aileen Posted January 5, 2015 Share Posted January 5, 2015 Three female principals at the RB are currently injured and two of them were cast to dance in Don Q. There were seven Kitris originally (including Salenko) and, with injuries, this number has gone down to four (again including Salenko). I think that the RB needs another female principal who can dance the classical and virtuoso roles. Choe is the only current in-house candidate imo. Link to comment Share on other sites More sharing options...
capybara Posted January 5, 2015 Share Posted January 5, 2015 Interestingly, during an interview at the Ballet Association, Kevin O'Hare mentioned that he felt that the RB had too many Principals. Of course, one of the original Kitris was Fumi Kaneko (a Soloist) who is now back dancing but, as we all know, has been off injured since the 2013 run of Don Qs. Link to comment Share on other sites More sharing options...
Fonty Posted January 5, 2015 Share Posted January 5, 2015 Interestingly, during an interview at the Ballet Association, Kevin O'Hare mentioned that he felt that the RB had too many Principals. I'd be interested to know on what grounds he feels that, and how many he thinks are enough! Link to comment Share on other sites More sharing options...
alison Posted January 5, 2015 Share Posted January 5, 2015 So, does the RB have enough dancers to cover the varied rep they are expected to perform? I freely admit I know very little about POB and the Bolshoi in terms of the number of performances and types of choreography they undertake, but they certainly have more dancers in the higher ranks to carry the load. On the other hand, the POB has, I think, well over twice the number of dancers that the Royal does (250?), and at times is running two separate ballet performances in its two theatres, which makes their situation a bit different. I suppose it depends how far down the ranks you are going to cast: in the Royal, I'm not sure whether there are any First Soloists I'd cast as Kitri - I'm not quite sure I see Choe in the role. Link to comment Share on other sites More sharing options...
Jan McNulty Posted January 5, 2015 Share Posted January 5, 2015 I think it is a similar situation at the Bolshoi in terms of sometimes running 2 sets of performances. In 1986 we saw 2 Bolshoi performances (Giselle and a bits and bobs programme) but the majority of the company was abroad on tour. Link to comment Share on other sites More sharing options...
Bruce Wall Posted January 5, 2015 Share Posted January 5, 2015 (edited) Interestingly, during an interview at the Ballet Association, Kevin O'Hare mentioned that he felt that the RB had too many Principals. I was at the same BA meeting when he said this. I always assumed it was because he wanted to build the company from the base up .... which refreshingly he has proactively been doing. I, for one, applaud his endeavour in this regard. Prudence in such a case may well be wise. Over promotion can be dangerous from all aspects surely. Careful nurturing under the O'Hare watch will - one hopes - bear a complete range of results in but a matter of time. Certainly some of the recent intakes (Reece Clarke being one) have practically shown themselves to be most promising. I also think Sambe is really developing well. The advent of his originating performance in The Ceremony of Innocence and his soloist stab in The Winter's Tale proved notable achievements in my book. Certainly this year's graduating RBS class has some super talents (assuming that they join the RB). It is also inspiring to see that someone like the gloriously talented Francesa Hayward is being more carefully husbanded than perhaps has always been the case with similar RB treasures in the not so distant past. Edited January 5, 2015 by Bruce Wall 2 Link to comment Share on other sites More sharing options...
Jan McNulty Posted January 5, 2015 Share Posted January 5, 2015 The Times has just published a review by Debra Craine (behind the paywall). I assume it will be in tomorrow's print edition. http://www.thetimes.co.uk/tto/arts/stage/dance/article4314449.ece?CMP=OTH-gnws-standard-2015_01_05 Link to comment Share on other sites More sharing options...
toursenlair Posted January 5, 2015 Share Posted January 5, 2015 On the other hand, the POB has, I think, well over twice the number of dancers that the Royal does (250?), and at times is running two separate ballet performances in its two theatres, which makes their situation a bit different. I suppose it depends how far down the ranks you are going to cast: in the Royal, I'm not sure whether there are any First Soloists I'd cast as Kitri - I'm not quite sure I see Choe in the role. POB has 150 dancers. Link to comment Share on other sites More sharing options...
alison Posted January 5, 2015 Share Posted January 5, 2015 Ah. Perhaps I'm confusing them with the Bolshoi, then. Thanks for the correction, Katherine. Link to comment Share on other sites More sharing options...
