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Royal Ballet Winter 2019/20 casting


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The Royal Ballet School was onto the regulations earlier in he week, which gave cause for questions as to what the RB was doing, if anything - given that Francesca was on stage on Tuesday.

So disappointing for Cesar and everyone else affected - and us, the audience, of course.

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Does this apply to the whole of next week? 

Was really hoping to see Caesar on Wednesday 4th March. 

Will be very disappointing if he has to miss this after rehearsing all this time. 

Is there in fact any likelihood that the RB dancers have actually come into contact with anybody who has the Coronavirus? 

I know it has spread a bit in Italy but I thought contained in certain areas. You cannot catch this virus unless you have spent some time with somebody who has it. I don't think you can catch it from just passing somebody in the street but don't know how much time is key to picking it up eg an hour /two hours/ and evening/ a day? 

 

 

 

 

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1 hour ago, Sim said:

I wonder if that will carry over into next week, in which case Francesca Hayward should also rest, as well as Vadim Muntagirov who has just been in Japan..and I am sure the list could go on. 

 

I was wondering about Muntagirov/Japan. I do hope he doesn't have to pull out of Swan Lake next week!

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All we know is that there are a very high number of cases in northern Italy and  Francesca Hayward posted on her social media that she was in Milan for the weekend, and so seems to have been Corrales. As she danced DAAG last night she clearly has been inside the ROH since coming back from Milan thus mingled with the other dancers.

I just hope all will be ok. Just imagine the potential of the virus spreading amongst the dancers.

LinMM: anyone coming back from Government listed countries (northern Italy and many Asian countries)  has to self isolate for a minimum of 2 weeks according to NHS and Government guidelines.

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Current government advice re Japan is only to isolate if symptoms shown within two weeks.

 

However in lockdown areas in northern Italy (and I believe Milan is one?) it states self-isolation even if no symptoms, so I imagine that is why Cesar Corrales (and probably Francesca Hayward) are being singled out particularly. Although given that she danced a couple of nights ago, it is rather shutting the stable door after the horse has bolted!

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1 minute ago, Balletfanp said:

Current government advice re Japan is only to isolate if symptoms shown within two weeks.

 

However in lockdown areas in northern Italy (and I believe Milan is one?) it states self-isolation even if no symptoms, so I imagine that is why Cesar Corrales (and probably Francesca Hayward) are being singled out particularly. Although given that she danced a couple of nights ago, it is rather shutting the stable door after the horse has bolted!

 

There's a list of small towns where self-isolation applies - Milan isn't among them. If someone has been in northern Italy AND is showing symptoms, that's a different story.

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1 hour ago, bridiem said:

 

I was wondering about Muntagirov/Japan. I do hope he doesn't have to pull out of Swan Lake next week!

 

It was apparent from social media that The New National Theatre in Tokyo did not allow people to wait at the stage door after Vadim's performances. He himself posted apologies for that over a photo showing a sizeable pile of presents handed in for him.

People in Japan at the time have reported that, on the second night, he and his Manon took 17 curtain calls - apparently a record!

 

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On 20/02/2020 at 16:50, FionaE said:

Just seen today on ROH website that Federico Bonelli will partner Akane Takade on 6th March replacing Steven McRae.  No changes shown yet to other dates. 

 

I haven't had an email about the change at all, but it is now confirmed on the website for all three dates.

 

General Rehearsal tomorrow... I wonder who will  be dancing? 🦢💔

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Does anyone know if it is usual for dancers to rehearse together if they're not scheduled to perform together? Yesterday the ROH posted a picture on Instagram of Ball & Osipova rehearsing Swan Lake. Since they're not currently scheduled to dance together I'm wondering if they were just practising because their scheduled parters were unavailable or if there's an unannounced cast change going to happen.

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8 minutes ago, Dawnstar said:

Does anyone know if it is usual for dancers to rehearse together if they're not scheduled to perform together? Yesterday the ROH posted a picture on Instagram of Ball & Osipova rehearsing Swan Lake. Since they're not currently scheduled to dance together I'm wondering if they were just practising because their scheduled parters were unavailable or if there's an unannounced cast change going to happen.

 

This is probably going to make me sound like too much of a Royal Ballet 'fan' but I recognised the picture - it's from 2017 (it's in the programme for that run when they did actually dance together). 

 

I'm not sure if this answers your question but I know there have been rehearsal pictures for the recent Dances at a Gathering of the two casts dancing together/mixed classes. That's slightly different to Swan Lake though where there is an obvious partnership, so whilst dancers may rehearse certain steps together (e.g. perhaps a few Odettes will rehearse together?) I think it's unlikely that pdds will be rehearsed with someone they won't be dancing with...could be wrong though! 

