Royal Ballet Announces 2022/23 Season

[zxDaveM]

19 minutes ago, FionaE said:

I am disappointed that the audience (including here) is not showing sufficient support for existing triple bills.  It’s not surprising that there will be fewer next year.  
 

 

I'm doing my bit - only missing one show from the entire run of both triples, and that was only because of the jumps finale at Sandown on the afternoon of the 23rd

[JNC]

One more note I’ll make is surely the justification for the longer runs of the “sell out” provisions (eg Nutcracker, Swan Lake, Beauty) is to justify diverse programming that won’t sell as well. 
 

So presumably both new contemporary works (eg the current triple) and heritage works would fall into this category. Whilst some of the newer works I personally don’t like I agree there should be a place for them even if they don’t make money to ensure different flavours and spaces and support new choreographers. 
 

But this shouldn’t mean that the only works not allowed to sell out are new pieces and heritage works are equally important to revive. So my annoyance isn’t necessarily with the new works themselves, but the fact that there is a preference for new works over heritage works, and then no room for anything else other than the ‘blockbusters’ using the financial excuse. The financial reasoning needs to apply both ways. (If that makes sense at all!). 
 

I have a linked but slightly separate issue with all the new works being commissioned of the more contemporary dance rather than classical style of ballet but at this point if money is such a big thing I honestly don’t mind only revivals of (neo)classical/heritage works, but really new classical pieces should be invested in as equally as the contemporary. 

[Fonty]

37 minutes ago, FionaE said:

I’m disappointed in the volume of negativity here.  
 

The ROH has an enormous financial loss from the pandemic … it’s not their fault that state funding in UK is inferior to competitor opera houses in Europe.  So I don’t blame them and didn’t expect anything but safer choices.   
 

 

I would hardly call it safer choices.  I didn't see Flight Pattern, but extending it into a new, full length ballet is going to be slightly risky, no matter how well received the original was.  The so called Diamond Celebration contains mainly the new and the unseen.  It seems that the tried and trusted is supporting quite a lot of the new and potentially risky.  

[FionaM]

Just now, Fonty said:

 It seems that the tried and trusted is supporting quite a lot of the new and potentially risky.  

It was ever thus.   Not sure how else it could be done?

 

How can art survive without risking new material?  

[bridiem]

9 minutes ago, FionaE said:

It was ever thus.   Not sure how else it could be done?

 

How can art survive without risking new material?  

 

It can't. But I don't think lots of new works are needed every season especially if there's a dearth of talented classical choreographers. And as JNC said, whatever cross subsidy is needed should cover existing (good/proven) one-act works not just new ones of unpredictable (and often disappointing) quality. 

[Fonty]

9 minutes ago, FionaE said:

It was ever thus.   Not sure how else it could be done?

 

How can art survive without risking new material?  

 

I agree with the second sentence, but the RB has a huge back catalogue.  I typed "Tired and Trusted" by mistake, but on reflection that seems to be a more accurate way of describing it. 

Yes, I know the Nutcracker is a sure fire money spinner for the Opera House, and attracts the once a year audience for their seasonal ballet outing.  No problem with the other Tchaikovsky ballet, the epitome of classical dance, even if I am now very choosy about who I will see.  But I feel that the MacMillan 3 act ones have been done to death.  Is it compulsory to do one of them every year?  

 

5 minutes ago, bridiem said:

 

It can't. But I don't think lots of new works are needed every season especially if there's a dearth of talented classical choreographers. And as JNC said, whatever cross subsidy is needed should cover existing (good/proven) one-act works not just new ones of unpredictable (and often disappointing) quality. 

 

Exactly, I agree completely.  

[Dawnstar]

2 hours ago, AnticaFiamma said:

Very curious about the casting for Mayerling. Surely McRae, Hirano & Ball, but debuts? I think Calvin Richardson could be amazing in it

 

I'd like to see Richardson do Rudolf in the future but I wonder if next season might be considered a bit too soon for him? Given he's only done one big leading role so far, would he need to get a few more "straightforward" ones under his belt before tackling Rudolf? Bracewell would be my first choice for Rudolf debuts. I also, though I hesitate to say this as I fear I will be shot down, would be interested to see what Corrales would make of the role.

