Royal Ballet - 2018/19 new season wish list

[LinMM]

Inspite of the new employment law I feel sure that somehow a class lasting 90 mins for the Royal Ballet could not be accommodated 

As someone who still attends class there is nothing like feeling properly warmed up when coming into the centre and I really dislike classes which only last one hour as you just don't get the muscles warmed up properly OR you can spend 40 mins at the barre and then quite a lot is necessarily missed from the centre work.

What happens with other Companies. I'm sure I've watched ballet class at the Rambert Company which lasted for 90 mins and same with ENB.

Ive always thought that you strengthen the classical technique by doing and improving the exercises that support it rather than loads of extra in the gym however I do think the gym and Pilates etc can be invaluable when recovering from an injury. 

The dancers who look good in Macgregor's works are those who have those rather "free jointed "bodies ....nothing wrong with that...many who study classical dance started as gymnasts so have this particular freedom but you don't have to have this degree of movement in the body  to be a fine classical dancer. 

I do like a mixture of classics and modern works but maybe casting could be improved for some works....not everyone suits Macgregor and not everyone suits Ashton or Macmillan. 

To get back to the thread well 2019-20 is a long way ahead but I would love to see some more recognition of Fonteyns centenary which I do think has been rather overlooked so some of those suggestions further up the thread particularly Les Rendezvous and I personally would love to see the Haunted Ballroom ( never saw it ....just those wonderful pictures of Fonteyn) revised but have no idea how it would sit today.

Of course 2021 is not far away .....sixty years since Nureyev made his leap for freedom as it were....so perhaps could link the two in the 2020-21 season!!! 

[alison]

2 hours ago, Anna C said:

 

Again, could we keep on topic please? 

 

Many thanks. 

 

I'm no longer sure what constitutes "on topic" on this thread  

[CheerwellMaker]

23 minutes ago, Livia said:

 

You're absolutely right and it's a pity that the business of class has become unionised and subject to contract, that a dancer should feel they're being hard done by if not being paid to take class.

 

I don't think not paying dancers for class is going to help anything. London isn't cheap and dancers can't live on air and art. Whether there should be longer more specialised classes is a different matter. 

[CheerwellMaker]

If attendance is mandatory then payment should be too. Dancers shouldn't be expected to work for free. As an employer it's up to the Royal Ballet to budget accordingly. If they aren't providing a 90 minute class as standard then it's not a case of the resources being available and no one using them.

[Lindsay]

I do not think we should assume that the classes broadcast for public consumption on World Ballet Day are in any way typical of the company's daily routine or indeed anything more than a PR exercise.  Men's classes are certainly on offer at the RB and I am personally aware of more than a few dancers who work well beyond their contracted hours, including coming in for class on weekends and other 'off-days'.  One anecdote from a dancer who has been dead for two years and had not worked with the company for some years prior to that seems a thin basis on which to condemn the present company culture as lazy. 

 

It is also interesting to note that robust debate over dancers' training regimes is nothing new.  I remember there being a great deal of bitching amongst the amphi regulars in the 90s (before the house closure) about Deborah Bull's "thunder thighs" because she admitted to jogging.  Incidentally, the same crowd also disapproved, with almost religious fervour, of Edward Watson's promotion to soloist.    

 

Notwithstanding several decades of professions of horror that the barbarians are at the gates of the classical style and that the RB is going to hell in a handcart, nobody has yet (to my knowledge) been injured in the course of the discussion, so perhaps we could all tone down the drama and resume a more measured discussion?