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22 minutes ago, JNC said:

 

This is probably going to make me sound like too much of a Royal Ballet 'fan' but I recognised the picture - it's from 2017 (it's in the programme for that run when they did actually dance together). 

 

I'm not sure if this answers your question but I know there have been rehearsal pictures for the recent Dances at a Gathering of the two casts dancing together/mixed classes. That's slightly different to Swan Lake though where there is an obvious partnership, so whilst dancers may rehearse certain steps together (e.g. perhaps a few Odettes will rehearse together?) I think it's unlikely that pdds will be rehearsed with someone they won't be dancing with...could be wrong though! 

 

Thanks for the info. I wasn't following the RB closely back in 2017 so didn't realise it was an old picture, as the way I read the caption I thought it implied that it was rehearsals for the current production.

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Isn't she supposed to be dancing with Hallberg in this?  Given the news from about 24 hours ago, it's possible he might have been otherwise/elsewhere occupied, anyway.  And yes, dancers do occasionally rehearse with other partners than their scheduled ones if the scheduled partner happens to be unavailable for some reason, or if there are a couple of dancers who perhaps need additional coaching, e.g. if they're making debuts.  We've seen mix-and-match partnerships on things such as insights before now, and it has in some instances led to unnecessary concerns as to whether cast changes are about to be announced.

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Email just received from ROH:

Our records show that you are due to attend a performance of Swan Lake on Wednesday 11 March 2020 at 7.30pm

We are contacting you to let you know that Principal Guest Artist David Hallberg is replaced by Reece Clarke as Prince Siegfried. This is due to commitments related to his recent appointment as Artistic Director of The Australian Ballet. 

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Pleased Reece gets a chance at the role (though a bit of a shame it’s not with Fumi Kaneko). 

 

I suppose while I’m one who gets frustrated with cast changes each change is an opportunity for someone else! 

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3 hours ago, Candleque said:


Yes. She was quoted somewhere (I forget where) as saying this role is her last remaining major classical challenge 


It was an interview in The Stage. Does she therefore not have her sights on La bayadère or Don Quixote?

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It seems pretty clear to me that when Hayward was talking about the "classics" she was talking about the five nineteenth century ballets which de Valois acquired for her young company in the 1930's and chose to describe as "The Classics".  I have no idea whether or not Hayward wants to dance lead roles in Don Q or Bayadere only time will tell.whether she wants to dance them. In fact if she chooses not to dance them I would be tempted to ascribe her failure to sound artistic taste.

 

I think that we have to accept the sad fact that not all nineteenth century ballets are of equal quality musically or choreographically and some of them even if they have the Petipa label attached to them are more twentieth century constructs than nineteenth century ones as far as their choreographic texts are concerned. The obvious point of distinction between Don Q, La Bayadere and de Valois "classics" begins with the quality of the music to which they are set. The five works which de Valois selected have major scores and were acquired from an impeccable source as they were first staged for the company by the man who had been responsible for staging them at the Mariinsky in the years before the Revolution. The scores for all five of them are of importance in the development of ballet music and  all of them contain substantial passages of late nineteenth century choreography which embody the changes in technique which had taken place in Italy since the 1850's. They are works for which Petipa either created the choreography or are the work of other choreographers working in the same Franco-Italian style over which as the Ballet Master of the theatre. he had the final say as he had to approve them before they could be placed before the public.  

 

 Don Q and the full La Bayadere were  first danced by the company during Dowell's directorship and both present problems beginning with the music to which they are set . Their scores are the sort of workaday ballet scores which ballet composers churned out throughout the nineteenth century with little regard to the place in which the action of the ballet for which they were composed was set. La Bayadere 's score does not really get any further east than the Hungarian plains. As far as the choreographic texts of those works is concerned it is difficult to know what if any part of Don Q can now safely be attributed to Petipa as it was given a major overhaul by Gorsky during Petipa's life time and people have been tinkering with its text ever since. Acosta, is merely the latest, would be, choreographer to do so. The version of La Bayadere which the company currently performs is a mangled salvage account of the original with some Soviet style pyrotechnics thrown in for good measure. I should not be at all sorry if the company were to quietly drop them and then spent more time on keeping its Ashton  and Nijinska repertory in good condition . I am still not convinced that Don Q with its in your face bravura technique really suits the company or its artistic traditions that well. It is going to be interesting, to say the least, to see how BRB''s dancers cope with  Acota's Don Q. As far as La Bayadere is concerned I could happily live with Nureyev's staging of the Kingdom of the Shades on its own. If the company has to have a full length version of the La Bayadere  then it should try to get Ratmansky to stage a reconstruction.for it. His reconstruction for Berlin is  far more interesting and sophisticated choreographically than Markarova's production which is largely based on the Soviet text  which she danced when she was at the Kirov.

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