annamicro

A number of critics have complained about the quality of the choreography in this programme. Stuttgart Ballet brought some male solos to London last autumn and I, personally, wasn't that keen on them either although they seem to be highly regarded by German audiences and critics (and others). For me, most male solos and duets are either fey or self-indulgent/narcissistic. The only ones which I have really liked are Narcisse (performed by Polunin) and Songs of a Wayfarer (performed by Muntagirov and Berlanga). Has anyone seen any other effective male solos or duets?

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.

I remember this being an issue last year - the promoters seem to put star names on the bill before final confirmation they're appearing has been received.  It's really frustrating, and makes it difficult to tell who you will actually be seeing.

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.

There always are no-shows every year: I didn't expect this one to be any different.

 

Does anyone have any idea what will actually be on yet?

 

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

Well I'm sorry if I offended anyone.  I was a little surprised at bangorboy's comments, I am certainly not one for doing what I like without any regard for others, I do have some manners!  As I said, I did look behind me first to consider whether I would obstruct their view and I really did think that if I did, someone would tap me on the shoulder and ask me to sit back which of course I would have done.

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.

I am sorry, but you pay for a restricted view so you get a restricted view.  There's a photo on the website that illustrates what you will and will not see.  The tickets of those affected by the leaners do not say "Your view will be affected by patrons leaning forward".  So sorry to say it, but leaning forward, wherever that is, is unacceptable.  As is coughing, dropping your phone/binoculars, whispering a witty observation to your companion, unwrapping candy.  I know there's always an excuse.  But. Just. Don't.

 

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".

It was already in the public domain, Meunier.  Kevin O'Hare came out on stage to make the announcement of the cancellation and it was he who used the word 'concussion'.  

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

Don't you think the writer adopted that giggly ballet aficionado role on purpose? Vasiliev comes across so arrogant that I really thought she did this on purpose. I'm still puzzled...

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 am wondering if there was a mistake in the programme, because Ceremony of Innocence to Britten's Variations on a Theme by Frank Bridge is a work by Kim Brandstrup. I was at its premiere at Snape Maltings last June - Marcelino Sambé was in the cast.

 

James

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).

  This must be fairly recent. 

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

 

Could that be ANY clearer?  I don't think so.  One (well, me at any rate) REALLY wonders WHO now to believe ... ??????!!!

 

 

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.

This thread has now got a whole load better. What with some of the reaction to Vadim joining and Dawid leaving the Royal Ballet I was beginning to feel that we at balletcoforum had rather lost the plot, Maybe we should reflect on this and make a combined decision to stick to commenting on performances (for which there will be plenty of opportunity with the wonderful Vadim) and avoid the more personal stuff in future..

 

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... :-)

 

 Throws for ENB are always, in my experience at least, instigated and funded by fans.

 

 

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.

I think that ENB is taking Le Corsit,ire to Madrid 24th to 27th April this year.

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!

The person who organised the last two flower throwns for Cojocaru and Kobborg is working on it. She is not on ballet.co, but some poeple here are helping her, maybe they can give their contacs :-)

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.

Really?  According to my information, they were one of the companies who weren't supposed to be running trains yesterday.  You mean I could have got up there had I seen the information in time?  Grrr.  Or perhaps they were just running a daytime service and no evening one.

 

Alina looked on very good form - and very happy - the other day when I saw her.  I think the height difference between her and Muntagirov is perhaps a bit much for this ballet, though, and may have contributed to a muffed shoulder-sit in the pas de deux.  Unfortunately, the production is doing the opposite of growing on me, whatever that is, which is a great shame considering the company are dancing it so well.

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. :-)

Glad you made it over OK and enjoyed the performance.  Are you seeing any more while you are here?

 

Weather permitting I'm back to Leeds tomorrow and, if all goes to schedule, Miss Solari as Cinderella!

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 :-)

Well, it's good to hear from you on this, Kathy, and thank you for posting.  I think the problem this year has been that there are some very major Boxing-Day engineering works - virtually nothing running south of the river as far as I can see - whereas in previous years there have at least been some trains available.  I don't know what the situation was with Tubes and buses.

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!

Wonderful news. Congratulations to him, and I'm sure he'll do wonderful things there. I'm sure, too, that his lovely lady will be guesting a lot!

Did you watch their La Sylphide last night, Annamicro? And if so, do tell us how it was!

 

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.