[Lizbie1]

21 minutes ago, Livia said:

In Paris there's a culture of class and coaching, in the UK one of laziness

 

Livia, I find POB an interesting point of comparison for you to give here. Firstly, I'd be surprised, given the strength of employment law in France, if dancers there aren't paid to attend class; secondly, there has been disquiet for some time about declining standards there, and more so than at the RB: indeed, Luke Jennings, who you have cited when talking about poor standards in the RB corps, wrote quite forcefully and in similar terms about POB a few years ago. (https://www.theguardian.com/stage/2017/apr/02/midsummer-nights-dream-paris-opera-ballet-review-balanchine)

[Jan McNulty]

2 hours ago, CHazell2 said:

Just out of interest, why did that production bore you Jan? - was it the design or the chorographical text?

 

I saw that production too twice I think and I remember thinking that although the scenery and costumes were lovely - it was the wrong chorographical text - although I did enjoy the choreography for Carabosse in the Prologue.

 

I think I felt the pace was slower than I was used to (overall not specific set pieces).  I've got a vague recollection of a chiffon curtain billowing and I absolutely loathed the page boys and girls.  I was very used to the SPW version for BRB by then and for me this one paled into insignificance.  In fact, at the time I felt Yoshida was the best Aurora I had ever seen (having seen her with BRB) so I still can't understand why this performance left me feeling so flat.

 

When I first started watching ballet I had to go to London a lot for work and always tried to tie in trips to coincide with performances at ROH.  By this time I had more or less given up on RB and it was only because I was in London for a couple of days and the draw of Yoshida and Kobborg that made me book.

[Jan McNulty]

When the change in employment regulation happened IIRC in one company class became "not compulsory" but it is part of the dancers' contracts that they maintain their levels of technique, fitness and performance readiness.  I don't know whether they are paid for attending class or whether things have changed again since in respect of what is expected.

 

When BRB opened up the "on tour" Saturday classes to the public I noticed a slight change in how those classes were conducted and also there is an added element of "let's show the public some virtuosity" at the end.  When we used to be able to see studio classes in Birmingham when the company was at home, they always seemed to be split into men's and women's and sometimes by rank too.

 

I don't think we can assume how classes out of the public eye are run.

[taxi4ballet]

2 hours ago, Livia said:

You're absolutely right and it's a pity that the business of class has become unionised and subject to contract, that a dancer should feel they're being hard done by if not being paid to take class. 

It isn't really a matter of unions or the dancers' opinions, it's the law.

Don't know whether the dancers are currently paid by the hour (which would make a difference in cost to the budget), or an annual salary (which wouldn't). I might ask the person I know in the company next time I see them.

[jmhopton]

I actually wrote Kevin O'Hare quite a long letter several weeks ago saying how much I had enjoyed the last season, especially seeing so many impressive debuts, but also outlining some  concerns such as the rather limited Ashton programming (and the lack of an Ashton evening next season though good to see 2 Pigeons and Patineurs again). I also said I would like to see a change in Bayadere (which I think was commissioned in the mid 80s so before the Swan Lake that has just been replaced) as I don't like the Makharova production, preferring the Nureyev POB version or the Mikhailovsky. I also commented on the (apparent) lack of Fonteyn centenary celebrations and that it seemed odd to commission an entire evening of Bernstein celebrations who seemed to have no connection with the company and ignore our only prima ballerina assoluta. I haven't had a reply yet but he has been very busy with the end of the Swan Lake season, deciding promotions and now the Madrid tour.

[fashionista]

16 hours ago, FLOSS said:

CherwellMaker

The answer  to the question of  why I want the Nureyev staging is quite simple. It is the staging in which Fonteyn herself actually danced. It is a self contained staging  which ends in a sunburst with Solor and Nikiya at its centre. I recall it being exceptionally beautiful and far grander with its thirty two shades than the twenty four shades version of the Markarova staging. Needless to say it is far more of a test of the corps de ballet ability to dance as  one without wobbling because of the eight additional shades who have to descend the ramp. In 1975 it was the version which the corps performed when it was awarded the Evening Standard Award for achievement in classical dance, who at that time were described as dancing "as a single entity with shared style and ideal unity". They danced it with a wonderful combination of Russian style and Ashtonian epaulement and arabesques. It is impossible to describe how extraordinary it was and went on being for years.

