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Found 16 results

  1. FREE CLASS AND CHOREOGRAPHY WORKSHOP Kes Earnshaw is looking for dancers to block an ensemble piece of Ballet/Contemporary fusion choreography at Dance Studio Leeds. The 2½ hour choreography workshop will take place on Mon 3rd Jan from 11.30-2pm and will be preceded (at 10am) by a full ballet class and warm-up. On this occasion, Kes is specifically looking for both ballet and contemporary dancers who are comfortable with classical music. (The music we are using is linked at the bottom of this post.) Most of the choreography will be set in advance; however, there will be moments for individual and group improvisation. This is an excellent opportunity for dancers from across disciplines to broaden their experience learning and responding to new choreography. It is also a great opportunity to take a full studio class early in the new year and ease your body back into dancing before going back to full-time training/performing. If you are interested please send a brief CV and introduction to kes.earnshaw@protonmail.com. Link to music: https://www.youtube.com/watch?v=hWrFVjKKo-U
  2. Yesterday I stepped inside a theatre for the first time since February 2020 and not without a fair degree of trepidation to see Darius James and Amy Doughty's new production of Giselle for Ballet Cymru. I had already seen a screening of the premiere in Lichfield and reviewed it for Terpsichore in Giselle Reimagined and I had attended a workshop on the ballet at Yorkshire Dance the day before so I knew what to expect. I have remarked many times that James and Doughty take the essentials of the great ballets and remould them for a small cast that is constantly on the road. They succeeded sin my view with Cinderella, Romeo a Juliet and Beauty and the Beast and I think they can chalk up Giselle as another success. Certainly I prefer it to Akram Khan's and I liked it at least as much as Dada Masilo which I also admired. If you want to remake one of the world's best known and best loved ballets that is the way to it. James and Doughty commissioned Catrin Finch to adapt Adam's score. She had worked with them before on Celtic Concerto and The Light Princess. The opening bars of Adam's overture for Acts I and II remained unchanged and there snatches of his score in the mad scene and there was a Welsh folk air at the beginning but most of the rest of the score was new. The choreographers had left the story more or less intact but there were a few changes. Albrecht was not the lord of the manner but a bounder who was cheating on his wife. At Wednesday's workshop Andrea Battagia who danced Albrecht suggested that he might be a social worker. The costumes were contemporary and the ballet seemed to bve set in post-industrial Southeast Wales. The choreography was very different. Giselle's theme was a complicated hand and upper arm movement which Beth Meadway taught us in the workshop instead of the familiar jumpty jump. Ballet Cymru's scenery is projected into a backcloth and I have to say that the projections and lighting were impressive. I particularly liked the country churchyard at dawn as the wilis (renamed zombies in this version) scuttled away. Everyone in the cast danced well. I was particularly impressed with the leads, Battagoa and Meadway. Meadway is tall with a naturally expressive face. In a couple of scenes in Act II when she appeared en pointe in a romantic tutu I was reminded of lithographs of Carlotta Grisi. Battagia crossed the stage with grace and elegance assured of the attention of the crowd. Izzie Holland and Robbie Moorcroft as the female and male leaders of the zombies were awesome in both the old fashioned and contemporary senses. Yasset Rolden was a smouldering Hilarion. I will follow his career with interest, For those who do not know the story this is the best possible introduction. I did miss the dreamlike floating quality of the traditional Giselle but this Giselle is set in contemporary brexit Britain where unpleasant things oozing out of cracks are much more common than aetherial spirits. Not everybody's panad o de but it is mine.
  3. Ballet Cymru will dance Darius James and Amy Doughty's new production of Giselle in Leeds on 4 Nov, I have not yet seen it live but I watched the premiere online and reviewed it for Terpsichore on 9 July. In my review I wrote: "If Ballet Cymru ever offers this choreography as a workshop we [Powerhouse Ballet] would love to learn it. Once this third wave has subsided we shall learn the Coralli-Perrot-Petipa version of the dance of the wilis but the James and Doughty version would be such fun." Our wish was granted sooner than we had expected. The company has agreed to give us a workshop at Yorkshire Dance on 3 Nov between 17:15 and 18:30. Although Powerhouse Ballet are hosting the event we are not monopolizing it. It is open to any dancer who is in or can get to Leeds on Wednesday evening. My law practice is sponsoring the event so it is free to attendees. All they have to do is complete this registration form. After the workshop we shall be holding a little get together in Martha's Room from 18:30 to 20:00 which is open to balletomanes who don't want to take part in the workshop but would like to meet the choreographer and dancers. As they are Welsh and we are from Yorkshire we shall serve cacen cri, Yorkshire parkin and maybe an Indian treat to celebrate Diwali. Anybody wishing to attend the reception but not the workshop can register here. The main event of the get together will be my interview of Darius James and Beth Meadway who danced the lead role at the premiere between 19:00 and 19:30. For Ballet Cymru's fans throughout the world we are live streaming the interview over Zoom. Anybody wanting to watch that interview can sign up here.