 

I wonder if there will be any new Mary Vetseras or if there are sufficient existing ones that no debut slots will be available. As there are 15 performances, I suppose it will partly depend on whether each cast will get 3 performances each or only 2.

 

1 hour ago, bangorballetboy said:

Can you let me know tonight's lottery numbers please?

 

I've never done the lottery so I'm afraid I can't help.

Edited April 6, 2022 by Dawnstar
Typo

[LinMM]

I do have to say that a bit of a wave of disappointment came over me reading the email this morning. Though just had a tooth out so don’t know whether that coloured my view. 
The only thing that really excited me was Cinderella revival….just hope the Ugly sisters are played more like they were originally by Ashton himself!! 
I will go to the others once as always give some new works a go before judging them but I do mostly end up a bit disappointed….usually too much going on so easy to lose focus or not enough light!! 
I did quite like Wolf Works when saw  it with Alessandra Ferri so don’t mind seeing that. 
Why do they put the over long Sleeping Beauty on when it’s cold and dark in January ….much better if this was on in Spring and Summer and too close to Nutcracker anyway. 
Mayerling is just not one of my favourites though I suppose casting of new dancers in roles may drag me up to London. I’d rather have had Fille to be honest and put Mayerling on in January when I have to think twice about seeing anything these days with all the travel problems every year now. 
I cannot see the point of three performances of anything!! So even if wanted to go probably find I can’t make it. 
Perhaps I will feel better about it all tomorrow meanwhile off to get another salt rinse as want to be able to make tomorrows triple without any complications lol!! 
 

[Mary]

It gives me no pleasure at all to be negative. But there would be no point in us all pretending to be pleased,  would there?

 

I shall go on supporting the Royal Ballet.

There is always another season.

 

I just think there is no shortage of contemporary dance to go to - it is finding good classical ballet that is getting more difficult, and I do want RB to lead the way here and not move too far toward the contemporary style.  That is a different style with a different technique and different training and there are companies dedicated to it. RB should be primarily classical in my view and it should, primarily,  dance its heritage and also commission new works in the classical style, - the style to which it devotes so much time and money in training dancers and to which so many dancers devote their lives.

 

Different does not mean better- but I do want that style to survive.

 

 

[PatC]

5 minutes ago, Dawnstar said:

 

I'd like to see Richardson do Rudolf in the future but I wonder if next season might be considered a bit too soon for him? Given he's only done one big leading role so far, would he need to get a few more "straightforward" ones under his belt before tackling Rudolf? Bracewell would be my first choice for Rudolf debuts. I also, though I hesitate to say this as I fear I will be shot down, would be interested to see what Corrales would make of hte role.

 

I wonder if there will be any new Mary Vetseras or if there are sufficient existing ones that no debut slots will be available. As there are 15 performances, I suppose it will partly depend on whether each cast will get 3 performances each or only 2.

 

 

I've never done the lottery so I'm afraid I can't help.

I’d be very happy to see Corrales in this 👍🏻

[LinMM]

Dawnstar posting at same time but now if Corrales was Rudolf I might just be able to drag myself up to London to see it ….Bracewell would be great too! 

[DanJL]

I'm sorry that so many are displeased, but I'm also a little confused. Every season it feels like there's literally nothing Kevin O'Hare could do to keep everyone happy. He has to balance a lot of things of course - reviving classics, commissioning new works, selling enough tickets to keep the company afloat. All against a landscape where everyone has their favourites. There has been one very consistent ask over recent years that most of us thought would never happen - the revival of Cinderella. A lot of work must have taken place to make that a possibility and that alone feels like reason to celebrate. 

 

It's not possible to have everything, but in the past people have hoped for more Ashton (we got a triple bill), an alternative to Nutcracker (we got Coppelia) a winter triple bill (we got that too). Clearly balanced against all the different demands and interests of the wider audience it's not going to be possible to get everything every season. But it's still a strong programme of ballet with one very common wish coming true. And for my eyes at least plenty to look forward to overall 🙂

[LinMM]

It may depend on how far you have to travel to the ROH perhaps? 

