Royal Ballet promotions (and joiners and leavers) 2023!

[Tattin]

Antonio Casalinho didn't join the RB as the Prix de Lausanne top prize-winner, although he apparently wanted to, because the RB didn't have a place for a Prix de Lausanne dancer that year. It was 2021. Due to the pandemic they said that the previous year's Prix dancer (I forget who it was) hadn't had much stage experience and so was to spend two years with the company instead of the usual one.

[alison]

But he appears to be doing very nicely where he is, anyway

[Roberta]

10 minutes ago, Tattin said:

Antonio Casalinho didn't join the RB as the Prix de Lausanne top prize-winner, although he apparently wanted to, because the RB didn't have a place for a Prix de Lausanne dancer that year. It was 2021. Due to the pandemic they said that the previous year's Prix dancer (I forget who it was) hadn't had much stage experience and so was to spend two years with the company instead of the usual one.

 

I'm not sure that's the entire story.  I think it was Marco Masciari who had his second year, though I don't believe that affected the next PdL winner's placement funding. It was the same for the Aud Jebson apprentices, they had more time. 

 

My understanding was that Casalinho was in discussions with Kevin O'Hare, but he didn't want to come to the UK without his partner. The PdL placement wasn't for a couple, it wouldn't be possible to offer her a RB job, and visa problems also then came into play. 

 

 

Edited April 9 by Roberta

[Emeralds]

2 hours ago, Bruce Wall said:

 

I think NYCB is a definite exception to the above stated rule - and, quite frankly, always has been.  Apprentices are often thrown into the deep end VERY QUICKLY and DANCE A LOT - but then the Company dances more rep per annum than any other Company on earth.  

 

 

 

Yes, that's true that historically - from Suzanne Farrell and Darci Kistler days to now - NYCB has given opportunities to young dancers without making them "wait their turn"....but to be fair, NYCB's main repertoire doesn't have a lot of "spear carrier" roles, whereas RB could be 2 months of Manon/R&J/Don Q then 6 weeks of Nutcracker, then another full length like Swan Lake/Sleeping Beauty/Cinderella etc where there aren't a huge number of lead roles (2-3 per full length on average) you can "have a go" at.

 

However if you had a mixed bill like NYCB's on the 24th: Bournemouth Fantasque, Steadfast Tin Soldier, Errante (Tzigane), Symphony in C, that's already at least 16 lead roles there so they could be shared out among principals, a few soloists and a handful of corps de ballet dancers who are exceptional and there would be enough leading parts to go round (mind you, this mixed bill does seem to be an exception!)

 

But let's say at least 6 per evening (1 male and 1 female per ballet on average, 3 ballets in one evening), which is still more opportunities than a classical company whose main repertoire is full length  classics eg Swan Lake, Giselle, Manon, etc (only 2-3 leads per show).  By the way, the grouping of RB, NYCB, ABT and POB wasn't to say that NYCB doesn't offer opportunities but simply that these companies all have a lot of good dancers in every rank. 

[Emeralds]

3 hours ago, art_enthusiast said:

Yep, I’m not sure Stanislaw has done many soloist roles? I remember one of his Draft Works pieces from 2021, that was very interesting!

His lead role created on him by Kyle Abraham in Optional Family; A Divertissement alongside Osipova and Sambe is bigger than either of Masciari's McGregor roles though  😀.  He has done the Nutcracker ones (Clara's partner, Chinese, Spanish), Don Quixote etc - granted not as major as the Jester. But things do change all the time - we say "not many" now but we could turn around and find that he ends up doing a lot of soloist roles for the rest of the season if others get ill, injured or indisposed. Lovely expressive dancer who has a classical elegance in his dancing and a lovely stage manner and chemistry with his partners; would like to see him in more featured roles. 

Edited April 9 by Sim
Corrected Kyle Abraham's name so as not to show an offensive word!!

[bridiem]

15 minutes ago, Emeralds said:

However if you had a mixed bill like NYCB's on the 24th: Bournemouth Fantasque, 

 

Really?!

[Roberta]

Missed this. Hmm.

 

Tuesday, April 2

Drawing Movement with The Royal Ballet's Stanisław Wegrzyn

A taught drawing class with Stanisław Wegrzyn from the Royal Ballet as a live model, at the Topolski Studio.

 

https://www.eventbrite.co.uk/e/drawing-movement-with-the-royal-ballets-stanisaw-wegrzyn-tickets-873830369157

[art_enthusiast]

1 hour ago, Emeralds said:

His lead role created on him by Kyle Abraham in Optional Family; A Divertissement alongside Osipova and Sambe is bigger than either of Masciari's McGregor roles though

 

I unfortunately missed seeing that live as I wasn't following the company then, but I saw a rehearsal clip on YouTube that looked great. I agree that he is a lovely dancer, I recall noticing him as Clara's partner and in the early Dante Project performances as one of the Thieves. I hope he does get more featured roles.

