Tony Newcombe Posted July 19, 2016 Share Posted July 19, 2016 Right from her school performance, Momoko showed how technically strong she is. However, during the last year or so she has developed into a truly great ballerina. Her recent Juliet was outstanding and her Shakespeare Suites Titania demonstrated some of the quickest And razor sharp footwork that I have seen 3 Link to comment Share on other sites More sharing options...
Jan McNulty Posted July 19, 2016 Share Posted July 19, 2016 Right from her school performance, Momoko showed how technically strong she is. However, during the last year or so she has developed into a truly great ballerina. Her recent Juliet was outstanding and her Shakespeare Suites Titania demonstrated some of the quickest And razor sharp footwork that I have seen Her Juliet was a revelation - not only very beautifully danced but so heartfelt too. What a wonderful actress she has become. 1 Link to comment Share on other sites More sharing options...
Jamesrhblack Posted July 19, 2016 Share Posted July 19, 2016 Every dancer has partners who they probably prefer to dance with and who bring the best out in them. Sibley and Dowell were always greater and looked better together than they did with any other partners but that did not mean that they were bland and boring when they danced with other people or that they retreated into themselves when they did so. At a time when regular partnerships were the norm, rather than the exception that they are today, the company's male principal dancers seemed to be very adaptable and certainly did not perform as if they were scarcely involved in performances when they danced with someone who was not their regular partner. Dancers like MacLeary,Wall,Jefferies, Eagling,Kelly and Ashmole all danced with a wide range of partners but they never failed to give a performance or looked as if they were going through the motions. Sibley and Wall, for example, gave some exceptional performances together Altthough Dowell didn't dance with as wide a range of partners as some of his colleagues he also gave exemplary performances when dancing with partners other than Sibley. For me there is something very strange about recruiting and retaining the services of a senior dancer who only seems to come to life when he is dancing with his preferred partner who is not a member of the company and who for the rest of the time when he is dancing with company colleagues does not seem particularly involved in his performances or theirs. Absolutely, Sibley and Dowell together were a wonder but in some ways her partnership with Wall was even more emotionally compelling: wonderful memories of Cinderella and Raymonda in particular and there's that astonishing Manon pas de deux on YouTube. Did they ever dance Month together? Link to comment Share on other sites More sharing options...
FLOSS Posted July 19, 2016 Share Posted July 19, 2016 David Wall did not dance Baliev in Month but Michael Coleman. Mark Silver and Bruce Sansom all did .Coleman danced in it quite a bit when it was a comparatively new work. I wonder whether that was when Dowell was off injured for an extended period. Ashton generally did not like second casts although he was sometimes interested in seeing what a particular dancer would be like in a role.I think that was how Wall came to dance Oberon.I believe that Ashton had to re-work it for him because he did not turn in the same direction that Dowell did. Link to comment Share on other sites More sharing options...
Jamesrhblack Posted July 20, 2016 Share Posted July 20, 2016 With respect,David Wall did dance Beliaev. Indeed, his last full season performance was of this role in 1984 with Sandra Conley (his absolutely last performance was a one off Mayerling at the start of the 1984/1985 season). I'll need to dig out the programme but I think he danced Raymonda Act 3 with Sibley in the first part of the bill but I'll need to dig out the programme.... Link to comment Share on other sites More sharing options...
Jamesrhblack Posted July 20, 2016 Share Posted July 20, 2016 I'm disappointed not to see Stix-Brunell cast in SB. She is tall, though, and may be competing for partners with the taller female principals. Given the prices, I suppose that the RB has to schedule a lot of principals but it seems a shame to me that Cuthbertson, Lamb and Nunez are all dancing Aurora in this run when the previous one was so recent. I really like SB but the last run was disappointing overall and I'm not sure that I'm prepared to risk it. Btw, do Morera and Soares not dance SB? Not only is Soares not appearing in Beauty now, but he's out of Fille and Nutcracker (not sure if he did Fille last time but he's certainly danced it in the past) too. Of course, last time, with Osipova's injury, Choe danced more Auroras than anyone else.... Link to comment Share on other sites More sharing options...
alison Posted July 20, 2016 Share Posted July 20, 2016 I don't think he's danced Colas in years - he danced it with Belinda Hatley about a decade ago, I think. Link to comment Share on other sites More sharing options...
Tony Newcombe Posted July 20, 2016 Share Posted July 20, 2016 I don't think he's danced Colas in years - he danced it with Belinda Hatley about a decade ago, I think Correct. May 2006 Link to comment Share on other sites More sharing options...
zxDaveM Posted July 20, 2016 Share Posted July 20, 2016 Yasmine Naghdi as Aurora - that's a must buy ticket for me!! :-) 7 Link to comment Share on other sites More sharing options...