[bridiem]

9 minutes ago, DanJL said:

I'm sorry that so many are displeased, but I'm also a little confused. Every season it feels like there's literally nothing Kevin O'Hare could do to keep everyone happy. He has to balance a lot of things of course - reviving classics, commissioning new works, selling enough tickets to keep the company afloat. All against a landscape where everyone has their favourites. There has been one very consistent ask over recent years that most of us thought would never happen - the revival of Cinderella. A lot of work must have taken place to make that a possibility and that alone feels like reason to celebrate. 

 

It's not possible to have everything, but in the past people have hoped for more Ashton (we got a triple bill), an alternative to Nutcracker (we got Coppelia) a winter triple bill (we got that too). Clearly balanced against all the different demands and interests of the wider audience it's not going to be possible to get everything every season. But it's still a strong programme of ballet with one very common wish coming true. And for my eyes at least plenty to look forward to overall 🙂

 

There is indeed a lot to look forward to. But what also matters is the perceived direction of the company as evidenced by the announcement of each new season.

[Fonty]

Why does Mr O'Hare have to keep commissioning new works every season?   My perception is that we have had multitudes of new works over the past decade, hardly any of which have seen the light of day again.  I might be mistaken, of course.  I would have to see a list, but just going through the ones I can remember, I can't think of any apart from a couple that I would rush back to see, and those are one act ballets.  On the other hand, there are some fantastic ballets that are tried and trusted, but haven't been shown for a while, and would be new to a younger audience, if that is what the main aim is.

If the RB wanted to commission a new work, they could take a leaf out of ENB's book, and get something like Forsythe's Playlist.  Now that I would be overjoyed to see anytime. 🙂

Edited April 6, 2022 by Fonty

[Emeralds]

1 hour ago, FionaE said:

I’m disappointed in the volume of negativity here.  
 

The ROH has an enormous financial loss from the pandemic … it’s not their fault that state funding in UK is inferior to competitor opera houses in Europe.  So I don’t blame them and didn’t expect anything but safer choices.   
 

There are going to be many super performances and new casts to enjoy in all these upcoming ballets.   I’m delighted by all the full length offerings.   I will go to all of them and the triple bills, as I have done this season.   
 

I am disappointed that the audience (including here) is not showing sufficient support for existing triple bills.  It’s not surprising that there will be fewer next year.  
 

# love ballet, any ballet, with these brilliant dancers.  

 

 

Ho ho! I knew this announcement would be the hot topic this morning. 

 

Well, I’ll start off being positive: my bank account will be so much happier this season. 😁

 

However, I am looking forward to some long awaited debuts in Cinderella- I was a bit worried that Hayward, Naghdi and Muntagirov might have retired before they get round to being able to dance the leads in Ashton’s Cinderella. 😉 When the announcement said “75 years after...” my brain reflexively thought “.. the Royal Ballet’s last performance of Cinderella”.......it certainly feels like it! 😂

[Tebasile]

2 hours ago, AnticaFiamma said:

Very curious about the casting for Mayerling. Surely McRae, Hirano & Ball, but debuts? I think Calvin Richardson could be amazing in it

Reece Clarke and William Bracewell too

[PatC]

I think we should also take into consideration the dancers. With long runs of classics the corp may be stretched at times - covid has not disappeared and next autumn / winter may be a problem again with infections. Keeping the main body of the dancers happy in repetitive performances could be a challenge. Yes, there may be interesting debuts ahead, but even the principals can surely only have a couple of performances of each role ahead of them with large gaps in their schedules - as per this season.