 

fashionista

I really think that one of the problems which the Ashton repertory faces and the MacMillan repertory does not is that MacMillan is rarely, if ever, consigned to the heritage box. His works are part of the company's living repertory whereas most of Ashton's ballets are "heritage" repertory only to be staged under duress. So although the company has a number of works like Les Rendezvous which helped create the company and its style in the early days of its existence and would certainly sharpen up the corps de ballet today they are not pressed into service. A failure which the late David Vaughan used to comment on quite often.

 

As to the lack of a good Lilac Fairy or Myrthe.

 I am unsure whether the problem is essentially one of casting, coaching or a combination of the two. Perhaps everyone has managed to persuade themselves that roles like Myrthe, Lilac Fairy and the Fairy Variations were originally danced by senior dancers in the company because they were the only ones with sufficient technique to be capable of performing them and that everyone's improved technique means that such roles should no longer be seen as anything other than secondary roles to be danced by the up and coming and dancers otherwise difficult to cast because of their height. Everyone seems to have lost sight of the fact that they were created for leading dancers. In 1890 the Fairy Variations allowed Petipa to display the skills of the company's own leading dancers to the audience before they saw the guest star. They are ballerina roles not roles for the hopeful aspirant. They were created to display the dancer's exemplary style and command of the choreography. As far as the Lilac Fairy is concerned ideally she combines the commanding technical skill to dance her solo effortlessly and the stage presence of a great character dancer which Bergsma certainly did.

 

I am not sure how these roles have gradually come to be treated or seen by the company as a whole as essentially secondary roles which should only be allocated to dancers at a certain level in the company but that is what has happened which I guess means that they don't get the rigorous polishing which they need. You get the occasional good performance of one or two of the Variations but never a complete set. Beryl Grey's unscheduled intervention at an Insight Evening was a real eye opener. Perhaps it is as much a question of not being coached by the right people as not being cast with sufficient care and not getting enough performances to consolidate and never having seen an exemplary performance of the role.

 

The company's continuity in experience of good and great performance of works like Manon seems to work wonders as far as establishing and maintaining standards in the performance of the major Macmillan narrative works is concerned . They are revived regularly and there are so many performances of them that the occasional casting mistake has no impact on the reputation of the ballet or its maker. Programming six performances of an Ashton mixed bill with sometimes three different casts does not help maintain standards or style. If you go to a performance of an unknown work which has been allocated to well known popular dancers who  will you blame if you find the performance less than adequate? Will you blame the management who miscast the work? This is unlikely as you have never seen the ballet before . Will you blame the dancer or dancers in question? Of course not they are your favourite dancers. They are the reason why you booked in the first place and being wonderful they can do no wrong. That only leaves the choreographer. It has to be his fault and here is the evidence . The ballet has not been revived for years. There must be a reason for its neglect. I saw a bad performance of course it's the ballet which is the problem. That is what happened with the revival of Pigeons the best cast was the last one who only got a single performance.

 

 

Dear Floss,  This is my concern, if the Ashton works are not revived, than the Ashton style will be lost - it is part of the signature style of the RB, together with their classical and dramatic heritage.  Leave it too long, and those dancers who were coached personally by Ashton, will no longer be around to pass on the essence of Ashton to today's generation of dancers.  It is essential that this style is not lost and would also stretch the dancers technically.  It is a very exacting technique with fast and fleet footwork. Sadly, this is being eroded.  For example, the beautiful Ashton solo in the peasant pas de deux from Giselle has now been dropped.  It is very demanding and I am sure given the right coaching there are dancers in the company who could rise to the challenge.  Unfortunately, I heard from a reliable source that it has been dropped because it is too difficult - this is not "on" !!!  If the dancers can stretch themselves for contemporary work, then they should be equally stretched to take on the Ashton technique.  