Anna C Posted July 20, 2016 Share Posted July 20, 2016 Yasmine Naghdi as Aurora - that's a must buy ticket for me!! :-) Same! 1 Link to comment Share on other sites More sharing options...
Sunrise Posted July 20, 2016 Share Posted July 20, 2016 Correct. May 2006 Though there's a review of Nunez and Soares in Fille on tour in Japan in 2010... http://www.theballetbag.com/2010/07/03/fille-rb-tour-japan/ Link to comment Share on other sites More sharing options...
bridiem Posted July 20, 2016 Share Posted July 20, 2016 In the ROH Winter magazine, it lists the 18th February matinee as 'limited availability, call box office'. Schools matinees are usually not for public booking, so I assume its not that. Can anyone elaborate? Thanks Yes, that's a bit confusing. And assuming we do our online booking first, it means we won't know at that point whether or not we're going to be able to get a ticket for that performance. And the ROH will be inundated with phone calls!! (Even more than usual.) Link to comment Share on other sites More sharing options...
penelopesimpson Posted July 22, 2016 Share Posted July 22, 2016 Salenko is good. Very good. And they dance well together. She's a great addition to the RB. 'Nuff said. (...but of course there'll be more...) I'm torn here. Salenko is a wonderful dancer and I have never failed to admire her performances. But it ends there - she never moves me. Perhaps controversially, I don't think the partnership with Macrae does either of them any favours. Yes, they turn in quite briliant performances which are technically flawless and exquisitely executed. But Macrae's strength is not his portrayal of emotion and I feel the same about Salenko which means the two of them together do not balance out. Of course I will always jump at the chance to see this great pairing but I think both dancers could do better work with other partners and I would love to see Macrae with some of the young dancers coming up through the ranks. Interestingly, for me his best partnership was with Osipova in Act 2 of Woolf Works when they were both on fire. Similarly, I adored him with Sarah Lamb in Winter's Tale. Both roles called for precision and attack and he was brilliant but I got little from his Romeo with Salenko. 6 Link to comment Share on other sites More sharing options...
GTL Posted July 22, 2016 Share Posted July 22, 2016 (edited) "....... I would love to see Macrae with some of the young dancers coming up through the ranks......" I so agree, penelopesimpson (but can't get the quote function to work just now). This more outward focus, I feel, would also be career development for Mr McRae, who, with a business studies degree under his belt and a vibrant personality, has the potential to be a great company director. Edited July 22, 2016 by Grand Tier Left Link to comment Share on other sites More sharing options...
Bruce Wall Posted July 22, 2016 Share Posted July 22, 2016 (edited) I'm torn here. Salenko is a wonderful dancer and I have never failed to admire her performances. But it ends there - she never moves me. Perhaps controversially, I don't think the partnership with Macrae does either of them any favours. Yes, they turn in quite briliant performances which are technically flawless and exquisitely executed. But Macrae's strength is not his portrayal of emotion and I feel the same about Salenko which means the two of them together do not balance out. Of course I will always jump at the chance to see this great pairing but I think both dancers could do better work with other partners and I would love to see Macrae with some of the young dancers coming up through the ranks. Interestingly, for me his best partnership was with Osipova in Act 2 of Woolf Works when they were both on fire. Similarly, I adored him with Sarah Lamb in Winter's Tale. Both roles called for precision and attack and he was brilliant but I got little from his Romeo with Salenko. I so agree with you on so much here, Penelope. My favourite pairing of McRae was with Osipova too ... but in Rubies. They gave the piece the spirited precision - and joy - the Balanchine demands and the Company on those occasions took flight with them. It was an inspiration. That said I had enjoyed performances where he danced with Rojo. They seemed on those occasions to hear music in the same way - which was very valuable. My feeling about Ms. Salenko is not so much about her as a dancer - I have seen her be very good in certain things as you suggest - but the fact that she KEEPS coming in as 'a RB guest'. I'm sorry that the Management's offer of a RB principal contract did not work out for her for very understandable reasons. I'm sure she won't have been the first person in this situation - not historically by a long shot. My point is that see