zxDaveM

A couple of photos from the dress rehearsal (Parts 1 & 2) of William Forsythe's 'Artifact'

Artifact (William Forsythe) performed by Royal Ballet Flanders

© Dave Morgan. Courtesy of DanceTabs / Flickr

Artifact (William Forsythe) performed by Royal Ballet Flanders

© Dave Morgan. Courtesy of DanceTabs / Flickr

See more...

Dave Morgan's Royal Ballet of Flanders (Artifact), a set on Flickr

Courtesy of DanceTabs / Flickr

Thank you for kind words and glad you enjoyed the interview with Tamara - good to hear first hand what she is about and I have a lot of time for her.

 

 

 

One of the questions I asked but didn't make it into the final interview was what her motto is. She has one but it's in Spanish and it didn't seem to translate so well. But it starts something like "Be fearless...". Its a fragment that says a lot about here.

"here" or "her" - that 'e' makes a huge difference in meaning! ;-)

well, after the critics collective "ooh-look-at-me-aren't-I-clever-I'm-slating-McGregor" reviews of Carbon Life, not sure I'll be paying them attention at all from now on in.... ;-)

I'm not having a go at Yasmine. I appreciate that she is a very young artist who has been singled out because of her talent (and she's a Brit- hooray!) I only mentioned her because several other people had recently spoken of her in glowing terms.

Persevere - that young woman is going to be a star, I have no doubt AT ALL

The only thing that I didn't like last night was the extremely long second interval. It was supposed to be 30 minutes (already long) but it must have been nearer to 40. Was there a reason for this? I was on the point of giving up and going home. It made for a long evening. I may be mistaken about this, but there did seem to be a few empty seats at the start of Carbon Life.

takes a long time to get rock stars out of their dressing room (and away from the rider!!). As for the empty seats, that'll be the fuddy-duddies fleeing

Ps. Where was Boy George????

He would have been on the far left of the row of musicians, and singing in the last 2 songs - but I don't think he was due to appear every night. Can't say I'm a fan, but fair play, his voice was missed last night

Yes, Brian Maloney was absent - he didn't perform the bits that would have required him to wear those awful pointe boots.

Yes, that would have been too much to expect of Brian, so not surprised at all by him not doing pointy bits - but i meant more generally, I thought the stage 'busier' with almost everyone coming on at the end. No?

@JaneL

While I actually like Carbon Life (especially the Alison Mosshart parts; and even the kindest of souls wouldn't say I was a youngster!!), I do agree with you on this 'aiming at young people' mantra they seem to have at the moment, and making gimicky things to attract a 'new audience' (usuaully meaning a young(er) audience) into the ROH. To my mind they should be thinking of ways to make the 'classic' rep appear on the cool radar, and so attract newcomers of any age. How you do that, I'll leave to bigger brains than mine. Perhaps they think they don't need to make the effort with the big blockbusters - after all R&J and Swan Lake etc, sell out regardless.

One of the things that I disliked about Carbon Life was the covering of faces. I was pleased to see last night that the "black condom hoods" (as someone else so eloquently called them) worn by the two men dancing the pd3 with Nela Nunez had gone. Whether this was because Brian Maloney was dancing in Eric Underwood's stead (due to illness) I don't know, but I hope it's a permanent change.

 

And great kudos to Brian Maloney who learned his bits in 2.25 hours of rehearsal yesterday. Bravo.

hear hear, re Brian Maloney.

And YESSSSS re the demasking!

Question - were there fewer dancers on stage during the last song (finale bit) than previously? Or am I just mis-remembering?

From what I've read, it does. I seem to remember something about a £1/4 m donation to somewhere which could ill afford to lose it being under threat. And this from a government which allegedly wants to encourage private donations in support of the arts ...

That's only so they can cut arts funding, so ensuring that the arts return to being an exclusive pastime for those that can afford to pay (well) for it

sounds like they were trying to wait until AFTER they had gathered all the dancers together, and told them officially first. Although i bet most of them knew anyway from reading stuff on the Interweb!

Embargoed releases are a complete no-no in PR in any age.

Especially when anyone who is genuinely interested, probably knows anyway...

Am I right in thinking that the identity of the new ENB AD is now "officially" public?