Fonty Posted January 5, 2015 Share Posted January 5, 2015 On the other hand, the POB has, I think, well over twice the number of dancers that the Royal does (250?), and at times is running two separate ballet performances in its two theatres, which makes their situation a bit different. I was curious to see how they managed this, so I had a look at the programming. For much of the season they are only performing in one of the two theatres. The only time they are using both at the same time is when they are performing Fille in the Palais Garnier, and a Wayne McGregor in the other. Presumably that is the advantage of having a larger number of dancers. I haven't looked at the cast lists, but as it is impossible to be in two places at the same time, none of them will be asked to do a rapid switch from Ashton's dainty precision to McGregor's contortions. I have always felt that the Principals are not the issue with Royal, but the depth is lacking in the soloist department. I am not sure, but would some of the soubrette roles in the past have been performed by first soloists? And a slightly larger number of dancers to choose from would allow for some degree of specialisation on their part, which might cut down on the number of injuries? Just speculating, and apologies for taking this very slightly off topic, but it does seem relevant given the comments about the various solo performances in Don Quixote. Link to comment Share on other sites More sharing options...
SheilaC Posted January 5, 2015 Share Posted January 5, 2015 In December The Paris Opera Ballet always has big classical ballets running concurrently at the Bastille and the Garnier- this season it was Casse-Noisette and La Source. The company also has problems with injuries causing cast changes and some etoiles not appearing as frequently as one would expect, just like RB and ENB! Link to comment Share on other sites More sharing options...
toursenlair Posted January 5, 2015 Share Posted January 5, 2015 POB not infrequently also sends half the company off on tour while the other half is still dancing back in Paris. This happened when they brought Paquita to Montreal this past October, and also when they did their US tour to Chicago, washington, and NY a couple of years ago. All companies have problems with injuries to principal (and other) dancers. NBOC had two of their four male principals out for their November season, and just as they came back for Nutcracker, another one went down, with torn knee cartilage, so he's out for a long time. Link to comment Share on other sites More sharing options...
jmhopton Posted January 5, 2015 Share Posted January 5, 2015 If you look at the article Janet mentions in the Times there is also another article on the same page similarly cut short by the firewall entitled 'Vadim Muntagirov: ballet's hottest star'. It was published in the Times on December 27th. Has anyone seen a full text of this article (can't see it in the Reviews section) or will I have to try and find a library that keeps back copies of the Times? I do think he is an amazing dancer; so beautifully classical yet also brilliant at more character roles such as Conrad and Basil and a really nice, unassuming person as well. We are so lucky to have him at the Royal ballet. 2 Link to comment Share on other sites More sharing options...
Sim Posted January 5, 2015 Share Posted January 5, 2015 Not forgetting his stunning, passionate and emotional debut as Des Grieux earlier this season! Link to comment Share on other sites More sharing options...
Bruce Wall Posted January 6, 2015 Share Posted January 6, 2015 (edited) I found Muntagirov truly a revelation as Des Grieux. While I thought that there were many fine flourishes in his Basilio, I personally would like to see him embodied in a more Russian based take on this particular ballet. Somehow I think it might well be more suitable for him. That said, I thought that Anna Tsygankova was most generous in her Kitri's balletic breadth tonight and without hesitation responded with grace (and that enchanted Russian smile) towards all and sundry within in her considerable wake. She did marvelously well; especially in light of what must have been a lightning fast rehearsal period for a production so uniquely different from more conventional others she has in the past bedecked. Certainly I don't think I've seen Golding appear more comfortable/relaxed in his partnering duties since he joined the Royal Ballet. His past history in the Netherlands with Ms. Tsygankova was obviously a most happy one. Francesca Hayward continues to honour her enormous promise with a beatitude that is entirely irresistible and I was equally bemused by Mr. Sambe's thrilling vocal/movement interplay during the guitar interlude. It was entirely telling in its wit and very rich in the dressing of its appropriate ambiance ... or such as has here been defined by the much admired dancer/choreographer. It will be interesting indeed to see how this particular production is received in New York. Certainly many there will be able to hold a very direct response to the Spanish commentary - which seems to have expanded since the production first opened - especially given that so many in the audience will themselves have Spanish amongst their linguistic armory. I wondered if Mr. Sambe's developing monologue might have come as an immediate derivative from Mr. Acosta's much admired work with GUYS AND DOLLS this summer in Chichester. The spoken commentary - so brightly delivered by Mr. Sambe - without I assume a microphone - certainly marks the Royal Ballet out with a distinctive European flare. Edited January 6, 2015 by Bruce Wall Link to comment Share on other sites More sharing options...