  4. From the Company's website: With a new season just around the corner we are pleased to announce the following dancer promotions: Abigail Prudames becomes a Premier Dancer Minju Kang and Joseph Taylor both become Principal Soloists Sarah Chun and Riku Ito are promoted to Leading Soloist Lorenzo Trossello and Jonathan Hanks become First Soloists Heather Lehan becomes a Coryphée Archie Sherman becomes a Dancer We hope you will join us in congratulating these artists on their much deserved promotions. This season we also welcome two new dancers to the company, Kirica Takahashi and Katharine Lee. Following recent auditions, we'll be announcing more new joiners soon. Isabella Gasparini will also return to Northern Ballet as a Guest Artist for David Nixon OBE's Dangerous Liaisons at Leeds Playhouse. Isabella danced with us from 2007 - 2013 before joining The Royal Ballet in 2014.
  5. Hello lovely people, are any of you going to the upcoming CAT open day? Or if anyone has been to one before and knows what the classes will be like?
  6. At Balletic Leeds we are offering new ballet syllabus classes for adults. You can choose to learn for fun or take your ballet exams with us. Classes are are as follows; Wednesday Fearnville Leisure Centre LS8 3LF 7 - 8 p.m. Grade 3 Absolute Beginner 8 - 9 p.m. Grade 4 Beginner Higher grades are coming soon plus a ballet flexibility class. Register your interest using the contact information below. https://www.balleticleeds.com/ balletic.leeds@gmail.com https://m.facebook.com/Balletic.Leeds/ 07803293542
  7. Hello to everyone. This is my first post, so here goes. I've recently moved to Leeds, where of course Northern Ballet are situated. Indeed one of the reasons for moving to Leeds was because of this. I really enjoy watching ballet, although admittedly I do watch them on DVD, because I'm not getting any younger and I do find now that it's a struggle to sit through the whole performance. So the reason for writing this is to ask if anyone could help me to try and study ballet? As I said I do love to watch ballet and yet I don't know the first thing about it! The movements, the mime etc. I do have the book Ballet for Dummies, but it means very little because I suppose I'm looking for something a little deeper. If anyone could help I'm willing to pay for an hour a week of study say in a coffee shop in Leeds. This is a genuine request by someone who really would like to learn. All the best
  8. HI, my daughter is relocating from Australia to Leeds to take up a place at NSCD. She was supposed to be taking her RAD Advanced 2 exam before she leaves but her studio has just received their exam dates and it is too late for her. We are investigating the possibility of transferring her exam to the UK and wondering if anyone can recommend a good ballet school in Leeds who could facilitate this? Doing the exam earlier here is not an option, unfortunately. Thanks in advance!
  9. Hi My daughter has accepted a place on the CAT scheme at Northern Ballet, can anyone tell me what they do at the summer school, we start in a week and I don’t feel very prepared! Any tips would be gratefully received, or are there any other newbies starting!
