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That was a nice explanation from JM, and her review was quite balanced as well.  She gave praise without going too over the top.

 

I find it interesting that the people on here who saw both Naghdi and Hayward found the latter's debut less....impressive? Not as moving? 

 

Not quite sure how to phrase it, but definitely it seems most people on here preferred Naghdi. 

 

Edited to add I am slightly surprised to see that she included Cojocaru in the list of Great Juliets.  While I enjoyed Cojocaru's performance, it wasn't my favourite. 

Edited by Fonty
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Edited to add I am slightly surprised to see that she included Cojocaru in the list of Great Juliets.  While I enjoyed Cojocaru's performance, it wasn't my favourite. 

 

At her age, how could she have seen that many?

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Wonderful, very moving performance from Iana Salenko tonight. She is a real lady, and portrayed Juliet as the aristocrat that she is. I understand why McRae loves dancing with her: she matches him technically, they look great together and most importantly there is chemistry and empathy between them. A super performance from them both.

 

Alexander Campbell as Mercutio played the death scene such that I have only seen rarely. Sad, angry, tragic, a real sense of waste and of loss. Great stuff and he has confirmed his place as my favourite Mercutio. Great banter and very believable friendship between him, Romeo and Benvolio (Tristan Dyer), which really helps the plot.

 

Lovely dancing from Marcellino Sambe in the Mandolin Dance, too. I wonder why at some performances the mandolin dancers have white paint on their faces but at some they don't? This is the first run that I have seen paintless faces and I like it!

 

Vanartus, I think it's unfair of you to say that Iana has been subjected to 'jingoistic stick' on this forum. People have asked the valid question 'why does the RB have to bring in someone from outside the company to dance with McRae?' It is not to do with nationality nor even defence of the RB. People are just curious as to why a company the size of the RB has to look elsewhere for someone to partner McRae. For me, that question was answered tonight. It is a special partnership.

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People have asked the valid question 'why does the RB have to bring in someone from outside the company to dance with McRae?' It is not to do with nationality nor even defence of the RB. People are just curious as to why a company the size of the RB has to look elsewhere for someone to partner McRae.

 

^ This.  After all, there are a few Juliets petite enough for him to partner in the company.

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People would have been asking the same question if a British or British trained dancer had been repeatedly brought in from, say, BRB. It's nothing to do with nationality. I fully expect Salenko to be offered a full principal's contract within the year.

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^ This.  After all, there are a few Juliets petite enough for him to partner in the company.

 

 

Talking of petite Juliets, what has happened to Marquez?  Is she still with the company?

 

Also, the idea of bringing someone in as a specific partner for one of the other Principals seems at odds with the current policy of not having regular partnerships, and mixing and muddling the male and female Principals each season. 

 

I can understand that dancers from another company might do a few guest appearances with one of the Principals, there is nothing wrong with that, and it gives us a chance to see dancers we would not normally get a chance to see.  But that is completely different to bringing in an outsider on a permanent contract.  

 

Will McRae be able to insist that he dances all his performances with Salenko?  Or will this be another case of a dancer being terrific with one partner, but nothing particularly special with another?

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Also, the idea of bringing someone in as a specific partner for one of the other Principals seems at odds with the current policy of not having regular partnerships, and mixing and muddling the male and female Principals each season. 

 

It does, doesn't it? 

 

Aileen, I'm not convinced about the permanent contract.  Only in that interview the other day Salenko indicated that she wasn't interested in moving.

 

Edit: Thank you, Vanartus:

 

"She says, with some wistfulness, “I would love to be in the Royal Ballet,” but adds that her family commitments in Berlin would make a wholesale move impossible."

Edited by alison
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Will McRae be able to insist that he dances all his performances with Salenko?  Or will this be another case of a dancer being terrific with one partner, but nothing particularly special with another?

Do any dancers 'insist' on dancing with a particular partner? What do you mean by 'Or, will this be another case of......'?

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Also, the idea of bringing someone in as a specific partner for one of the other Principals seems at odds with the current policy of not having regular partnerships, and mixing and muddling the male and female Principals each season. 

 

I can understand that dancers from another company might do a few guest appearances with one of the Principals, there is nothing wrong with that, and it gives us a chance to see dancers we would not normally get a chance to see.  But that is completely different to bringing in an outsider on a permanent contract.  

 

Will McRae be able to insist that he dances all his performances with Salenko?  Or will this be another case of a dancer being terrific with one partner, but nothing particularly special with another?

These are matters for the Director of the Royal Ballet. I suggest you take them up with him. Speculation on the www is not good.

