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Found 11 results

  1. I suspect the answer to this is going to be "no", but my daughter is reading Pushkin's "Eugene Onegin" and hasn't yet been able to see a performance of Cranko's ballet. She was away when RB last performed it in 2015 (?) and too young for it prior to that. I know the Tchaikovsky opera is widely available on DVD but apart from excerpts of and interviews about the ballet on Youtube, there doesn't seem to be a recording of the full ballet available anywhere. Nor does the RB or any other company seem likely to stage the ballet in the UK this year or next. Am I remembering corr
  2. Cast for today's General...Nunez, Takada, Hirano, Edmonds, Braendsrod. Plus McGorian as "A Widow", Murphy as "Nurse". Very pleased to be here!☺
  3. I am wondering which Summer Schools people recommend for a 15 year old (as a precursor to Upper school application year)? Has anyone been/ applied for the Vaganova Academy by video please?
  4. Well, last week I saw Macmillan's R&J in Karlsruhe. This week it's Cranko's R&J in Stuttgart. Twice. I'll leave comments on the technical apects of the performances to more capable commentators than me. But I am constantly asked which I prefer. I don't. Both are wonderful works, and I love both of them, but I think that Macmillan really gets what it is to be 16, 17, 18 and absolutely, dilariously head over heels in love with a girl who similarly loves you. Think the balcony scene. Cranko is way too restrained. On the other hand, Cranko gets devastation, loss and grief. Act 3 is heart-
  5. I will go on Friday (Feb 1st) to this performance and will write a little review afterwards. Since I missed a balletco member last time, although we both were at the same "Nutcracker" 😉 I would like to know if another forum member is coming on Friday as well? Would be nice to say Hello.
  6. Any company would have been proud of yesterday's double bill. As it was performed largely by dancers who do not yet make their living from dance it was all the more remarkable. Note my terminology. I did not say "amateur" deliberately. There was nothing amateurish about the show. Everything was polished. Not just the dancing (which was perhaps not so surprising since several members of the cast were either at, had been to, or were on their way to, top ballet schools) but the direction, stage management, sets, costumes, lighting - even the glossy programmes. All the more impressive when it is
  7. To get the ball rolling on this production, the cast for the General Rehearsal today was: Osipova; Golding; Naghdi; Ball and Gartside. Their first of three shows is, of course, next Friday (30th).
  8. I'm starting a different thread for this question, since I want to take it beyond the Royal Ballet's dancers, but I'm getting quite curious about Onegin's Act I, Scene 1 solo (the one where he spends much of it with the back of one hand to his forehead) - and maybe the action that surrounds it - and differing interpretations. My original impression of it was that Onegin was just very much self-absorbed, and enmired (is that a word?) in his own ennui, but some recent dancers seem to have expanded it rather beyond that - or was I wrong in the first place? I haven't seen many casts in the current
  9. The Royal Ballet's latest run of Onegin began tonight, with Alina Cojocaru as Tatiana and Jason Reilly from Stuttgart replacing an injured Johan Kobborg as Onegin. Thoughts here, please.
  10. Starting a different thread for this one, as I'm hoping for a more international overview. When looking back at my cast sheets for Onegin at the Royal Ballet at the weekend, I was surprised to note just how many recent Tatianas started off as Olgas and then have "graduated" to Tatiana (apart from Cojocaru, who actually danced both in the same run, which turned out to be rather unfortunate and hasn't been repeated since). It's happened too, to a slight extent, with the RB's Onegins: Bonelli started off as Lensky, and now Hristov is to make his debut as Onegin after several seasons as L
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