KEEPS being brought in as 'a RB guest' and to my mind at least that defeats the purpose of that special privilege. When she first appeared with the RB in it was I believe as Kitri - a role she is well suited to and known for - fair enough - much as - that very same season Obraztsova appeared as Juliet; again a highly respected Bolshoi artist in that role. Both of course had danced different versions of those same ballets. We had, of course, seen Obraztosova as a GUEST at the ROH with La Scala in Sleeping Beauty - [and how I admire Ratmansky for demanding that it be the La Scala Company ITSELF that should dance his Swan Lake in Milan with NO guests - much as had been the case for the Zurich Ballet when it was originally prepared - and for the company in Munich when he undertook the reconstruction of Paquita. I understand he made those terms on each occasion part of his contract. Certainly he has given - and keeps giving - so many dancers at ABT their first significant breaks - Misty Copeland among them - and certainly the stunning young Ms. Cassandra Trenary. I so look forward to seeing both of them shine in ABT's Sleeping Beauty and the Milan company in his SL in Paris in September and November respectively. In this way he is like Robbins who really made the initial careers of NYCB dancers who might not otherwise have been recognised for their unique genius. I would, myself, love to see, perhaps, a couple of the BRB principals guest with the RB should the need again arise. Recently Andrew Veyette - a long-standing NYCB principal - guested with ABT in Balanchine and that was, I understand, a happy undertaking for all involved. But it is my sincere hope that this is nothing more than an unnecessary suggestion. I certainly can think of no greater recent thrill than seeing that young NYCB SUMMER APPRENTICE - Alston McGill - being thrown into the third movement of Symphony in C with the full NYCB Company in Paris. The audience took flight with her ... and you could hear the Company cheer after the curtain fell after copious curtain calls. You might still be able to see that in the televised link provided in the NYCB-Paris link on BcoF. How wonderful too that Alvin Ailey dancers are being able to share with RB dancers in Chroma and being able to benefit from their unique attributes in the McGregor repertory in a town (London) which is now celebrated as a European contemporary dance mainstay. A special occasion - as it should be - to celebrate this two way street. In a similar light New York - noted - like Paris - as a world ballet fulcrum - will see the Bolshoi doing Jewels with their own dancers mixed with those from NYCB and the POB. These guesting stints to be celebrated surely - and wholly fulfil the very essence of their mandate.] . But back to my point: It was a privilege to see both Salenko and Obraztsova dance on those occasions aside the Royal Ballet. I'm sure their unique skill sets will also have served the Company well by example. That has now long since been accomplished. IF A RB GUEST IS CURRENTLY NECESSARY - and I do not honestly believe at this juncture that it is - certainly for things like Nutcracker -then I personally feel they should bring in dancers NEW TO THE ROYAL BALLET AS GUESTS who have perhaps a different skill set and are of international note so that they too might - once again - transport and delight - and once again inform - the RB audience and Company family alike. That is all. Edited July 22, 2016 by Bruce Wall 3 Link to comment Share on other sites More sharing options...
bridiem Posted July 22, 2016 Share Posted July 22, 2016 But back to my point: It was a privilege to see both Salenko and Obraztsova dance on those occasions aside the Royal Ballet. I'm sure their unique skill sets will also have served the Company well by example. That has now long since been accomplished. IF A RB GUEST IS CURRENTLY NECESSARY - and I do not honestly believe at this juncture that it is - certainly for things like Nutcracker -then I personally feel they should bring in dancers NEW TO THE ROYAL BALLET AS GUESTS who have perhaps a different skill set and are of international note so that they too might - once again - transport and delight - and once again inform - the RB audience and Company family alike. That is all. I agree with you about Salenko, Bruce. But I think it's good for the RB to use guests on a reasonably regular basis, though not all the time, whether or not they're strictly 'necessary'. I think it's good and interesting for both dancers and audiences. But currently, there is certainly no need for a guest and the casting is getting pretty 'crowded' so I think it would be better not to use one (regardless of who it is). Link to comment Share on other sites More sharing options...