alison Posted January 6, 2015 Share Posted January 6, 2015 If you look at the article Janet mentions in the Times there is also another article on the same page similarly cut short by the firewall entitled 'Vadim Muntagirov: ballet's hottest star'. It was published in the Times on December 27th. Has anyone seen a full text of this article (can't see it in the Reviews section) or will I have to try and find a library that keeps back copies of the Times? Our marvellous links people don't put up links to sites which aren't publicly accessible, although we do encourage posters to flag up anything of significant interest which they find in The Times and elsewhere, and on this occasion someone did - see the conversation here: http://www.balletcoforum.com/index.php?/topic/8525-articles-behind-a-paywall/ I'll go and start the thread I threatened to now ... Link to comment Share on other sites More sharing options...
toursenlair Posted January 6, 2015 Share Posted January 6, 2015 His past history in the Netherlands with Ms. Tsygankova was obviously a most happy one. Well that's a bit of an understatement as they are partners offstage as well as on! 2 Link to comment Share on other sites More sharing options...
Bruce Wall Posted January 6, 2015 Share Posted January 6, 2015 (edited) Well that's a bit of an understatement as they are partners offstage as well as on! Bless you, Katherine. I will take your kind reference to my 'understatement' as a compliment. I am reminded of the last line in what is my favourite one-act play, Rattigan's effervescent 'The Browning Version'. Therein Crocker-Harris speaks clearly into the receiver stating: "I am of the opinion, Headmaster, that, occasionally, an anti-climax can be surprisingly effective." Edited January 6, 2015 by Bruce Wall 1 Link to comment Share on other sites More sharing options...
mshovelt Posted January 6, 2015 Share Posted January 6, 2015 From Sadness (Osipova injured), to Intrigue (Tsygankova announced), to Anticipation (found out who Tsygankova was), to Amazement (on the night). From the moment Tsygankova flew onto the stage, she projected such joy; it was a delight to behold. She absolutely lit up the stage and I feel really privileged to have witnessed her debut at the ROH. I would be the first to admit that I'm no ballet expert, but I am simply astonished at how she managed to learn the steps in such a short period of time; irrespective of her history with Matthew Golding or past experience of other Don Q productions or the fact that she is a seasoned professional, that must still count as some achievement. Ok, it wasn't technically flawless (and I did notice a couple of mistakes in the corps as well) but any slight imperfections were eclipsed by her enthusiasm and passion. Last night was also the night that I finally took to Matthew Golding. After being somewhat underwhelmed by him in Sleeping Beauty last year, I thought he was fantastic last night and his partnership with Tsygankova was lovely. Other highlights for me were: Hirano as Espada - he is just fantastic in that role; curiously, he is cast as Gamache on Wednesday and I just can't see him in that role. Francesca Hayward was brilliant as Amour and Gary Avis a wonderful stand-in Don Q. I still am desperate to see Osipova's Kitri (and Nikiya for that matter) though; so get well soon Natalia! 7 Link to comment Share on other sites More sharing options...
alison Posted January 6, 2015 Share Posted January 6, 2015 I'm glad to hear it went so well: Osipova is a bit of a hard act to follow Link to comment Share on other sites More sharing options...
Beryl H Posted January 6, 2015 Share Posted January 6, 2015 Last night was a transformation for me, I had been feeling a bit grumpy about this revival of Don Q, all the injuries, replacements etc, but as soon as it started this performance was different, the music went with a swing instead of feeling like a dirge (I could see down to the conductor who was very animated), and everything fell into place, Anna Tsygankova radiates so much warmth in the role of Kitri, and I've never seen Matthew Golding so relaxed and happy, wouldn't mind betting we will see them dance together again at the ROH, I think she has become a favourite. 5 Link to comment Share on other sites More sharing options...
aileen Posted January 6, 2015 Share Posted January 6, 2015 I wonder whether Anna T asked for the music to be taken a bit faster. Who was the conductor last night? Some dancers really seem to energise everyone else on stage. Whatever the reasons for success, it seems that the RB made a clever decision to ask her to step in. I think that it's only fair to ask her to guest in a couple of performances when Don Q comes back. 1 Link to comment Share on other sites More sharing options...