 

[Dawnstar]

2 minutes ago, Emeralds said:

However, I am looking forward to some long awaited debuts in Cinderella- I was a bit worried that Hayward, Naghdi and Muntagirov might have retired before they get round to being able to dance the leads in Ashton’s Cinderella. 😉 When the announcement said “75 years after...” my brain reflexively thought “.. the Royal Ballet’s last performance of Cinderella”.......it certainly feels like it! 😂

 

Was Cinderella last done in 2011? That's the last date I can find but since the ROH's database stops in 2011 there could just be a lack of evidence for subsequent performances. I was actually slightly surprised to see how many current female dancers have already done the title role: Nunez, Cuthbertson, Lamb & Choe. Although given, if I've counted correctly, there are a whopping 28 performances scheduled next year I guess there's still lots of space for debuts.

[Dawnstar]

2 minutes ago, PatC said:

Yes, there may be interesting debuts ahead, but even the principals can surely only have a couple of performances of each role ahead of them with large gaps in their schedules - as per this season.

 

I was thinking that earlier. I can imagine some of the Principals, particularly those who are more clasically inclined, could be doing a fair amount of guesting elsewhere next season.

[Emeralds]

14 minutes ago, Dawnstar said:

 

Was Cinderella last done in 2011? That's the last date I can find but since the ROH's database stops in 2011 there could just be a lack of evidence for subsequent performances. I was actually slightly surprised to see how many current female dancers have already done the title role: Nunez, Cuthbertson, Lamb & Choe. Although given, if I've counted correctly, there are a whopping 28 performances scheduled next year I guess there's still lots of space for debuts.

Yes, it was spring 2011 - hope you didn’t search extensively on my account, Dawnstar! (Sorry!) I actually attended one of the last performances, but 12 years (Cinderella scheduled to return March 2023) is an awfully long time for a family-friendly  classic like Ashton’s Cinderella, and one so significant in the company’s history too. 

 

I echo other members who are concerned with long runs with many many performances of full length classics like Nutcracker and Sleeping Beauty. Apart from these works being heavy on corps members being ensemble and divertissement performers (and disastrous if Covid hits) is that it becomes quite tedious and disheartening for the artists (dancers and orchestra) to be doing the same show day after day for ages and ages, unless many different people get a shot at a new solo role (eg Bluebird/ Florine/ Lilac/Carabosse/ Aurora/ Florimund) rather than just repeats of the same thing.

 

Repeating Cinderella is at least not so bad as they haven’t performed it in years. But I hope there will be opportunities for different dancers to get solo roles eg Seasons fairies, Cinderella, Prince. NB Cinderella doesn’t have great opportunities for male solo roles though- it’s Prince or nothing. 

Edited April 6, 2022 by Emeralds

[Guest oncnp]

3 minutes ago, Dawnstar said:

 

I was thinking that earlier. I can imagine some of the Principals, particularly those who are more clasically inclined, could be doing a fair amount of guesting elsewhere next season.

 

or finding new companies

[serenade]

I’m looking forward most to Sleeping Beauty. I’m pleased about Nutcracker, it is just a Christmas highlight for me so I never tire of it. Looking forward to seeing Cinderella- I’ve never seen Ashtons’ version. 
 

Mayerling is not my favourite but I prefer it over Manon although it all hangs on Rudolfs performance for me, I either get gripped by the drama of it or feel nothing so I’ll see what the casting is like.  
 

The mixed bills are not my cup of tea unfortunately. I will have to give them a miss

[Sim]

Arts institutions have, of course, suffered hugely from the lockdowns.  But so have individuals...and will do so more with all the huge rises in energy bills, petrol, and everything else, it would seem.  So for next season, I am sure there are many people who can't risk ticket money on so many new works and unknowns.      

 

Of course Kevin O'Hare can never please all of the people all of the time, and of course he is (especially now) in between a rock and a hard place when it comes to recouping lost capital.  My personal preference would have been to spend more money on reviving a few more heritage pieces, and commissioning fewer new works.  I have lost count of how many new pieces have been commissioned, presented and then died a death and disappeared over the past 20 years.  I do hope that Valentino Zucchetti will fulfill the huge promise shown in Scherzo and other pieces and continue to create lovely works of classical and neo-classical ballet.       

