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Found 53 results

  1. So, the Royal Ballet season starts tonight. I hope people who are going will report back.
  2. No comment on the dress rehearsal today, for the usual reasons, but did anyone happen to catch the pre-show announcement about two (I think) cast changes? I missed this as my neighbour arrived rather noisily at exactly that moment and so I am puzzling as to who we saw who isn't on the cast list.
  3. So it looks as if it's not actually available live on you tube... There's something going on on Facebook but not on You Tube. Not a great start to my day off work as now I need to work out how to get Facebook on my TV! Edited to add that it's now playing a trailer... Looks like You Tube is around ten minutes behind Facebook
  4. Did no Forum contributors go to the Hippodrome last week ? Due to old age this is the first season for over 20 years that I haven’t become a subscriber and due to ill health I had to miss the first of the only three shows booked. I had been hoping ( with mixed feelings) to reading a review of what I had missed. I have heard a rumour that the new work was very good. More information would be very welcome.
  5. English National Ballet Nutcracker National Tour 27 November – 5 January 2020 Liverpool Empire and London Coliseum www.ballet.org.uk/nutcracker As part of its 70th Anniversary Season English National Ballet is continuing its Christmas tradition of presenting a Nutcracker production each year since 1950. English National Ballet's Nutcracker returns this festive season with performances at the Liverpool Empire Theatre (27-30 November) and the London Coliseum (11 December-5 January) Principal casting for the performances is announced today and sees three debuts in the roles of Clara and Nephew. Guest artist Brooklyn Mack will debut in the role of Nephew for ENB partnered with Principal Shiori Kase, First Soloist Emma Hawes will debut in the role of Clara alongside First Soloist Aitor Arrieta and Daniel McCormickdebuts as Nephew and will be dancing with Soloist Rina Kanehara. Other pairings in the roles of Clara and Nephew respectively are; Lead Principals Alina Cojocaru and Isaac Hernández, Lead Principals Joseph Caley and Jeffrey Cirio are both partnered with First Soloist Katja Khaniukova, Lead Principal Erina Takahashi will perform with Principal Francesco Gabriele Frola, Lead Principal Fernanda Oliveira and First Soloist James Forbat and First Artist Francesca Velicu with First Soloist Ken Saruhashi. Also announced today are those dancing the role of Nutcracker which sees debuts for Artist of the Company Matthew Astley and First Artist Henry Dowden. Returning to the role of Nutcracker this season are; First Soloists Aitor Arrieta, James Format and Junor Souza, Soloist Skyler Martin, First Artists Daniel McCormick and Erik Woolhouse and Artist of the Company Fernando Carratalá Coloma. Over 100 dancers and musicians bring to life the popular Tchaikovsky score featuring the Dance of the Sugar Plum Fairy and Waltz of the Flowers, performed live by English National Ballet Philharmonic. Since its premiere in 2010, this festive family favourite has been seen by over 660,000 people, and continues to attract new audiences, with 70% of 2018's audience members first time attenders at the London Coliseum. To coincide with Nutcracker, English National Ballet will host a range of workshops and events, aimed to provide a gateway into the world of ballet. Activities include on-stage workshops for all ages including adult and youth ballet workshops, arts and craft family workshops and behind-the-scenes talks. The Family Friendly performance ofNutcracker is on Sunday 5 January. Children under 5 may attend this performance and up to two children under 16 can go free with each full paying adult. For more details, see www.ballet.org.uk/whats-on Nutcracker Principal Casting: In the order of Clara, Nephew and Nutcracker Liverpool Wednesday 27 November Shiori Kase, Brooklyn Mack*+, Junor Souza Thursday 28 November (mat) Emma Hawes*, Aitor Arrieta, Fernando Carratalá Coloma Thursday 28 November Rina Kanehara, Daniel McCormick*, Erik Woolhouse Friday 29 November Emma Hawes, Aitor Arrieta, Fernando Carratalá Coloma Saturday 30 November (mat) Francesca Velicu, Ken Saruhashi, Matthew Astley Saturday 30 November Shiori Kase, Brooklyn Mack, Junor