 

It's difficult as we all know, the Royal Ballet has such an excess of talent but not enough roles/opportunities for everyone to shine. I assume it's not as easy to leave now as it may have been for people like Xander Parish, who I believe wanted more opportunities elsewhere - and got them (good for him). 

[Emeralds]

58 minutes ago, bridiem said:

 

Really?!

Are you referring to the number of lead roles or the programming of the four ballets, @bridiem- that's what they're dancing on 24 April in Lincoln Center. 

 

I haven't seen Bourree Fantasque live before but the company info assures me that all three couples are principal couples;  neither is less important. Symphony in C we know of course- even if the most senior role is generally regarded to be the second movement female's role, technically all four couples are principal roles which makes it 8. I've seen RB fielding principals (including Lesley Collier and Fiona Chadwick) in all four movements so it doesn't look like any ones are less important than others.

 

The lead roles in Tzigane (now renamed Errante at NYCB) are also full lead roles (created for Farrell and Martins), even though the ballet is not long. Mind you, 16 lead roles in 1 night is fairly unusual.    😄 

Edited April 9 by Emeralds

[Roberta]

4 minutes ago, Emeralds said:

Bourree Fantasque

 

 I think the 'Really?' was at the  Bournemouth Fantasque! 

[bridiem]

12 minutes ago, Emeralds said:

Are you referring to the number of lead roles or the programming of the four ballets, @bridiem- that's what they're dancing on 24 April in Lincoln Center. 

 

I was referring to the implausible but not 100% impossible alleged title of one of the ballets involved. I wondered if Balanchine had some penchant for Bournemouth previously unknown to me!  

[Emeralds]

 

12 minutes ago, bridiem said:

 

I was referring to the implausible but not 100% impossible alleged title of one of the ballets involved. I wondered if Balanchine had some penchant for Bournemouth previously unknown to me!  

Oh hahaha 😆 🤣 

 

Do you know what, bridiem- am sure it's no excuse but I didn't spot the "Bournemouth" until you typed it on its own. 

 

Yes, my (newish) phone is totally uncultured and tries to autocorrect every single ballet, music and scientific term. Also names. (A total nightmare spelling the Polish, Norwegian, Japanese etc names in RB!) I thought I'd caught all the errors but obviously missed out that sneaky one it changed- thank you for your patience!  😊 Thanks @Roberta- saw that too.

[Roberta]

Balanchine apparently wanted to make a piece called 'The Walk to the Winter Gardens' but sadly it was never to be. 

 

15 minutes ago, bridiem said:

wondered if Balanchine had some penchant for Bournemouth previously unknown to me!  

 

 

 

 

 

 

(Yes I made that up.)  🤭

[Pas de Quatre]

Alas the Winter Gardens are no more. Demolished some twenty odd years ago, and a "temporary" car park ever since, while planning applications for various developments come and go!

[Roberta]

2 minutes ago, Pas de Quatre said:

Alas the Winter Gardens are no more. Demolished some twenty odd years ago

 

Yes, and that was the second building on the site!

 

We digress.  Balanchine in Bournemouth made me laugh though.  It's so much more Fred Ashton's sort of territory that one. 

 

 

[Lucy M]

9 minutes ago, Roberta said:

Balanchine apparently wanted to make a piece called 'The Walk to the Winter Gardens' but sadly it was never to be. 

 

 

 

 

 

 

 

(Yes I made that up.)  🤭

As someone who grew up in Bournemouth, this gave me a good giggle 🤣

[FionaM]

3 hours ago, Roberta said:

My understanding was that Casalinho was in discussions with Kevin O'Hare, but he didn't want to come to the UK without his partner. The PdL placement wasn't for a couple, it wouldn't be possible to offer her a RB job, and visa problems also then came into play. 

 

I’m not sure about this.  
 

Margarita Fernandes was only 16 at the time that Munich hired her and Antonio as soloists.  He was 18.  Does UK law allow professional contracts at her age? 
 

I seem to remember reading somewhere that the pair performed together for Antonio’s audition at Munich, presumably to show his partnering training, and were surprised that she was also offered a position.  
 

(I can’t remember where I read that else I’d link the quote.)

[Roberta]

Just now, FionaM said:

I’m not sure about this.  
 

Margarita Fernandes was only 16 at the time that Munich hired her and Antonio as soloists.  He was 18.  Does UK law allow professional contracts at her age? 
 

I seem to remember reading somewhere that the pair performed together for Antonio’s audition at Munich, presumably to show his partnering training, and were surprised that she was also offered a position.  
 

(I can’t remember where I read that else I’d link the quote.)