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I wasn't speculating, Billboyd, I was asking a question, based on the previous few posts about McRae and Salenko.  

 

Do any dancers 'insist' on dancing with a particular partner? What do you mean by 'Or, will this be another case of......'?

 

 

Simply that some dancers are terrific together, but do not quite gel with others, however talented the individuals might be.  I for one would be only too glad to see special partnerships developing, and cannot see anything wrong with two people who are obviously suited by physique and temperament being allowed to dance the bulk of their performances together.  

 

Going back to previous opinions expressed here, I would like to see this being encouraged within the company with the up and coming talent. 

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Do any dancers 'insist' on dancing with a particular partner?

 

Well, in one way or another, I'm sure some dancers have in the past, if they have enough clout.  Or at least, shall we say, "express a very strong preference" for dancing with a certain partner? 

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Vanartus I think that a great deal of this discussion is fueled by knowledge that every year the Royal Ballet recruits a large number of very talented dancers into its ranks at the most junior level but over many years it has failed to make the most of the dancers that it has recruited whatever their country of origin.

 

The current director has said that he wants to build the company from the bottom up and we have seen signs of that happening. At a time when there appears to be some effort being made to bring on some of the junior dancers and the director  has said that casting details will be made available at a much later stage of the booking process than has been the case for some years because he wants to be able to take account of their performances during the course of the year it may have seemed to some that bringing Salenko in as a guest was an indication that he was backtracking a little. I think that this sort of discussion is inevitable when such a clearly stated policy may be perceived by some as being put into reverse.Over a period of nearly twenty years the company got out of the habit of developing its own dancers and creating its own stars and became over reliant on the chequebook to solve the problems that were caused by the closure of the house. the threat to the company's existence, and problems at the school.

 

As the company's future is assured and the problems at the school were sorted out  by the late director I think that many of those who have posted here may be expecting O'Hare to solve problems caused through illness or injury from within the ranks of the company. Most are simply interested in the director's casting decisions and choice of guest artists..

Edited by FLOSS
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I think that many of those who have posted here may be expecting O'Hare to solve problems caused through illness or injury from within the ranks of the company. Most are simply interested in the director's casting decisions and choice of guest artists..

In which case...ask him.

 

I simply find it a great pity that the day after a guest delivers a superb performance we are faced with the above posts.

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As the company's future is assured and the problems at the school were sorted out  by the late director I think that many of those who have posted here may be expecting O'Hare to solve problems caused through illness or injury from within the ranks of the company. Most are simply interested in the director's casting decisions and choice of guest artists..

 

Not that injury or illness has anything to do with this particular casting decision - Iana Salenko replaced Osipova in Tchai Pas, but was always scheduled to dance Juliet.

 

Bill, do bear in mind that we don't all have the Director's ear (phone number, email address, ...)

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In which case...ask him.

 

I simply find it a great pity that the day after a guest delivers a superb performance we are faced with the above posts.

 

 Its a valid question Bill, irrespective of that guests performance (and as a guest whoever that may be, you'd expect a good showing or they wouldn't get asked back!). Its not the guest's performance in question but the need for that guest in the first place, if the ideal is to nurture emerging talent into the lead roles. Sometimes guests add a breath of fresh air, or act as a stop-gap, either way adding a bit of variety which may be welcome both sides of the orchestra pit.

I suppose there is always the danger of someone being given a chance, not quite nailing it first time out and drawing a chorus of disapproval as to their suitability. Then a guest would be a safety net, until such time as the emerging youngsters are up to the job, so to speak.

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Bill, I find your stock response of 'ask / enquire of / complain to Kevin O'Hare' to legitimate questions and discussions quite tiresome and unproductive. What is the point of this forum if members can't express their opinions, ask questions and, within reasonable limits, speculate about matters pertaining to the ballet companies?

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Well, in one way or another, I'm sure some dancers have in the past, if they have enough clout.  Or at least, shall we say, "express a very strong preference" for dancing with a certain partner? 

 

I am sure I remember reading that Guillem always wanted to be partnered by Cope?  Although that may be because he was the only one tall enough.  Now I think about it, he seemed to partner all the tall ladies. 

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I am sure I remember reading that Guillem always wanted to be partnered by Cope?  Although that may be because he was the only one tall enough.  Now I think about it, he seemed to partner all the tall ladies. 

Aware this may be getting very off- topic but I am sure his height was not at all the only reason Guillem wanted to dance with the marvellous Cope who had terrific skills as a partner - and I think they are both on record as saying they had a great rapport- indeed I think the audiences and  critics thought so too (I did) but I can't give the scholarly citations.

Back to R and J,

sorry....

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