Souza London Wednesday 11 December Erina Takahashi, Francesco Gabriele Frola, Skyler Martin Thursday 12 December Katja Khaniukova, Jeffrey Cirio, Daniel McCormick Friday 13 December Shiori Kase, Brooklyn Mack, Junor Souza Saturday 14 December (mat) Fernanda Oliveira, James Forbat, Henry Dowden Saturday 14 December Katja Khaniukova, Joseph Caley, Aitor Arrieta Sunday 15 December (mat) Erina Takahashi, Francesco Gabriele Frola, Skyler Martin Tuesday 17 December (mat) Rina Kanehara, Daniel McCormick, Erik Woolhouse Tuesday 17 December Katja Khaniukova, Joseph Caley, Aitor Arrieta Wednesday 18 December (mat) Fernanda Oliveira, James Forbat, Henry Dowden Wednesday 18 December Erina Takahashi, Francesco Gabriele Frola, Skyler Martin Thursday 19 December (mat) Emma Hawes, Aitor Arrieta, Fernando Carratalá Coloma Thursday 19 December Katja Khaniukova, Jeffrey Cirio, Daniel McCormick Friday 20 December (mat) Francesca Velicu, Ken Saruhashi, Matthew Astley Friday 20 December Shiori Kase, Brooklyn Mack, Junor Souza Saturday 21 December (mat) Erina Takahashi, Francesco Gabriele Frola, Skyler Martin Saturday 21 December Rina Kanehara, Daniel McCormick, Erik Woolhouse Sunday 22 December (mat) Alina Cojocaru, Isaac Hernández, James Forbat Tuesday 24 December (mat) Alina Cojocaru, Isaac Hernández, James Forbat Thursday 26 December Emma Hawes, Aitor Arrieta, Fernando Carratalá Coloma Friday 27 December (mat) Katja Khaniukova, Jeffrey Cirio, Daniel McCormick Friday 27 December Fernanda Oliveira, James Forbat, Henry Dowden Saturday 28 December (mat) Francesca Velicu, Ken Saruhashi, Matthew Astley Saturday 28 December Alina Cojocaru, Isaac Hernández, James Forbat Sunday 29 December (mat) Shiori Kase, Brooklyn Mack, Junor Souza Monday 30 December (mat) Rina Kanehara, Daniel McCormick, Erik Woolhouse Monday 30 December Katja Khaniukova, Joseph Caley, Aitor Arrieta Tuesday 31 December (mat) Erina Takahashi, Francesco Gabriele Frola, Skyler Martin Thursday 2 January Katja Khaniukova, Jeffrey Cirio, Daniel McCormick Friday 3 January (mat) Alina Cojocaru, Isaac Hernández, James Forbat Saturday 4 January (mat) Francesca Velicu, Ken Saruhashi, Matthew Astley Saturday 4 January Erina Takahashi, Francesco Gabriele Frola, Skyler Martin Sunday 5 January (mat) Fernanda Oliveira, James Forbat, Henry Dowden *Debut in the role with English National Ballet +Guest Artist Please note, casting is subject to change. Please see www.ballet.org.uk for up to date casting. -ENDS- Listings: Nutcracker Liverpool Empire Wednesday 27 - Saturday 30 November 2019 Box Office: 0844 871 3017 or www.ballet.org.uk/nutcracker Nutcracker London Coliseum Wednesday 11 December 2019 - Sunday 5 January 2020 Box Office: 020 7845 9300 or www.ballet.org.uk/nutcracker English National Ballet is a National Portfolio Organisation supported by Arts Council England. Notes to Editors About English National Ballet English National Ballet has a long and distinguished history. Founded in 1950 as London Festival Ballet by the great English Dancers Alicia Markova and Anton Dolin, it has played a major role in the growth and history of ballet in the UK. Today, English National Ballet is renowned for taking world-class ballet to the widest possible audience through its national and international tour programme, offsite performances at festivals including Glastonbury and Latitude, its distinguished orchestra English National Ballet Philharmonic, and being a UK leader in creative learning and engagement practice and delivery, building innovative partnerships to deliver flagship programmes such as English National Ballet’s Dance for Parkinson’s. Under the artistic directorship of Tamara Rojo, English National Ballet has gained new acclaim as it introduces innovative new works to the Company’s repertoire while continuing to honour and reinvigorate traditional ballet. www.ballet.org.uk About Arts Council England Arts Council England is the national development body for arts and culture across England, working to enrich people’s lives. We support a range of activities across the arts, museums and libraries – from theatre to visual art, reading to dance, music to literature, and crafts to collections. Great art and culture inspires us, brings us together and teaches us about ourselves and the world around us. In short, it makes life better. Between 2018 and 2022, we will invest £1.45 billion of public money from government and an estimated £860 million from the National Lottery to help create these experiences for as many people as possible across the country. www.artscouncil.org.uk
