annamicro

l really loved Neumeier's Opus 100, created to celebrate Bejart's 70th birthday.

[quote name="Coated" post="84859" They should take the lead from of Men in Motion and commission pieces for the show instead of scouring the attic for choreography with no ladies in it. Or just invite a couple of ladies along so they can perform any role they deem suited to their talent regardless of their partner's gender. At the end of the day, endless solos become quite boring, no matter how well performed That's what they did in the fisrt edition: Corella, Kobborg, Stiefel and Tsiskaridze had a solo especially created forthem (Kobborg had a Faun by Rushton, Tsiskaridze a Carmen by Petit, I don't remember the others). The "core"piece was the Lesson, with two ladies, but just because in one of the theatre they were touring there was not room enough for Jeune Homme one.

Sometimes there are also VISA problems: when Sascha Ryabko danced with Cojocaru he had his VISA something like a day before the show. This time he is confirmed, with his wife Silvia Azzoni. Anyway, reading a comment on the Web it seems that the definitive confirmation was given few days ago, it seems from organizers.

Cojocaru and Kobborg have confirmed on twitter days ago that they are dancing Manon bedroom pdd, check for @DancingAlina and @Kobborg

Once, sitting in amphi row B I tapped a "lady" leaning in row A and she went on complaining even to the usher. She ended up to obstruct to me almost the whole stage on the first act and spoil my second because I was really nervous after the discussion. When I buy a ticket and think I could have a restricted view, I try to choose seats without person sitting behind me: there are a few, so if you want to lean choose E78 and not A78.

Almost at the end of Royal Opera House programs there is a page called: "Guidelines and General Information". Under "Enjoying the Performance" is written: "Please think of other audience members: talking, humming and singing will interfere with their enjoyment of the performance, and leaning forward in your seat may impede the view of others" Previously this note was even more direct: "Because of the nature of the seating we would ask you to sit back in your seats as leaning forward may impede the view of the person behind you".

and also said that the doctor that visited her recommended 48 hours of rest... definitely not lack of details :-)

do you think so? It's probably the silliest interview I've ever read. I think more that Vasiliev was making fun of the poor lady, being impossible to take her seriously...

I don't know if there is a mistake on the program, but you are right: Ceremony of Innocence is by Brandstrup. Zucchetti presented is new Claire de Lune (the evolution of the piece performed at the first draft the past year).

yes, they posted it on facebook 25 min ago :-)

Try with ENB :-) : http://blog.ballet.org.uk/daria-klimentova-farewell-performances-romeo-juliet-royal-albert-hall/ "Daria Klimentová, English National Ballet Lead Principal and one of the most respected and accomplished stars of classical ballet, has announced she will retire after dancing the role of Juliet at the Royal Albert Hall in June. Vadim Muntagirov, with whom she has formed one of the most admired ballet partnerships of modern times, will return to the Company to play Romeo in Derek Deane’s spectacular production of Romeo & Juliet in-the-round."

Alina Cojocaru is dancing Tatiana with Hamburg Ballet on the 7th and 8th of March, opposite Carsten Jung. Super Olga and Lenksky for this cast: Leslie Heylmann and Thiago Bordin. The wonderful Silvia Azzoni-Sascha Riabko partnership is opening the run on the 2nd of March.

I'd also start calling them Muntagirov and Trzensimiech (not the easiest names!) and the same for the other dancers, since other ways seem to imply an intimacy that sounds unlikely as much as it helps to lose the sense of position and proportion... :-)

In a tweet, on Sunday, Rojo says "I want to thank @E_N_O for making us feel at home and for the wonderful flower throw they always give to #ENB dancers" She seems to thank English National Opera for the flowers, not the audience: I hope it is not a misunderstanding.

Tamara Rojo is dancing the first night and I've been told that her show is sold out.I hope also the other dates are selling well, because the production and the company deserve it!

Well, having seen both casts yesterday I have no doubts at all on which one to film, even if Acosta was super and Golding face wasn't (but his dancing was!). :-) Anyway they are filming another cast and it seems an absolutely excellent choice!

[quotme=Odyssey" post="72937" timestamp="1389740]I do hope there's a strong possibility it will be filmed - it has all the credentials for the traditional Christmas slot on BBC. The "strong possibility" is becoming reality today: as confirmed yesterday by Tamara Rojo, they are filming the last two shows of the Cojocaru Muntagirov cast. Tamara is determined to have it available for a larger audience. The quality of the dancing and of the production deserves that. I hope it could be just the start of a new policy of the company and other films will follow: ENB definitely is not "perilously understarred" at the moment, having a relevant number of great and charismatic dancers in its ranks!

