La Fete Étrange, Ballet Imperial and Rubies. Other principal roles created on ZY include Seven Deadly Sins, Electric Counterpoint, Castle Nowhere and Three Songs, Two Voices. Doesn't sound that much like a soloist to me.

Balderdash! You only have to look at the ROH Collections performance database to see that is far from the truth.

Not sacrilege at all. I prefer the turns to be on the music and this can be done. For example, when the music in the Swan Lake 32 changes tempo, and you get the ya-da-da-da-dum at the end of the phrase, that's perfect for a double.

Hi Janet. To get the pedantry out of the way first, the question is about fouetté turns, as fouetté just means "whipped" (literally) and applies to a large number of steps. In layman's terms, a fouetté turn is a pirouette with a whipped leg action. If there's a double pirouette before the whip, it's a double fouetté turn.

I'm seeing EO next Sunday.