Amanda

[fashionista]

13 hours ago, LinMM said:

Inspite of the new employment law I feel sure that somehow a class lasting 90 mins for the Royal Ballet could not be accommodated 

As someone who still attends class there is nothing like feeling properly warmed up when coming into the centre and I really dislike classes which only last one hour as you just don't get the muscles warmed up properly OR you can spend 40 mins at the barre and then quite a lot is necessarily missed from the centre work.

What happens with other Companies. I'm sure I've watched ballet class at the Rambert Company which lasted for 90 mins and same with ENB.

Ive always thought that you strengthen the classical technique by doing and improving the exercises that support it rather than loads of extra in the gym however I do think the gym and Pilates etc can be invaluable when recovering from an injury. 

The dancers who look good in Macgregor's works are those who have those rather "free jointed "bodies ....nothing wrong with that...many who study classical dance started as gymnasts so have this particular freedom but you don't have to have this degree of movement in the body  to be a fine classical dancer. 

I do like a mixture of classics and modern works but maybe casting could be improved for some works....not everyone suits Macgregor and not everyone suits Ashton or Macmillan. 

To get back to the thread well 2019-20 is a long way ahead but I would love to see some more recognition of Fonteyns centenary which I do think has been rather overlooked so some of those suggestions further up the thread particularly Les Rendezvous and I personally would love to see the Haunted Ballroom ( never saw it ....just those wonderful pictures of Fonteyn) revised but have no idea how it would sit today.

Of course 2021 is not far away .....sixty years since Nureyev made his leap for freedom as it were....so perhaps could link the two in the 2020-21 season!!! 

That would be a wonderful opportunity to have a Nureyev/Fonteyn celebration.  However, I did hear rumours that that the 2020-21 season will be entirely devoted to new works.  I may be wrong and I sincerely hope that this is not the case !!!

[Rob S]

13 minutes ago, fashionista said:

 However, I did hear rumours that that the 2020-21 season will be entirely devoted to new works. 

 

Well that'll save me plenty of money

 

[Lindsay]

17 hours ago, Richard LH said:

I don't quite follow, Floss; since Kevin took over in 2012 the RB has had Ashton ballets in every year,  including (as well as M & A) Sylvia, La Fille (twice),  La Valse, Meditation From Thais, Voices of Spring, Monotones (twice), Rhapsody (twice - "heart-stopping Ashton from Francesca Hayward" - Luke Jennings) , The Dream (twice - "As for Hayward, I don’t believe I’ve seen a better Titania since Antoinette Sibley" - Judith Mackrell) , Scenes de Ballet, Symphonic Variations (twice) , A Month in the Country,  The Two Pigeons, and The Sleeping Beauty with additional Ashton choreography. 2018/19 includes Les Patineurs, The Two Pigeons and A Month in the Country.

I don’t quite understand why several posters are stating as blunt fact that Ashton has been abandoned in the light of Richard’s factual post above.  Naturally some of Ashton’s work has fallen by the wayside (in the same way that lesser Shakespeare plays, lesser Mozart works or lesser operas by many great composers have fallen by the wayside).  Even the output of great artists varies in quality and I believe that some works are “justly neglected”.

 

i take the point that plays or music have a text which may be perceived as making them more “robust” than ballet (although in the case of music the case is far more complex than simply ‘plug in the orchestra and play it’) but should the resources of a large, partly taxpayer-funded company be devoted to preserving those lesser works? That seems to me more appropriately done by smaller specialist companies or foundations.

 

i recently saw the ABT revival of Harlequinade and, whilst an interesting curiosity with beautifully lush costumes and sets, I thought the huge amount of money spent on it was not supported by the quality of the work.  Other than the much performed gala extracts it seemed to me an historical exercise rather than a genuine artistic endeavour.