All those who gave a contribution for Alina and Johan flowers may be happy to know that they were so generous that it was raised more than the double of the needed :-) The organisers decided to use the leftover for a permanent memory of the night: a huge glass bowl, engraved with Alina and Johan names, the date and "from your loyal and admiring Covent Garden audience", was given to Cojocaru and Kobborg after her Nutcracker on the 27th. They both were very moved and happy, somebody took photos shared by Johan on his facebook page and Alina tweeted her thank you (her account is @dancingAlina).

The Bucharest National Opera House organizes an open audition addressed to professional ballet dancers. Audition date and hour: February 2, 2014, 14h00. Location: The Bucharest National Opera House, address - Blvd M. Kogalniceanu no. 70-72, district 5, Bucharest (Romania) - the Studio Hall (third floor). Registration: those interested to attend will send a complete Curriculum Vitae (studies, professional achievements, as well as information regarding height, weight etc.) and recent photographs where they are performing classical ballet, atcasting.balet@operanb.ro. Registration deadline: February 1, 2014 Other details: auditions will consist of one hour of class and, if applicable, of presenting a variation of classical ballet. Here the link to Bucharest Opera news page the http://onb.operanb.ro/en

http://onb.operanb.ro/en/ Audtions on the 2nd of February for Johan Kobborg's Romanian National Ballet. Above the link to Bucharest Opera news page with all the details.

What I know is that yesterday Victoria was closed, but the replacement for Gatwick is arriving at Bridges, so everything was apparently regular. I will see today, but I didn't think that the difference of height was a problem in Le Corsaire. I even think that, excluded Kobborg if course, Cojocaru dances better with tall dancers, being "long", dancing grand, and extending herself on the music. This was sadly evident in many shows at the ROH, when she was cast with shortish and compressed dancers. Luckily the one who makes the cast at ENB agrees with me, so I am looking at the future with hope and confidence. :-)

Of course Alina today! Enjoy Cinderella and Lucia! I am crossing my fingers for you (and me: tomorrow I have my flight back to Milan and on Sunday La Scala Ratmansky mixed bill! )

Darling, I was travelling from Italy: everybody has her term of comparison. We call it Santo Stefano but it's the same mess. :-) The tube was excellent, I cannot say about buses. Sorry on the mobile I didn't notice it was a reply to Alison, anyway the transport I used were excellent :-)

Lazy Britons :-) : I was able to be there from Milan landing in Gatwick at 17. Excellent back up service by Southern railway and I was lucky that all my travel plan went as schedul. A stressful afternoon but it was well worth it: Tamara Rojo was wonderful and I loved also Laurretta Summerscale, a great Ballerina in the making. Great performance by the whole company!

Johan Kobborg can be proud of his new La Sylphide staging and, even more, of his new company. The sets and the costume of this production are clearly supported by a less sumptuous budget than the ones people is used to have in London, but they are effective and simplicity is a plus: the essence of the show is on the dancing and imagination is free to fly. It’s refreshing to see less glamour and glitters and more accuracy on dancing details: more famous companies should follow this example. I was impressed especially by the general quality of Romanian National Ballet girls: wonderful port de bras, eloquent and silky soft, precise batteries and good jumps, a great attention to the ensemble movements (notably the three sylphs dancing as one). The second night was even better than the first, with a more balanced cast. The Sylph, Sena Hidaka, was an outstanding example of the qualities of the ballerinas of the company: one can really asks which part has luck in the career of an artist and why such a dancer is performing in a (so far ) peripheral company and others, much less interesting and attractive, are showing themselves on the most important stages of the world. She also found a surprisingly good James in Robert Enache. His linear acting was effective and the two were able to tell the story in clear and sympathetic way. Enache, with high jumps, neat batteries and clean and elegantly masculine dancing, honored respectfully Bournonville choreography, giving relevance, clarity and value to every single step: he would have deserved the first night. Alina Cojocaru has such level of artistry and quality that can only be outstanding and offered a performance that would have made Royal Opera House audience scream of joy, as many shows she danced in London. Alina was not trained in Romania, so has never been really connected with Romanian National Ballet and has performed very few times in Bucharest and with the company, that nevertheless has always been close to her heart and that she has actively supported in the past years: the hope is that now, thanks to Johan appointment as director of the company, her hometown audience will be able to see soon the very best of her and to know her better in more performances to come. The adoring huge crowd that queued patiently to have a signature and take a photo with her deserves it.