 

UK law post Brexit is really quite difficult re 'freedom of movement'. Munich is in the EU and we alas are not... 

 

However, I think he didn't want to leave her behind for a year to come to UK and of course the PdL is a student prize and one year training placement for one dancer.  There is no guarantee at the end of it of a job, and a partner is certainly no part of any prize placement. 

 

 

[Emeralds]

Quirky coincidence for @Roberta, @bridiem, @Lucy M, @Pas de Quatre- the current NYCB Music Director presently conducting many of  Balanchine's ballets (including, probably, the lovely Bourree Fantasque that my phone attempted to rename!) is Andrew Litton, who used to be Chief Condiuctor of the Symphony Orchestra in..... Bournemouth! (BSO). Small world! 🌎 

 

Very sorry to hear about the Winter Gardens. 

 

Umm, OK, back to RB joiners and leavers.  😉

Edited April 9 by Emeralds

[FionaM]

The internet is wonderful … a quick google finds the quote:

 

EXTRACT:

 

Margarita had originally gone to Munich to accompany António Casalinho in his audition for the company. Prix de Lausanne 2021 winner Casalinho, then an exceptionally accomplished 18-year-old dancer, was practically a dead cert for a job and was offered one on the spot; but for Margarita the audition brought a breathtaking surprise.

 

“When they offered me a contract as a demi-soloist I was sure they were making a mistake and hadn’t realised I was just 16-years-old”, Margarita told us. “They told me that in Germany it was possible to offer a professional contract to a 16-year-old, but I still didn’t believe them; it was not until the contract arrived after we were back in Portugal that I realised it was true.”

 

https://balletposition.com/antonio-casalinho-margarita-fernandes-a-season-in-munich/

Edited April 9 by FionaM

[Emeralds]

19 minutes ago, FionaM said:

 

(I can’t remember where I read that else I’d link the quote.)

We discussed their job offer/audition here on the forum and I think the website balletherald had interviewed them (can't find the link now) plus maybe a few other journalists and publications. In that interview Margarita says she wasn't looking for a job but they were both offered jobs- not only that but I believe they were either first artist or junior soloist (whatever they are called in Munich) so that's of course much better paid and prestigious than an apprentice position.

 

Yes, 16 is too young for a ballet company job here- she would have had to register as a student and just get paid as a part time worker when dancjng and rehearsing (and her hours couldn't exceed part time work hours for students). 

 

But the main thing is that it was a much higher ranked position in Munich, so no brainer really.

[Emeralds]

Snap- we posted at the same time, @FionaM  😀....ah yes, demi soloist is what the position was called. We don't have that rank here in the UK. Either way, definitely above artist/corps de ballet and at least 2 ranks above apprentice. I too would take it above PDL apprenticeship at RB! You're already clear of artist at that stage and so many find it hard to break out of being artist just to go up to first artist.

Edited April 9 by Emeralds

[Roberta]

That's all probably the case. However my understanding is he wasn't offered a contract with the Royal Ballet to dance, he was offered a year training as an apprentice (as with the Aud Jebson dancers) which is the PdL prize.   I don't know how the funding works for that one totally, it won't be a huge amount to live on I'm sure, or indeed the accommodation provided.   I seem to recall he did think it was or should have been a contract to dance which it wasn't, it's all rather technical!

 

It certainly wouldn't have enabled his partner to come here with him for a year.  She'd have not had any job or training place. They were very fortunate with Munich. 

 

 

[Roberta]

9 minutes ago, Emeralds said:

Yes, 16 is too young for a ballet company job here- she would have had to register as a student and just get paid as a part time worker when dancjng and rehearsing (and her hours couldn't exceed part time work hours for students)

 

Where?  Where would she have got a job dancing? Or a place as a student? 

 

It's not as though dancing jobs in the UK are plentiful! Or student places. 

[art_enthusiast]

1 hour ago, Lucy M said:

As someone who grew up in Bournemouth, this gave me a good giggle 🤣

 

Same, as someone who went to Bournemouth every summer as a child. Good memories!

[art_enthusiast]

1 hour ago, Emeralds said:

Yes, 16 is too young for a ballet company job here- she would have had to register as a student and just get paid as a part time worker when dancjng and rehearsing (and her hours couldn't exceed part time work hours for students). 

 

Yep, I think the same happened to Marianela if I'm not mistaken as I believe she was 15 or something when joining the RB? Feel free to correct me, I'm not sure.

 

I think Takada, Hirano, Choe and others joined the company as PDL apprentices as well? 

[Roberta]

52 minutes ago, art_enthusiast said:

Yep, I think the same happened to Marianela if I'm not mistaken as I believe she was 15 or something when joining the RB? Feel free to correct me, I'm not sure.