Bruce Wall Posted January 6, 2015 Share Posted January 6, 2015 wouldn't mind betting we will see them dance together again at the ROH, I think she has become a favourite. Don't know about the RB - surely they have their own to celebrate on any sustained basis - but certainly you will see her again, Beryl, in the title role she created in Wheeldon's Cinderella (again with Golding) with her very own Dutch National Ballet when it appears at the Coliseum between 8th and 11th July. We will all look forward to that I'm sure. 2 Link to comment Share on other sites More sharing options...
LinMM Posted January 6, 2015 Share Posted January 6, 2015 Definitely going!! Link to comment Share on other sites More sharing options...
mshovelt Posted January 6, 2015 Share Posted January 6, 2015 Aileen, the conductor was Tom Seligman last night. Link to comment Share on other sites More sharing options...
A frog Posted January 6, 2015 Share Posted January 6, 2015 I wonder whether Anna T asked for the music to be taken a bit faster. Who was the conductor last night? Some dancers really seem to energise everyone else on stage. Whatever the reasons for success, it seems that the RB made a clever decision to ask her to step in. I think that it's only fair to ask her to guest in a couple of performances when Don Q comes back. I actually checked how long the first act took when it finished as it did seem a bit quicker and livelier than the other performances I'd seen, it was exactly 20.22, same 52 minutes as advertised on the other evenings. Maybe it was just something in the air. Link to comment Share on other sites More sharing options...
Beryl H Posted January 6, 2015 Share Posted January 6, 2015 Don't know about the RB - surely they have their own to celebrate on any sustained basis - but certainly you will see her again, Beryl, in the title role she created in Wheeldon's Cinderella (again with Golding) with her very own Dutch National Ballet when it appears at the Coliseum between 8th and 11th July. We will all look forward to that I'm sure. I have already booked the opening night and will probably book another, I like this production (apart from the sisters) anyone who likes the tree in The Winter's Tale will love this one, it's more spectacular 1 Link to comment Share on other sites More sharing options...
capybara Posted January 6, 2015 Share Posted January 6, 2015 (edited) Aileen, the conductor was Tom Seligman last night. And, as I commented further up this thread, he seemed to take things a little faster on Saturday evening also. But, since others here have timed it and found no difference, it may just have been his conducting style and the orchestra's interpretative response to him. Edited January 6, 2015 by capybara Link to comment Share on other sites More sharing options...
Don Q Fan Posted January 6, 2015 Share Posted January 6, 2015 I am so pleased to hear that Monday's DonQ was so good. I am sure Matthew Golding would have been instrumental in getting his partner brought in to cover for Osipova. As the RB DonQ is available on DVD it would surely have been some help in learning the choreography - it is not wildly different in Act1 and Act3 from other DonQs. Wish I could have seen it. Anyone got any photos of Matthew with Anna last night? Link to comment Share on other sites More sharing options...
John Mallinson Posted January 6, 2015 Share Posted January 6, 2015 Couple of pics in this tweet and here. 1 Link to comment Share on other sites More sharing options...
SPD444 Posted January 6, 2015 Share Posted January 6, 2015 I too new nothing about Anna T but I did comment to my wife that they did seem to give more vigour to the kissing than normal in as much that it was a proper kiss rather than a stage "kiss". Like others I was initially saddend by Natalia injury but, in the end, I loved the performance. Matthew was a total revelation. I saw him dance with Tamara in the ENB's R & J at the RAH last year and thought him a bit wooden but it seemed him dancing with Anna freed him up to express himself. They both obviously enjoyed themselves hugely and this was felt by the audience. I do hope the RB use Anna T again, she was lovely. 3 Link to comment Share on other sites More sharing options...
Don Q Fan Posted January 7, 2015 Share Posted January 7, 2015 Couple of pics in this tweet and here. Great thank so much for those links - fab pictures they are too! I love it when ballerinas pose en pointe like that, so elegant! Link to comment Share on other sites More sharing options...
jmhopton Posted January 7, 2015 Share Posted January 7, 2015 Our marvellous links people don't put up links to sites which aren't publicly accessible, although we do encourage posters to flag up anything of significant interest which they find in The Times and elsewhere, and on this occasion someone did - see the conversation here: http://www.balletcoforum.com/index.php?/topic/8525-articles-behind-a-paywall/ I'll go and start the thread I threatened to now ... Many thanks to the 2 people who replied and sent me and offered to send the relevant article. it was really interesting and I appreciate their thoughtfulness. Joan Link to comment Share on other sites More sharing options...
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