  6. I went to ENB performing Chrisopher Wheeldon's Cinderella in Manchester today (Saturday Matinee). Erina Takahashi and Joseph Caley were the leads. I have never been to a Wheeldon ballet before, and not watched the Royal Ballet televised productions of recent years. I must admit to a certain about of ignorant snobbery and prejudice towards this choreographer. Being a lover of the great classical ballet canon, I had a bias that it might be, (especially judging from the Cinderella promotional images) rather too 'Matthew Bourne-ish' (again, I admit to being quite ignorant of Bourne too). The excellent reviews on this forum of this Cinderella (in the round, in the Albert Hall) encouraged me that it was worthwhile to go and see. Thank you Ballet Forum! I found it was a splendid cinematic dance theatre with more than enough of the classical style to satisfy me. For sheer visual effect, it is impressive and sophisticated. The colours of the staging and costume are extremely rich and splendid, lustrous. I did wonder in some scenes if they crossed the line into garishness but they just stayed on the right side, I think. The varied effects are very striking, wonderful (I particularly liked the row of chairs levitating in Act III). The choreography I found very interesting and often extremely pleasing. I loved the use of the male quartet of 'Fates' throughout. As with the other Cinderella I've seen (BRB Bintley) the Seasons dances are a highlight, and Precious Adam's leading Winter was probably my favourite. Perhaps some of the step sequences were a little 'busy', particularly in the (infrequent) solos, and I must admit I didn't find the grand pdd's conveyed the overwhelming emotion I thought they should have. The national dance section was again a little busy but I love this music and regret that it doesn't feature in the BRB version. But overall the dance was continually creative, impressive, surprising and consistently high standard. And I will admit that at the climax of Act II ballroom scene had me won over - the way the corps formations drew the scene onto it's finale, and portrayed the ticking clock with their arms - I thought this was fabulous. The leads Takahashi and Caley were of course excellent and flawless, but I'm not sure their individual (or pdd) choreography was a sufficient vehicle for either of them to really enrapture or astound the audience. It looks like this production has sold extremely well, far better than ballet usually does in Manchester.
  7. I have just received a notification from the Royal Opera House's Facebook page that World Ballet Day 2019 will take place on Wednesday 23rd October.
  8. I was at The Lowry last night to see Russell Maliphant's latest work Silent Lines and I absolutely LOVED it! The work is short - just over an hour - but I could not feel short-changed! It is for 5 dancers (three men and two women), with the lighting/projections almost as a 6th dancer. The work opened in near darkness with the five dancers and the stage covered in light projections that reminded me of looking at the refracted light in a swimming pool. They moved as a sensual swarm holding hands. It was a very slow section but it never dragged. Eventually four of the dancers disappeared into the gloom leaving one of the lady dancers doing the most beautiful sensuous and fluid solo highlighted on her own on the dark stage. The work consisted of a number of solos, duets and trios, sometimes faster, sometimes slower. There was lots of spinning and turning (occasionally reminding me of film I have seen of whirling Dervishes). The upper body movements were particularly beautiful. The lighting highlighted the dancers or sometimes just part of the dancer. The movements were supple and fluid with no jumping or partnering anywhere in sight. The soundscape was engrossing, sometimes with a driving beat and sometimes very lyrical. The piece ended with the swimming pool effect projection and it rounded the evening off beautifully. The dancers were incredibly supple and lyrical and basically fantastic. I found this piece totally mesmerising and if it was on at the Lowry again tonight I would be back there like a shot.
