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Tamara Rojo S.Times intv


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Did anyone read the Tamara R intv in the Sunday Times Culture ? I'm thinking she is going to be such a brilliant choice as Artistic Director for ENB. She just oozes energy, ambition and drive. Her aim ? "I want them (ENB) to be the mst exciting company in the world." Gulp ! Don't set the bar too low ! I wonder if folk at the RB might be just a little wary about what she might achieve !

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Norman, as an ENB supporter I'm glad that Tamara is ambitious for ENB. However, they are in a very different position to the Royal, having far less money and a commitment to tour. In their favour, however, they do have some very good young talent particularly in the male dancers. I'm interested to see what Tamara's plans for the company are.

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they do have some very good young talent particularly in the male dancers.

 

I agree but I would add that the girls are equally talented. To name just two, Ksenia Ovsyanick and Shiori Kase both have huge potential.

Edited by Bluebird
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The ROH period 1 brochure lists Rojo as a guest artist - and there are some Swan Lakes listed as tbc but with Acosta.

 

I'm also looking forward to seeing what she'll do at ENB, but from a purely selfish point of view with a son who adores her, I'm glad she will be still dancing at the ROH now and then. The ENB doesn't publish casting in advance which makes planning really difficult.

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I hope that Tamara does not get distracted by any planned guest performances. She has been appointed as (and is going to be paid to be) ENB's Artistic Director and she needs to give her full time and attention to this role. I know that I am very much in a minority here but I did not particularly like M&A last year and I'm only going to see it again next season because it is programmed with two other ballets which I would like to see. I should also say that I am not a particular admirer of Tamara which, again, I know places me in a tiny minority.

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Aileen, I've always loved watching Tamara dance since I saw her as a whippersnapper with Scottish Ballet but, like you, I think she has got a lot on her plate with the ADship of ENB and I hope she is not distracted too much from that.

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Ann, I'm not a particular admirer of Tamara as a dancer. Only time will tell how effective she is as an AD. For me, it is an advantage that she has been member of ENB (and Scottish Ballet before that) because she should have become aware of the financial pressures and artistic constraints which affect smaller, less wealthy companies which have a remit to tour. It is all very well wanting to have an exciting repertoire (I'm sure all the previous ADs wanted that as well) but this desire has to be balanced against financial reality. ENB are in a completely different position to the Royal and always will be unless they manage to secure substantial additional funding the possibility of which is vanishingly small, at least for the foreseeable future.

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I certainly agree that Rojo is by far the most convincing Marguerite I've ever seen - indeed, I was all in favour of the RB originally (a decade ago, or whenever it was) borrowing her from ENB to guest in it because I didn't think they had anyone who could take on the role.

 

As for splitting her time, well, we shall see. Schaufuss seemed to manage it all right, but I don't think he was guesting outside the company.

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I'm sure I've seen somewhere that she will dance Marguerite.

 

You did, Jane. Here's an extract from Louise Levene's review of La Sylphide (http://www.telegraph...ine-review.html)

 

"She may be starting work as director of English National Ballet in September, but Tamara Rojo will be bidding a long goodbye to Covent Garden. She dances Marguerite and Armand and a few other morsels next season, but this week’s two performances of La Sylphide could well have been her last."

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I found Rojo and Polunin the only convincing couple I'd seen as Marguerite and Armand, and that included Guillem and Le Riche who I thought should have surpassed all.

 

No. The only convincing couple ever to have danced the role were Fonteyn and Nureyev. Can someone explain to me why this ballet was revived against Fred Ashton's wishes?

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I agree with those who said above that Tamara and Sergei were the only convincing Marguerite and Amand. I saw it under duress when they did it and only because it was part of a bill where I wanted to see the other piece. The reason it was under duress was because when I saw it with Guillem/Le Riche and on film with Fonteyn/Nureyev it bored me. Maybe it is unfair to judge the latter without having seen them live, as live ballet for me is a completely different experience from film or TV broadcasts. If Tamara and Sergei did it again, I'd run to get tickets, and I never thought I'd say this about that ballet!

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You did, Jane. Here's an extract from Louise Levene's review of La Sylphide (http://www.telegraph...ine-review.html)

 

"She may be starting work as director of English National Ballet in September, but Tamara Rojo will be bidding a long goodbye to Covent Garden. She dances Marguerite and Armand and a few other morsels next season, but this week’s two performances of La Sylphide could well have been her last."

 

The new Period 1 booking tome (it *is* heavy) has just landed on my doormat. It confirms Rojo's status as a Guest Artist next year, but not a Principal Guest Artist like Acosta.

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I agree with those who said above that Tamara and Sergei were the only convincing Marguerite and Amand. I saw it under duress when they did it and only because it was part of a bill where I wanted to see the other piece. The reason it was under duress was because when I saw it with Guillem/Le Riche and on film with Fonteyn/Nureyev it bored me. Maybe it is unfair to judge the latter without having seen them live, as live ballet for me is a completely different experience from film or TV broadcasts. If Tamara and Sergei did it again, I'd run to get tickets, and I never thought I'd say this about that ballet!

 

I'm completely with Sim on this - never "got" M & A until I saw Tamara in it. Before that I found it overwrought and (sorry folks) a trifle ridiculous whoever was dancing. But then I never saw Fonteyn and Nureyev live either and, whether it's the relatively poor technology of the time or whether you actually had to have them present in the flesh to appreciate the artistry, films and videos of them failed to ignite any enthusiasm...

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I agree about the M & A film, I've found it disappointing compared to the many live performances of it that I saw them give, Actually M & A was my first experience of the partnership in January 1965 and the atmosphere they created was electric. For me the only film that gets anywhere near to capturing their magic is the incomplete studio version of Giselle.

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