Think its a semi-official unofficial leak, as the new AD still dancing with another company. If the leak is true of course

It was a fascinating rehearsal. To see the detail and precision and sheer effort that goes into making something seem so effortless and simply elegant, was compelling.

One thing that pleased me about last night was there was no applause during either Sweet Violets or Carbon Life; both pieces the better for that.

Agree about no applause in Violets, but each song episodic enough for a bit of applause in between. Is it me, or are there now NO actual gaps in Carbon Life, that allows applause to take hold? I seem to remember (or is that misremeber) the opening night and rehearsal the music actually stopping in between songs, whereas last night, at least a sustained note was maintained, before the next song started, so discouraging applause, as those unfamilair were not certain of endings/beginnings.

As for the orchestra 'missing' I'm guessing they simply couldn't get the sound levels matched between pit and the onstage band, or timings/tempo sorted, or somesuch. Also a guess, the 'orchestral' effects were loosely filled in with electonic keyboards instead.

Thoughts after a third viewing - Polyphonia is sublime; I'm now getting more into the choreography in Violets, now that I know who is who and doing what to whom; still love the first 2 songs in Carbon, all of the duets, though feel the mass dancing just a bit too busy at times (when everyone doing their 'own thing', as there are lots of my fave dancers on stage at the same time and I can't watch them all, hard as I try!

It has just occurred to me that two winners of "Young British Dancer of the Year" (James Hay 2006 and Yasmine Naghdi 2009) are dancing a pdd in "Polyphonia" on 12,14 and 23rd April. This must be the first time two YBDY winners dance a pdd on ROH stage!

I wouldn't know if they were or not - but they were both marvelous in the rehearsal, so looking forward to their 'opening night' tomorrow :-)

yes, lots of people have said the same thing - but ROH say they are catering for those that want both or so i've heard (Friends at least get that - a day for each type of fan, if not much else)

I was pretty lucky this time round - managed to get on in a reasonable time, got the tix i wanted for Titian, and any ol' thing for most everything else, but at least they were affordable tickets, which is cool.

I did go to see Ballets russes (programme 2) but don't feel able to comment on it as I don't feel in any shape or form expert enough to pass comment....except to say I loved it and was entranced by how precise the corps de ballet was. It was beautiful.

 

Sounds like you enjoyed it, and saying so is fair enough! :-)

I am curious as to how Carbon Life would be performed in the future. Can the songs be sung by anyone, given that Boy George and the others are not likely to be able to commit to future performances?

 

To my mind, the only irreplacable musician/singer would be Alison Mosshart (and not just because I'm a fan). Hers was the most 'interactive' (with the dancers, prowling about the back of the stage) and also the largest contribution, and with the most unique voice.

I think that the booster cushions are no longer available, but she should be fine without.

Yes, should be fine without, but they do still provide those sqeaky cushions should you need them

I was in C77 the other night (which is 'restricted' due to a pillar that you can easily see around). The view is fine, as the are only 2 rows in front of you, and the rake is quite good for those rows. Unless your offspring are v young (and so small) and there is a large person in front, should be fine

Some photos from the latest Royal Ballet triple bill - Polyphonia, Sweet Violets and Carbon Life:

Polyphonia - Sarah Lamb & Johannes Stepanek

© Dave Morgan. Courtesy of DanceTabs / Flickr

Alexander Cambell and Bennet Gartside in Sweet Violets

© Dave Morgan. Courtesy of DanceTabs / Flickr

Olivia Cowley & Edward Watson (with Alison Mosshart)

© Dave Morgan. Courtesy of DanceTabs / Flickr

See more...

Dave Morgan's Royal Ballet triple bill, a set on Flickr

Courtesy of DanceTabs / Flickr

Yasmine's solo - Wonderful!

That's not to say that Beatriz' solo was any less beautiful.

There were both superb weren't they. Hope they don't have to continually 'compete' for the same roles though - like to see more of both of them

 

The reviews this week of the Eifman and the RB triple bill all make me want to see both, to make my own mind up. Having reviews so polarised between loving and hating the triple bill just make this more the case.

Yes, indeed, definitely worth seeing the triple bill and make up your own mind. That it is polarising opinion, makes it vibrantly discussion worthy - so if you make it to a show, do post up what you thought, good or bad.