  9. The casting for the Birmingham Giselle performances is now on the website: https://www.brb.org.uk/whats-on/event/giselle Casting order: Giselle, Albrecht, Hilarion Wednesday 25th September - Momoko Hirata, Cesar Morales, Kit Holder Thursday matinee 26th - Celine Gittens, Brandon Lawrence, Alexander Yap Thursday evening 26th - Miki Mizutani, Mathias Dingman, Lachlan Monaghan Friday 27th - Delia Matthews, Tyrone Singleton, Yasuo Atsuji Saturday matinee 28th - Momoko Hirata, Cesar Morales, Kit Holder Saturday evening 28th - Celine Gittens, Brandon Lawrence, Alexander Yap
  10. (I posted this in the wrong place!) It's too late for Birmingham, but the casting for Plymouth and Sadler's Wells can be accessed from this page: https://www.brb.org.uk/whats-on/event/giselle#dates-and-times I suppose the absence of the Gittens/Lawrence cast means I don't have to go to all 3 performances
  11. I think this has been mentioned already somewhere, but details are now up on the Coliseum website: https://londoncoliseum.org/whats-on/modanse-starring-svetlana-zakharova/
  12. Two snakes for the price of one Having seen two performances of La Bayadere in Berlin in September, although enjoying them, I was left wondering whether this Ratmansky reconstruction was as revelatory as his versions of Sleeping Beauty and Swan Lake which I have also seen. The extensive mime passages particularly in the first scene, while interesting, added very little more to the narrative that we already know. As in the previous reconstructions there is more demi pointe work for the female corps de ballet. And the Final scene of the destruction of the Temple was little different from the Markarova version for the RB, albeit better staged and with high tech projections. Also interpolated in this scene was music from Don Quixote which was used for the variations of Gamzatti. The only reinstated scene I found in any way revealing was at the beginning of act 2 after the death of Nikya and before the shades scene. Solor returns home deeply distressed and his servant sensing this, makes 2 attempts to distract him. Firstly he summons 2 women to dance for Solor. This is interrupted by a vision of Nikya seen only by Solor who attempts to reunite with her as she quickly disappears. He then angrily dismisses the dancers. The servant then brings in a snake charmer (yes, really) who proceeds to play his pipe and charm the snake out of the basket in an endearing piece of old fashioned stagecraft. Nikya appears again and Solor rushes towards her as she disappears again. In anger he dismisses the snake charmer. How could his poor servant know? Dancing women and a snake were probably the last things Solor needed to see at that point. But the thing about that scene is that it sets up Solor's increasing distress before he goes for the opium which induces the dream/shades scene instead of rushing to the pipe as soon as he arrives. This also improves the pacing of the narrative at that point. The sets and costumes by Jerome Kaplan were adequate and offered nothing new but there were some unfortunate colour combinations of bilious green and faded orange in some women's costumes. I assume that the framing of the set with borders was to create the effect of looking at an Indian miniature. I had hoped to see 2 different casts but it was the same for both perfs. Salenko who was extremely good and invested in the drama, and Daniil Simkin also very good but weaker on the acting side of things. There was quite a bit of wobbling in the shades scene on the Friday night but the company generally performed very well and with great commitment. The story was clearly communicated throughout. So I am left with the feeling that over the years and various different productions, La Bayadere has not suffered too badly from the various revisions and changes and that while interesting to see the reconstruction for me it has a certain antique charm but is not the revelation I had hoped for.
  13. This opened yesterday evening, I was at the matinee today. I've seen it at every revival and I still find it a mesmerising, raw and powerful piece, perhaps even more than I did when I first saw it. Personally, I find it better not to spend too much time trying to work out the detail of what is happening; it wasn't entirely clear at the premiere and it still isn't. But for me the broad brush of the story line is there and is more than enough to be satisfying. The hypnotic beat of the music (brilliantly played by the ENB orchestra) drives the ballet forward and enhances the sense of raw and ferocious tribal energy in the opening choreography. I love the choreography: there is a frantic intensity for much of the corps in Act 1, but moments of stillness too. In Act 2 the Willis are terrifying, but the final pdd for Giselle and Albrecht is sublime, full of tenderness and forgiveness. I found this afternoon's principle performers simply superb: Giselle (Fernanda Oliveira), Albrecht (Aitor Arrieta), Erik Woolhouse making a stunning debut as Hilarion. The second circle was filled with many young teen school kids and it must be a huge tribute to the quality of the performance to note that even in the quiet moments you could have heard a pin drop (except for a mobile phone going off which I cannot say belonged to the kids) !