 

I will probably be castigated for saying this, but....I am not a fan of Cinderella so am probably in a minority of one not to be excited about its return.  Maybe the casting and new production will change my view, so I will certainly give it a go.  So without the boundless feeling of excitement for a new Cinders, I feel a bit flat about next season.  Maybe I can use the money I will save on tickets to go to Paris and see Mayerling...it would be very interesting to compare.

 

I think ENB, under Ms Rojo's leadership, has struck just the right balance between new and heritage works. 

 

So I am very happy for those who feel uplifted and excited about the next season...I only wish I could feel the same.

 

Maybe I can get in an early request for Fille, Sylvia and The Dream in the 23/24 season.  Heaven forfend that we should get three (2 1/2?) full-length Ashtons in one season...but it doesn't hurt to dream! 

 

 

[Dawnstar]

1 minute ago, Emeralds said:

Yes, it was spring 2011 - hope you didn’t search extensively on my account, Dawnstar! (Sorry!) I actually attended one of the last performances, but 12 years (Cinderella scheduled to return March 2023) is an awfully long time for a family-friendly  classic like Ashton’s Cinderella, and one so significant in the company’s history too. 

 

Oh no, I'd already looked earlier this morning. Your comment reminded me that I had meant to ask on the forum if the database was missing any subsequent performances.

 

I'm currently trawling through the individual production pages on the ROH's website & I'm pleased to see that the booking for Sleeping Beauty is split, with the January-March performances in booking period 2 & the May-June performances in booking period 3. I think that is a much better arrangement than this season, when we were having to book for the February R&Js last July & the May Swan Lakes in November. It also helps in spreading the cost.

 

Sadly I have yet to see any mention of any sort of replacement scheme for package booking. That'll be me in the side stalls circle restricted view for the classics then, as I can't afford stalls seats for the higher priced ballets without the 18% discount package booking gave. (Praying Mayerling won't be top price & I'll be able to afford at least 1 decent seat for that.)

[serenade]

19 minutes ago, Fonty said:

Why does Mr O'Hare have to keep commissioning new works every season?   

It would be great if he commissioned new works every season and the new works were good…

 

all subjective I know but I feel like we’ve suffered through a high volume of real stinkers over the last few years. 

[Emeralds]

4 minutes ago, Dawnstar said:

 

Oh no, I'd already looked earlier this morning. Your comment reminded me that I had meant to ask on the forum if the database was missing any subsequent performances.

 

I'm currently trawling through the individual production pages on the ROH's website & I'm pleased to see that the booking for Sleeping Beauty is split, with the January-March performances in booking period 2 & the May-June performances in booking period 3. I think that is a much better arrangement than this season, when we were having to book for the February R&Js last July & the May Swan Lakes in November. It also helps in spreading the cost.

 

Sadly I have yet to see any mention of any sort of replacement scheme for package booking. That'll be me in the side stalls circle restricted view for the classics then, as I can't afford stalls seats for the higher priced ballets without the 18% discount package booking gave. (Praying Mayerling won't be top price & I'll be able to afford at least 1 decent seat for that.)

If it’s ROH collections you’re using, they stopped several seasons ago and don’t include every single performance. Which database is it? I might use it if it’s one I haven’t seen before. 

[Fonty]

9 minutes ago, Sim said:

 

I will probably be castigated for saying this, but....I am not a fan of Cinderella so am probably in a minority of one not to be excited about its return.  Maybe the casting and new production will change my view, so I will certainly give it a go.  So without the boundless feeling of excitement for a new Cinders, I feel a bit flat about next season. 

 

Me neither.  I don't care for the music greatly, although I love the ballet itself. 

[LinMM]

Oh I hadn’t realised Beauty has been split! That’s at least one good thing as can wait for the later performances and stay home in January!! 

[serenade]

7 minutes ago, Sim said:

So I am very happy for those who feel uplifted and excited about the next season...I only wish I could feel the same.

 

Maybe I can get in an early request for Fille, Sylvia and The Dream in the 23/24 season.  Heaven forfend that we should get three (2 1/2?) full-length Ashtons in one season...but it doesn't hurt to dream! 