  10. Does anyone have DC at Northern Ballet open classes? I was wondering if anyone can tell me if children move up classes during the year? My DD is 9 so starting in Ballet 1 but will be 10 before Christmas. Will she then move up to Ballet 2? (I only need to know so I can think ahead for work and class times etc) I would email them and ask but i’ve asked them so many daft questions already that I can’t bring myself to ask more! 😂 Thanks xxx
  11. Hi My daughter has a recall for the Northern Ballet Cat Scheme in April, is anyone in the same situation and does anyone have any info/tips/advice please! Her audition date seems like such a long time away, as her associate audition was yesterday x
  12. Hello, I’m considering a change of dance school for my 2 DDs due to some recurring issues where they are now. Does anyone have any recommendations for dance schools in the Leeds and Bradford areas? Thanks 😃
  13. Hi everyone, I've recently started a new job which sees me spending most of my life in hotels in Leeds and London, therefore meaning that I can't attend my normal adult ballet classes back at home. Has anybody got a recommendation of a suitable beginners class in Central London and Leeds which are drop-in? I've googled London and most classes I've found require you to commit to an entire semester, which isn't possible for myself at the moment. Thanks in Advance! A
  14. Regional Youth Ballet are holding auditions at NORTHERN BALLET on Tuesday 5th July for 3 performances of 'Les Sylphides' on October 8th/9th October 2016. Juniors 7-11yrs at 4.30pm and Seniors 12-18yrs at 6.30pm. Looking for strong technique and amazing performance skills, all levels welcomed. Strong pointe work girls required for solos. Call 07725 608040 for registration or email angela.evington@regionalyouthballet.com Audition fee £15
  15. Hello, has anyone done this summer school, if so, what was your experience? http://www.professionaldanceexperience.co.uk/summerballetcourseleeds.html Or can you recommend an alternative (non-residential) one in the Leeds area for a 12 year old girl, in July or the first half of August only?
  16. NORTHERN BALLET – PERPETUAL MOTION PROGRAMME – LEEDS – FEB 2012 On Thursday evening Northern Ballet was able to fulfil a promise made to their fans to present an evening of short works in the Company's own home. Quarry Hill, NB and Phoenix’ state of the art home, has a small theatre on the ground floor with an audience capacity of around 200 and a good sized performance space. The performance space is at ground level so that on the front row you are on a level with the dancers. The seating is well raked. The presented programme was entitled Perpetual Motion and comprised four works. The opening delight was Christopher Hampson’s gorgeous Perpetuum Mobile. Its intricate steps and patterns, for 9 dancers to Bach’s music were crisply danced by Northern Ballet. Isabella Gasparini was an absolute delight as the first young lady and Hannah Bateman and Javier Torres were sublime in the central duet. Toby Batley showed exactly why he had been nominated for a National Dance Award. A lovely touch during the pause was a musical interlude – Lierbertango by Astor Piazzolla played by Joanne Rozario and Grant Green. The second piece was leading dancer Kenneth Tindall’s first piece of choreography – Project #1. The final section was first seen at last year’s choreographic workshop and Kenneth was asked to extend it for presentation on this programme. For a first attempt at choreography it was sophisticated and rewarding. On first sight, two new and unrelated pieces of music were used for the first section and seemed to present to me a work of two halves. However by my second and third viewing, for me it provided a compelling and cohesive piece. The work is for six dancers and has sinuous movements with some fascinating interplay between the dancers and some interesting lifts. Victoria Sibson was absolutely outstanding at all three performances. I always associate her with roles that have strong characterisations so it should have come as no surprise that she was utterly mesmerising to the point that I found it almost impossible to take my eyes off her. The final trio between her, Ben Mitchell and Toby Batley may not have had an obvious plot but I found it incredibly moving. I hope that this is the first of many pieces that we shall see by Kenneth Tindall. After the interval we were treated to Daniel de Andrade’s Glass Canon, originally created for a programme presented in 2009. He uses music by Moishe’s Bagel to create a joyful, carefree atmosphere. There’s a lot of humour in this piece and I love the soaring lifts when the girls come on from the sides. Pippa Moore and Micaela Paolacci sparkled individually and together and there was a charming and cheeky duet for Ayana Kanda and Yi Song that brought chuckles from the audience. After another short musical interlude in the pause, the evening ended with Rhapsody in Blue – one episode taken from the full evening I Got Rhythm. Joanne Rozario, Grant Green and Chris Hobson performed the music. Again this piece is full of wit and danced with enthusiasm by the five couples. What a joy, too, that Keiko Amemori is guesting with the company. She is scheduled to appear in performances of Madame Butterfly and it was an added bonus that she was in Rhapsody. It ended an already joyful evening on an even higher note. Last night (Saturday) we saw alternate casts for Perpetuum Mobile and Rhapsody in Blue. Christie Duncan was divine as the first young lady and Martha Leebolt and Kenneth Tindall were breath-taking in the central duet. This programme is being shown from Tuesday to Saturday (14-18 Feb) with a matinee on 18th. From my point of view, the evening fulfilled its promise to the fans and I hope it will be the first of many such evenings to come. It provided us with a great opportunity to see the versatility of Northern Ballet’s dancers in different works in a very intimate space.
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