  14. In the order of Cinderella, Prince Guillaume, Benjamin Manchester Thursday 17 October Erina Takahashi, Joseph Caley, Jeffrey Cirio Friday 18 October (mat) Emma Hawes, Francesco Gabriele Frola, Ken Saruhashi Friday 18 October Shiori Kase*, Jeffrey Cirio, Barry Drummond Saturday 19 October (mat) Erina Takahashi, Joseph Caley, Brooklyn Mack*+ Saturday 19 October Emma Hawes, Francesco Gabriele Frola, Ken Saruhashi Southampton Wednesday 23 October Emma Hawes, Francesco Gabriele Frola, Ken Saruhashi Thursday 24 October (mat) Alison McWhinney*, Aitor Arrieta*, Henry Dowden* Thursday 24 October Shiori Kase, Jeffrey Cirio, Barry Drummond Friday 25 October Erina Takahashi, Joseph Caley, Brooklyn Mack Saturday 26 October (mat) Alison McWhinney, Aitor Arrieta, Henry Dowden Saturday 26 October Shiori Kase, Jeffrey Cirio, Barry Drummond *Debut in the role with English National Ballet +Guest Artist
  15. Quoting Bruce's post as it's relevant here too: My purchases went smoothly this morning, too, although like Bruce I don't remember spending so much in the past - and certainly not on so few tickets! I couldn't get nearly everything I wanted, either - although that's partly due to the fact that tickets I might have bought in the past are now outside my budget - so I'll keep my eyes open nearer the time for the "missing" performances. I do find it frustrating, though, having to remember to allow an extra "safety" 5 minutes to do the credit card details by hand each time - I was on-site for around an hour in total, and quite frankly couldn't be bothered to go round and do it all again for a third time.
  16. Looking at this & rather confused....maybe I have missed something Am I right that for selection process you can choose to either send in an audition video or attend alive audition? For latter it states that you must write preferred date/venue on application form & refers you to audition page on website for dates. These dates seem surely to relate just to entry for Full Time Training? Or are these for Summer School also? From people's past experience, by roughly what time do people hear if they have been selected for SS? I imagine it to be a case of the sooner accommodation is booked, the cheaper it is..... And are there are scholarships/funding routes at all? Ever hopeful
  17. English National Ballet Akram Khan’s Giselle Sadler’s Wells, London Wednesday 18 – Saturday 28th September 2019 www.ballet.org.uk/akram-khan-giselle/ Akram Khan’s Giselle returns to the UK for the first time since 2017, following acclaimed international performances in Moscow, Luxembourg and Chicago so far this year. Since its world premiere in 2016, Khan’s reimagined Giselle has been seen live by over 86,000 people through tours to eleven cities, in the UK and internationally. Giselle has also been broadcast in cinemas and on television, reaching an audience of over 160,000 through broadcasts internationally. Now the production is returning to Sadler’s Wells, London, for 13 performances from Wednesday 18th – Saturday 28th September. Akram Khan’s Giselle Principal Casting (in order Giselle, Albrecht and Hilarion) Wednesday 18 September Tamara Rojo, James Streeter and Jeffrey Cirio Thursday 19 September (mat) Fernanda Oliveira, Aitor Arrieta and Erik Woolhouse Thursday 19 September Erina Takahashi, Joseph Caley and Ken Saruhashi Friday 20 September Tamara Rojo, James Streeter and Jeffrey Cirio Saturday 21 September (mat) Fernanda Oliveira, Aitor Arrieta and Erik Woolhouse Saturday 21 September Erina Takahashi, Joseph Caley and Ken Saruhashi Monday 23 September Alina Cojocaru, Isaac Hernández and Jeffrey Cirio Tuesday 24 September Tamara Rojo, James Streeter and Ken Saruhashi Wednesday 25 September Crystal Costa, Aitor Arrieta and TBC Thursday 26 September Alina Cojocaru, Isaac Hernández and Jeffrey Cirio Friday 27 September Erina Takahashi, Joseph Caley and Ken Saruhashi Saturday 28 September (mat) Crystal Costa, Aitor Arrieta and TBC Saturday 28 September Alina Cojocaru, Isaac Hernández and Jeffrey Cirio -ENDS- English National Ballet is a National Portfolio Organisation supported by Arts Council England Notes to Editors About