 

 

I’m 100% with you there…probably more chance McGregor will get another full length… I’m imagining a ballet version of Crime and punishment but it’s all sort of a concept and you can interpret the story in any way you want. And it’s in the dark 👍🏻

[Ianlond]

As has been mentioned, with a stingy grant from the government compared to many comparable companies in mainland Europe, this is clearly a budget-conscious season and I am relieved to see that there is still commitment to new work. The absence of 

Nijinska’s Les Noces though is concerning. Yes it’s not ‘easy’ but it’s also an important, compelling work for many reasons and should be being performed (as has been said before, the RB is in possibly the unique position for a large classical company in having a repertoire which could be make a largely heritage triple bill choreographed by all female choreographers).
Fantastic, fantastic that Cinderella is to be back although very disappointed that this is the *only* Ashton. Surely it would make sense for the company to dance something, even if it ‘only’ La Valse, in preparation for what will be a new production for almost all the dancers (not to mention that there should be more Ashton anyway!). Wouldn’t it be great to have The Dream again (I’ve given up with Daphnis and Chloe!)? I do very much hope it is seen as successful & the combination of highly idiosyncratic classical choreography with panto/ music hall elements is appreciated.

Does anyone know why one of the three big MacMillan ballets usually starts a season? I guess R&J gets tickets sales going but does Mayerling? However, depending on casting, will be very happy to see it + am glad it’s just the one act Anastasia being done (farewell performances for Laura Morera?) rather than the over-long, overblown three act version.
Most of the ‘Diamonds’ programme sounds interesting but a shame it’s so few; could they not have included another triple bill with Diamonds as part of it? I do hope there are still plans for Prodigal Son and the Bintley (Tombeaux?) that were cancelled due to covid, at some point. 
Very happy to see Wolf Works return and will hopefully get to see Corybantic Games as I’ve had to cancel for various reasons in the past. 
It will be interesting to see in what direction Crystal Pite takes her new full length work but what a fantastic opportunity for the dancers. It does however make the season seem overly weighted towards full lengths. ££ I guess. 

Edited April 6, 2022 by Ianlond

[emmarose]

57 minutes ago, Mary said:

It gives me no pleasure at all to be negative. But there would be no point in us all pretending to be pleased,  would there?

 

I shall go on supporting the Royal Ballet.

There is always another season.

 

I just think there is no shortage of contemporary dance to go to - it is finding good classical ballet that is getting more difficult, and I do want RB to lead the way here and not move too far toward the contemporary style.  That is a different style with a different technique and different training and there are companies dedicated to it. RB should be primarily classical in my view and it should, primarily,  dance its heritage and also commission new works in the classical style, - the style to which it devotes so much time and money in training dancers and to which so many dancers devote their lives.

 

Different does not mean better- but I do want that style to survive.

 

 

 

That's the thing, I've said it elsewhere, but in the company we have some of the most gorgeous of classical dancers, the best in the world, so it seems a waste to put such emphasis on contemporary and none on new classical works.

 

[Emeralds]

1 hour ago, Fonty said:

I would hardly call it safer choices.  I didn't see Flight Pattern, but extending it into a new, full length ballet is going to be slightly risky, no matter how well received the original was.  The so called Diamond Celebration contains mainly the new and the unseen.  It seems that the tried and trusted is supporting quite a lot of the new and potentially risky.  

I welcome new works being staged - after all, that’s how we got the Ashtons, MacMillans, Crankos, and indeed the Fokines, Nijinskas, Petipas, etc that we like; every classic was once a risky new work. What I find disheartening is something like 6 to 9 performances on the main stage of new works while a revered and popular Ashton triple bill or full length (eg Sylvia) gets only four or five performances, or doesn’t even get revived at all.

 

The last time Sylvia was revived in 2017, it sold out so quickly that I only managed to see one cast and couldn’t get tickets for Nuñez and Cuthbertson’s performances. 

 

Dancers themselves enjoy being part of the creation of new works but equally enjoy the buzz of performing to a full and enthusiastic house (rather than a polite but half empty auditorium for a new and risky full length ballet/triple bill) so a balance needs to be struck between the old and the new.