[alison]

1 hour ago, fashionista said:

  For example, the beautiful Ashton solo in the peasant pas de deux from Giselle has now been dropped.  It is very demanding and I am sure given the right coaching there are dancers in the company who could rise to the challenge.  Unfortunately, I heard from a reliable source that it has been dropped because it is too difficult - this is not "on" !!! 

 

I believe it was Sir Peter Wright who dropped it - although I'm not sure of his reasons?  I'd thought it had something to do with authenticity, but could be wrong - and there are no reports of Sir Peter's interviews on the Ballet Association website to check.

 

1 hour ago, fashionista said:

However, I did hear rumours that that the 2020-21 season will be entirely devoted to new works.  I may be wrong and I sincerely hope that this is not the case !!!

 

I'm not sure whether this has ever been the case?  I know KOH went on record as saying that he'd like to be able to programme an entire season of new works a decade on, but that's not the same as saying that he was going to do so.  I guess we have to wait and see.

 

1 hour ago, Lindsay said:

I don’t quite understand why several posters are stating as blunt fact that Ashton has been abandoned in the light of Richard’s factual post above.  Naturally some of Ashton’s work has fallen by the wayside (in the same way that lesser Shakespeare plays, lesser Mozart works or lesser operas by many great composers have fallen by the wayside).  Even the output of great artists varies in quality and I believe that some works are “justly neglected”.

 

Well, yes, of course, but I think it's more a question of people thinking that (near-)masterpieces are being neglected, and possibly feeling that the inclusion of what Ashton works there are seems to be paying lip service rather than being part of any coherent plan.  Nor does it help lumping the short works together in one triple bill if you're basically going to allow leading dancers only to take one role, because then you tend to end up having to cast dancers who are less suited to the style in the other roles.  It's when works like Cinderella and Daphnis and Chloe start disappearing from the active repertoire that people become concerned.  And I don't remember being hugely impressed by Scenes de Ballet last time it was shown: again, that may have been partly down to other dancers already being employed in other ballets on the bill.

[Lizbie1]

1 minute ago, alison said:

Nor does it help lumping the short works together in one triple bill if you're basically going to allow leading dancers only to take one role, because then you tend to end up having to cast dancers who are less suited to the style in the other roles.

 

It is however very helpful for us out-of-towners!

 

I think one of the reasons often given as to why more Ashton should be presented is that performing his works often is fundamental to maintaining the RB's style.

[zxDaveM]

I think the 'new works' season, meant new works created over the last 10 years (since he became AD) - rather than all brand new premieres, a la San Francisco Ballet seasons

[Lizbie1]

And it was a year (2020) so spread across two seasons. I don't know if it's been dropped though.

 

More here: https://www.gramilano.com/2015/09/kevin-ohare-interview-its-an-exciting-time-for-the-royal-ballet/

 

Note also that his definition of eligible works is pretty broad!

Edited July 19, 2018 by Lizbie1

[Lindsay]

Interesting. I can totally understand people lamenting the lack of Cinderella (although the production itself is not in danger of being lost since the RB has done it since the millenium and several other companies, including ABT, have it in their current repertoire).  Personally I would be very pleased if Cinderella replaced Manon and/or Mayerling for a few seasons, if only for Prokofiev's music. 

 

Daphnis I'm less sure about - I was just thinking when watching Sylvia last year that the kind of camp, cod-classicism aesthetics that were popular in the mid 20th century have not aged well at all.  I wonder if that has something to do with the decriminalisation of homosexuality and move towards equal rights? The whole 'Polari' culture now seems very dated and to frame a rather infantile view of the world, and of women in particular, that sits uncomfortably with new audiences coming fresh  to the works.

 

But I think it is a little unfair to imply that the direction of travel under O'Hare has been away from Ashton, when he was responsible for reviving the long wished for Two Pigeons.   That, to me, is more than paying lip service.

[Richard LH]

After a  period of temporary insanity and bad feeling (and I admit to resorting to sarcasm myself) hopefully  this thread has now settled to a more measured tone!