English National Ballet English National Ballet has a long and distinguished history. Founded in 1950 as London Festival Ballet by the great English Dancers Alicia Markova and Anton Dolin, it has played a major role in the growth and history of ballet in the UK. Today, English National Ballet is renowned for taking world-class ballet to the widest possible audience through its national and international tour programme, offsite performances at festivals including Glastonbury and Latitude, its distinguished orchestra English National Ballet Philharmonic, and being a UK leader in creative learning and engagement practice and delivery, building innovative partnerships to deliver flagship programmes such as English National Ballet’s Dance for Parkinson’s. Under the artistic directorship of Tamara Rojo, English National Ballet has gained new acclaim as it introduces innovative new works to the Company’s repertoire while continuing to honour and reinvigorate traditional ballet. www.ballet.org.uk About Arts Council England Arts Council England is the national development body for arts and culture across England, working to enrich people’s lives. We support a range of activities across the arts, museums and libraries – from theatre to visual art, reading to dance, music to literature, and crafts to collections. Great art and culture inspires us, brings us together and teaches us about ourselves and the world around us. In short, it makes life better. Between 2018 and 2022, we will invest £1.45 billion of public money from government and an estimated £860 million from the National Lottery to help create these experiences for as many people as possible across the country. www.artscouncil.org.uk
  18. Well, I'm assuming that the run of the Bolshoi's Swan Lake starts at the Royal Opera House tonight, so here's your chance to discuss it in detail.
  19. So, a brief run of Ratmansky's The Bright Stream starts tonight. If you're lucky enough to have a ticket, do let us know how it goes!
  20. It's far too late to be writing on the forum but I still haven't come down from seeing the first performance of Spartacus tonight (or rather, last night!) It was superb. It's a long while since I saw it (with Irek Mukhemadov in the nineties) and this production seemed very different. I was expecting to be dazzled by the quality of the dancing but was surprised at how moving it was. Denis Rodkin was not only bold, brave and athletic but also tragic and convincing in his love for Phrygia, played with vulnerability and passion by Anastasia Denisova (of whom I've not heard before). Belyakov enacted Crassus in an appropriately bombastic manner, and took full advantage of being able to snog Svetlana Zakharova at every opportunity Zakharova was just wonderful. I always think of her as rather sweet, dignified and virginal (as in her Aurora) but here she embodied a cruel and cunning courtesan with every well-honed muscle. She was probably the oldest dancer on stage but also the most lithe. Of course, this ballet is a typical Bolshoi warhorse and suits their style perfectly. The production is ageing well - I think Virsaladze's design still looks fresh (whereas his Swan Lake could do with an update maybe). The orchestra was seriously good. Every male dancer looked extraordinarily handsome - especially Denis Rodkin! And he seemed to enjoy his time on stage so much. He was captivating. The whole evening was beautiful and worth the ticket price (£180 something pounds!) as I will remember it for the rest of my life.
  21. Tonight’s opening performance in Birmingham, led by Samara Downs and Lachlan Monaghan was completely, utterly, absolutely and totally magnificent!!
  22. The promotions list is out! Just seen it on Facebook. I don’t know how to put it here but many people will be pleased here. Can an admin move this please?
  23. https://www.abt.org/2019-promotions-announced/ Pleased for the talented Aran Bell.
  24. Brandon Lawrence To Principal Kit Holder To First Soloist Rory Mackay To First Soloist Valentin Olovyannikov To First Soloist Laura Day To Soloist Beatrice Parma To Soloist
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