SwissBalletFan Posted July 22, 2016 Share Posted July 22, 2016 (edited) I so agree with you on so much here, Penelope. My favourite pairing of McRae was with Osipova too ... but in Rubies. They gave the piece the spirited precision - and joy - the Balanchine demands and the Company on those occasions took flight with them. It was an inspiration. That said I had enjoyed performances where he danced with Rojo. They seemed on those occasions to hear music in the same way - which was very valuable. My feeling about Ms. Salenko is not so much about her as a dancer - I have seen her be very good in certain things as you suggest - but the fact that she KEEPS coming in as 'a RB guest'. I'm sorry that the Management's offer of a RB principal contract did not work out for her for very understandable reasons. I'm sure she won't have been the first person in this situation - not historically by a long shot. My point is that see KEEPS being brought in as 'a RB guest' and to my mind at least that defeats the purpose of that special privilege. When she first appeared with the RB in it was I believe as Kitri - a role she is well suited to and known for - fair enough - much as - that very same season Obraztsova appeared as Juliet; again a highly respected Bolshoi artist in that role. Both of course had danced different versions of those same ballets. We had, of course, seen Obraztosova as a GUEST at the ROH with La Scala in Sleeping Beauty - [and how I admire Ratmansky for demanding that it be the La Scala Company ITSELF that should dance his Swan Lake in Milan with NO guests - much as had been the case for the Zurich Ballet when it was originally prepared - and for the company in Munich when he undertook the reconstruction of Paquita. I understand he made those terms on each occasion part of his contract. Certainly he has given - and keeps giving - so many dancers at ABT their first significant breaks - Misty Copeland among them - and certainly the stunning young Ms. Cassandra Trenary. I so look forward to seeing both of them shine in ABT's Sleeping Beauty and the Milan company in his SL in Paris in September and November respectively. In this way he is like Robbins who really made the initial careers of NYCB dancers who might not otherwise have been recognised for their unique genius. I would, myself, love to see, perhaps, a couple of the BRB principals guest with the RB should the need again arise. Recently Andrew Veyette - a long-standing NYCB principal - guested with ABT in Balanchine and that was, I understand, a happy undertaking for all involved. But it is my sincere hope that this is nothing more than an unnecessary suggestion. I certainly can think of no greater recent thrill than seeing that young NYCB SUMMER APPRENTICE - Alston McGill - being thrown into the third movement of Symphony in C with the full NYCB Company in Paris. The audience took flight with her ... and you could hear the Company cheer after the curtain fell after copious curtain calls. You might still be able to see that in the televised link provided in the NYCB-Paris link on BcoF. How wonderful too that Alvin Ailey dancers are being able to share with RB dancers in Chroma and being able to benefit from their unique attributes in the McGregor repertory in a town (London) which is now celebrated as a European contemporary dance mainstay. A special occasion - as it should be - to celebrate this two way street. In a similar light New York - noted - like Paris - as a world ballet fulcrum - will see the Bolshoi doing Jewels with their own dancers mixed with those from NYCB and the POB. These guesting stints to be celebrated surely - and wholly fulfil the very essence of their mandate.] . But back to my point: It was a privilege to see both Salenko and Obraztsova dance on those occasions aside the Royal Ballet. I'm sure their unique skill sets will also have served the Company well by example. That has now long since been accomplished. IF A RB GUEST IS CURRENTLY NECESSARY - and I do not honestly believe at this juncture that it is - certainly for things like Nutcracker -then I personally feel they should bring in dancers NEW TO THE ROYAL BALLET AS GUESTS who have perhaps a different skill set and are of international note so that they too might - once again - transport and delight - and once again inform - the RB audience and Company family alike. That is all. Bruce sorry to correct you, it was actually Bigonzetti who insisted on no guests for Swan Lake, which is seemingly his general view going forwards. Ratmansky actually requested that Kapitonova who created the role in Zurich would guest at La Scala. Edited July 22, 2016 by SwissBalletFan 1 Link to comment Share on other sites More sharing options...
RuthE Posted July 22, 2016 Share Posted July 22, 2016 In the ROH Winter magazine, it lists the 18th February matinee as 'limited availability, call box office'. Schools matinees are usually not for public booking, so I assume its not that. Can anyone elaborate? Thanks I have sent the Royal Opera House a message on Twitter asking this question so I hope to have an answer soon which I will post here. I do hope I can get a ticket for this performance as I already know I will be away on this cast's only other date... 2 Link to comment Share on other sites More sharing options...
RuthE Posted July 22, 2016 Share Posted July 22, 2016 And I have an answer to the above: "This is for people who have been to one of our Welcome performances but never returned." (Damn. I'm going to miss this cast then - just like I did with their R&J...) 1 Link to comment Share on other sites More sharing options...
Jan McNulty Posted July 22, 2016 Share Posted July 22, 2016 And I have an answer to the above: "This is for people who have been to one of our Welcome performances but never returned." (Damn. I'm going to miss this cast then - just like I did with their R&J...) But if they never returned they may still not go back so the auditorium may well be empty! 5 Link to comment Share on other sites More sharing options...
bridiem Posted July 22, 2016 Share Posted July 22, 2016 And I have an answer to the above: "This is for people who have been to one of our Welcome performances but never returned." (Damn. I'm going to miss this cast then - just like I did with their R&J...) And if they've told RuthE this, why couldn't they have given some sort of indication on the booking form? It's only thanks to RuthE that we won't now be wasting our time (and that of the ROH) ringing up about it. 3 Link to comment Share on other sites More sharing options...