 

 

Nunez had to attend the RBS for a while I believe as she was too young for a full time contract. That was well over 20 years ago though. Also it was a job in her own right? 

 

 She joined The Royal Ballet Upper School in 1997 and joined the Company in 1998, promoted to First Soloist in 2000 and to Principal in 2002 aged 20. 

 

Bringing a partner  / spouse into the UK if you have a job in the UK nowadays is fraught with problems and becoming more difficult. 

 

The PdL apprenticeship is NOT a job. It is a one year training with the company. It won't have a salary commensurate with supporting a partner, and that partner will have visa problems and limited visiting rights. There is not the freedom to come and go!  We are no longer in the EU! 

 

 

 

 

 

Edited April 9 by Roberta

[Jake]

No mocking of the Bournemouth Winter Gardens, please! Saw my first ever stage performance there in the early to

mid ‘60s - Tony Hancock was the star turn and I seem to recall Susan Maugham too. (Sorry, totally off topic!) 

[Sabine0308]

2 hours ago, Roberta said:

That's all probably the case. However my understanding is he wasn't offered a contract with the Royal Ballet to dance, he was offered a year training as an apprentice (as with the Aud Jebson dancers) which is the PdL prize.   I don't know how the funding works for that one totally, it won't be a huge amount to live on I'm sure, or indeed the accommodation provided.   I seem to recall he did think it was or should have been a contract to dance which it wasn't, it's all rather technical!

 

It certainly wouldn't have enabled his partner to come here with him for a year.  She'd have not had any job or training place. They were very fortunate with Munich. 

 

 

It wasn't only fortune but a certain support, and Zelensky took it and made contracts for both possible. M. Fernandez said in an interview for ZDF (German TV) that in the beginning it wasn't easy for her within the company because she joined on level demi-soloist. I think some female dancers were not amused, she had not even finished her ballet school in Portugal when she joined.

My (totally personal) guess is that Zelensky wanted A. Casalinho, and it was fortunate that he already had a tiny partner.

[Emeralds]

2 hours ago, Roberta said:

 

Where?  Where would she have got a job dancing? Or a place as a student? 

 

It's not as though dancing jobs in the UK are plentiful! Or student places. 

Marianela Nunez and Alina Cojocaru were both 15 and ready for dancing full time (as were lots of NYCB principals), but they couldn't be hired as full time dancers at that age and were enrolled as RBS students instead. Fernandes is closer to Nunez and Cojocaru in terms of ability than to an  average 16 year old student starting out in Senior School dance training. But the question is irrelevant, as Fernandes wasn't setting out to get a job anyway (she actually insisted on completing high school studies when she began her demi soloist position in Munich). I was simply answering the question posed upthread about whether RB would offer a job to a phenomenally talented 16 year old. 

 

PS I don't think Fernandes and Casalinho have indicated publicly that they are life partners, just close friends and long time friends.  They were only 16 and 18 when he auditioned! I think you might be confusing descriptions of both as being dance partners on stage with the term life partners.

 

Having the petite Fernandes in the company was an advantage for the artistic director as Casalinho is mot tall and partnering women in the company significantly taller than Fernandes might have been challenging as a dancer starting out; yet they didn't want him just to do walk ons or be in the back row of the corps- with his virtuosity they wanted him in solo roles so he needed a partner. 

Edited April 9 by Emeralds

[Roberta]

20 minutes ago, Emeralds said:

whether RB would offer a job to a phenomenally talented 16 year old. 

 

 

Parachuting in someone I think it not so likely now.   YAGP awards (to the RBS) and PdL as well as Aud Jebson scheme seem to be the route in for many young dancers. 

 

And no, Fernandes wasn't in the reckoning, really, not for a place at the RB. The place was only for the PdL apprentice and wasn't a dancer contract. I believe that was what Caselhino wanted.  

 

 

It's all quite convoluted. 

Edited April 9 by Roberta

[Emeralds]

I didn't say anything about parachuting someone in. 

 

I think we should probably let the thread get back to people who have actually joined RB, such as Darrion Sellman- making his debut as Siegfried tonight, woo hoo!

 

Anyone who just happens to have tickets and is in Stockholm for his debut tonight or his second performance next Tuesday, please do start a new thread under Performances and tell us what you thought! 

Edited April 9 by Emeralds

[Roberta]

57 minutes ago, Emeralds said:

I think you might be confusing descriptions of both as being dance partners on stage with the term life partners

 

No I'm not confusing anything, but it isn't really relevant as he didn't take up his PdL place, and clearly the Royal Ballet wasn't offering a contract at that point. It isn't as though the company is short of talented youngsters. 

 

As for Sellman, good for him, no idea if he was offered a contract with the Royal Ballet or if he wanted to be a big fish in a smaller pool so went elsewhere. 

 

Edited April 9 by Roberta