As we know the thread started out as a discussion on  hopes for the RB 18/19 season, but more recently some offshoot topics have emerged which don't really belong here - nevertheless these are topics which  seem very interesting and potentially instructive (at least for the likes of me,  being a newbie and a relative ballet ignoramus), and so may well deserve their own thread. In particular I have in mind...

A discussion on ballet styles from classical onwards - what the technical and artistic differences are, what people enjoy about each style etc. - perhaps (as this is a pretty mammoth topic overall) concentrating on the contrast in the purest classical style with depatures from that. (This was prompted for me by Livia's reference to the difference between the Nureyev La  Bayadere and that of  Makarova, which I am now in the process of  trying to compare).  Probably to go in the PS & GD section.

A discussion on  how individual dancers and companies currently rehearse and train and whether there are constructive ideas for any improvements in this regard  - hopefully with contributions from folk familiar with current practice - probably to go in the "Doing Dance" section.

Any thoughts on how welcome such threads might be,  anyone?

 

Edit P.S. the above was composed and entered before I read Livia's last two entries. I hope the tone of any new threads may be constructive and avoid unnecessary invective and insults to current (or indeed past) artists or choreographers. 

Edited July 19, 2018 by Richard LH
Adding a PS

[Lindsay]

Au contraire Livia dear, I very much prefer Ashton's best choreography to anything Macmillan ever did.  I have 'sat out' Manon and Mayerling for several years now and only attend the very occasional Romeo and Juliet because I am a sucker for Prokofiev.  I went to see the Anastasia and Invitation revivals out of curiosity and my (low) expectations were confirmed.  I think it is a big mistake to continue staging the Judas Tree at all and that there is, as a rule, way too much Macmillan in the company's repertoire.  Like you, I want to see dancers actually express themselves through dance, rather than (over)acting.

 

However, I do not agree that it "is a fact" that none of the current company can dance Ashton.  Hayward and James Hay in Rhapsody were as neat and swift as any pairing I have ever seen (and I am old enough to remember Sidley and Dowell in their pomp).   Nunez has gorgeous epaulement and "bend" in  Fille (as well as steely strength in Monotones), Muntagirov was beautiful in Symphonic Variations and Reece Clarke was surprisingly musical for a debutant in that same role.  Morera is an excellent Ashtonian and I hope that she stays around to coach once her dancing career ends.   I don't disagree that the company as a whole was accustomed to quicker tempi back in the 60s and 70s, but, except for those at the very top, that was often at the expense of clean technique.  I recall seeing lots of very 'buttery' arms and dancers without the strength to maintain their turnout.  There is much to criticise in every era but also much to celebrate.  You should not assume that all who disagree with you are bent on throwing out the company's past.  Opinions are not facts and I fully expect other posters to disagree with many of my views on individual dancers or ballets and that is fine.

Edited July 19, 2018 by Lindsay

[Anna C]

32 minutes ago, Livia said:

 

....Also they cannot dance Ashton properly anymore, none of the current dancers have the strength, stamina, petit allegro or technique. And that is a fact.

 

No, it is not a "fact", it is your opinion. An opinion to which you are perfectly entitled, but an opinion nonetheless.

[Fiz]

Sigh. Remember when we used to be able discuss the Royal Ballet rationally?

[Rob S]

33 minutes ago, Livia said:

, Ashton is one of the two towering geniuses of 20th century choreography, he defined the Royal and turned it into one of the great world classical companies and he has been brutally relegated to second or third best.

 

 

Surely, somebody’s dear Livia, if he was one of the TWO greats second wouldn’t be considered brutally relegated

[Jam Dancer]

On 18/07/2018 at 04:18, Livia said:

My wish list? To see the corps just once, properly rehearsed, on top of their legs, not looking strained, scared, all in unison and back in mastery of classical technique. 