Bluebird Posted July 22, 2016 Share Posted July 22, 2016 (edited) The last time 'limited availability' was in the Magazine (in the Autumn booking) it was for an opera matinée and only the amphitheatre was unavailable for booking. The rest of the auditorium was available to book. If it only mentions 'limited availability' there must be some places available. Edited to add that, when there are no places available, the phrase is 'not available for public booking'. Edited July 22, 2016 by Bluebird 5 Link to comment Share on other sites More sharing options...
Don Q Fan Posted July 22, 2016 Share Posted July 22, 2016 McRae and Salenko are a good partnership and I really enjoy their performances. I always liked Salenko from seeing her in Berlin. Anna Tsygankova and Matthew Golding are a real life couple so I suspect that chemistry translates over into their dancing. I have seen Matthew around the theatre in Amsterdam when Anna has been dancing. I agree with David that for those unable to travel the occasional guest is nice as its mixes things up a bit and I am sure is good for the dancers too. ABT and ENB often have guest artists for their seasons and I love it being able to see other dancers without having to otherwise travel to see a particular dancer. 2 Link to comment Share on other sites More sharing options...
alison Posted July 22, 2016 Share Posted July 22, 2016 Yes, but many of ENB's guests in the past have been out of necessity rather than choice, I think. 2 Link to comment Share on other sites More sharing options...
zxDaveM Posted July 23, 2016 Share Posted July 23, 2016 And I have an answer to the above: "This is for people who have been to one of our Welcome performances but never returned." (Damn. I'm going to miss this cast then - just like I did with their R&J...) Getting pretty cheesed off with them for ALWAYS casting Ms Naghdi in the unavailable matinees to us, the people who want to see her dance. Can't they give someone else a turn at these? That's her first 3 major role debuts, all hidden away in school's matinees. Grrrr - we DO notice you know!! 9 Link to comment Share on other sites More sharing options...
Nina G. Posted July 23, 2016 Share Posted July 23, 2016 (edited) Glad you said it and you are not alone zxDaveM. I am getting very cross myself about this whole scenario. I want to have more opportunity to watch her major debuts; Miss Naghdi deserves better then being constantly tucked away in School's Matinees the public and critics can't attend! I'll have to postpone visiting my family until well after 28th December now in order to see Miss Naghdi on 27th December as Sugar Plum Fairy. We DO notice indeed. Edited July 23, 2016 by Nina G. 3 Link to comment Share on other sites More sharing options...
capybara Posted July 23, 2016 Share Posted July 23, 2016 Yes - couldn't agree more Dave and NinaG but I guess that it is deemed to be the lot of First Soloists/Soloists and debutantes to be cast for schools and families. There are advantages in that for them, after all. However, I would rather that dancers who have, say, three shows in a run were given these performances - as has happened with the Nunez/Muntagirov Nutcracker matinee on 4th Dec. But, if KO'H would like any suggestions as to which casts (not these two!) he could use in future......... 1 Link to comment Share on other sites More sharing options...
Bluebird Posted July 26, 2016 Share Posted July 26, 2016 I just called the ROH Box Office to check the meaning of 'limited availablility' for the February 18 Beauty matinée. The information they have at the moment is that the amphitheatre is reserved for an invited audience. The rest of the auditorium will be available for the rest of us. 3 Link to comment Share on other sites More sharing options...
alison Posted July 26, 2016 Share Posted July 26, 2016 ... those who can afford the prices downstairs. Thanks, Bluebird. 3 Link to comment Share on other sites More sharing options...
VickyPage Posted July 26, 2016 Share Posted July 26, 2016 In these situations, does anyone know if 'Amphitheatre' includes the Upper Slips or not? Link to comment Share on other sites More sharing options...
alison Posted July 26, 2016 Share Posted July 26, 2016 I've just tried logging in to the "student amphitheatre" performance of the McGregor bill. No amphi tickets are showing up, but upper slips ones are, so you *may* be in luck. Link to comment Share on other sites More sharing options...
VickyPage Posted July 26, 2016 Share Posted July 26, 2016 Let's hope! Thank you, alison. It was already looking inconvenient, but I don't think I have to resign myself to not going just yet! Link to comment Share on other sites More sharing options...
Jamesrhblack Posted August 6, 2016 Share Posted August 6, 2016 Delighted that one of my artists has been invited to sing Katharina Schratt next season. It's not clear if this will be single or double cast but I'm very pleased 3 Link to comment Share on other sites More sharing options...
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