Is there a priest in the house? Me thinks we need an exorcism ...😳

[Jam Dancer]

On 18/07/2018 at 04:56, Livia said:

 

I believe you've answered your own question there, my dear Janet. You have the passionate, loving all-forgiving eye of the ardent supporter which is a wondrous thing.

 

Sadly my criteria are more from the jaded perspective of the professional eye, a curse, I know, but must one really all sing from the same hymn sheet?

 

 

 

Obviously a professional eye that’s not much in demand

lately and with not very much to do...So only professional dancers are able to comment  « correctly » on ballet performances ? The rest of us should just sit down and listen to you ? And here I was thinking that with all my lessons and amateur exploits many moons ago I could really decide for myself what I think is good or not.🤔

[Rob S]

24 minutes ago, Jam Dancer said:

Is there a priest in the house? Me thinks we need an exorcism ...😳

 

Priests don’t do exorcisms properly anymore, too busy posting pictures of themselves lifting weights. Can’t even quote the Lord’s Prayer, half of ‘em!

Edited July 19, 2018 by Rob S

[LinMM]

Unfortunately I do think" petit allegro" has gone out of fashion a little ....even with some of the Russian dancers who visit who invariably take most things slower in general than RB dancers tend to.

But if choreographers don't use it what can the professionals do? 

Although Im an amateur dancer of course I love the petit allegro section ( though my brisees are pretty abysmal compared to professional level of dancing) but I do notice that if there is a shortness of time in classes these days it is likely that it's the petit allegro section of the class that gets missed out which is a shame because although difficult it can be fun! 

I have one teacher up in London who is admittedly now 90 so of an older generation but we always do really nice bits of petit allegro in his classes often with lots of directional changes ...so good for the brain! 

But what you learn from this section is the dynamics of the different steps which I think is important.

I would have thought that it's always wise for any Company to use a dancer for coaching on whom a role was created if they are still alive....and want to do it of course. Lynn Seymour was a fantastic dancer and I cannot see why they would not use her to coach other dancers but perhaps there are reasons we are not privy to if she is not used.

I Haven't  seen that Seymour/Rojo clip yet.

 

[alison]

The Seymour/Rojo clip used to be among the videos on the Kenneth MacMillan website.  I'm not sure whether it's still there - I was having difficulty finding video footage last time I tried looking for it.  It was very enlightening.

[Jam Dancer]

On 18/07/2018 at 07:04, Livia said:

 

Janet, my dear, I have no desire to teach you, I would never presume. We are both femmes d'un certaine âge. We are equals my dear, I no pedagogue, you no pupil. I'm merely starting conversations and opening up debate. I've shifted the focus from hagiography to exchange. Might I suggest, if you do wish to expand your knowledge you research some adult learning courses? There are many marvellous ones out there and full resumés of course tutors are provided before payment taken. 

Ok - if you are going to put on airs, don’t make fautes de debutants. Age is masculine in French - “femmes d’un certain âge”. Perhaps some of the time spent watching the Bolshoi could have been better spent reviewing your French grammaire. I could recommend some books which may help you to clean up your fautes d’orthographe. Or perhaps you should stick to a language in which you don’t make very silly errors whilst trying to sound grand? 

 

 

 

[LinMM]

Oh dear! Some of us learnt ( or is it learned) French grammar a long time ago now! 

I also studied German a very long time ago and what used to be natural I now have to think twice whether the noun is fem/ neuter / or masc!! 

Dont give us any more complexes Jamdancer!! Some things are best ignored I think.

[Richard LH]

1 hour ago, LinMM said:

I do think "petit allegro" has gone out of fashion a little

Is this the sort of thing, LinMM? 

https://www.google.co.uk/search?q=petit+allegro&oq=petit+allegro&aqs=chrome..69i57j69i61.2045j0j8&sourceid=chrome&ie=UTF-8

© Royal Opera House

[Fiz]

Do we know the dancer? She’s lovely.