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Before my last post, which I dashed off before leaving for Covent Garden, gets misinterpreted I hasten to say that I look forward to seeing Hamilton back at Covent Garden in a years time. If she were to decide to pursue her career elsewhere RB management would not be short of replacements as the company seems to have a large number of talented young dancers under contract at present.

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  • 5 months later...

Yes it was Janet. It was also quite a send off if you see some of the photos on social media. Not quite a big as the London happening ;) but suitably celebratory :)

 

I only saw him once, but I will NEVER forget that performance and I wish him all the very best for the future.

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I only saw him once, but I will NEVER forget that performance and I wish him all the very best for the future.

 

Oh yes, he was a great, great actor, especially in the Neumeier ballets - some of them were made for him and were never the same after he left Hamburg. He will still dance with his brother in certain projects, and he does choreography. What a pity that he learned the whole Manon ballet and did it just twice! Another cast for Manon is Sarah Hay, by the way, the star of "Flesh and Bone".

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  • 3 months later...

And an email received from the ROH Press Office:

 

"Just to update that Kevin O’Hare has agreed to extend Melissa Hamilton’s leave of absence from The Royal Ballet and she will remain with Semperoper Ballett, Dresden as a Principal for the 2016/17 Season. "

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As far as dancers who have trained in U.K, BRB is the place to go. If you are good enough you will get the chance to dance significant roles. Delia Mathews is just one example of this. This season she has danced Lac, Nutcracker, Month in the Country and today's magnificent Juliet. Still only a soloist but she is good enough to dance these roles

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As far as dancers who have trained in U.K, BRB is the place to go. If you are good enough you will get the chance to dance significant roles. Delia Mathews is just one example of this. This season she has danced Lac, Nutcracker, Month in the Country and today's magnificent Juliet. Still only a soloist but she is good enough to dance these roles

 

But Delia did join BRB in 2007, if I am not mistaken, so it has taken a while for her talent (which was so obvious when she was at the Royal Ballet School) to be allowed into bloom. And, as you say, Tony, she is "still only a soloist".

 

Again, if my memory serves me correctly, Melissa Hamilton's trajectory to First Soloist rank was more rapid and, although Nutcracker was her only classical role before she went to Germany, she was cast as Manon, Juliet and Mary Vetsera quite early on.

Edited by capybara
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  • 2 months later...

And an email received from the ROH Press Office:

 

"Just to update that Kevin O’Hare has agreed to extend Melissa Hamilton’s leave of absence from The Royal Ballet and she will remain with Semperoper Ballett, Dresden as a Principal for the 2016/17 Season. "

 

The interview with Melissa Hamilton linked in today's Dance Links says that she has signed a 'permanent' contract in Dresden. Does anyone know if that's right? 

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The interview with Melissa Hamilton linked in today's Dance Links says that she has signed a 'permanent' contract in Dresden. Does anyone know if that's right? 

 

...and what exactly does 'permanent ' mean these days?

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Thank you. The reason I pose the question is because I am interested in how this might impact on an eventual return to RB if that is what she wants . Being by then an 'established'  principal she would be looking for a similar rank. I wonder if that would be less or more likely to happen - she is likely to flourish from the experience gained in this permanent position and certainly the opportunity to dance most of the major roles. But assuming she achieves success in these, would she be a strong contender were there a vacant principal position at RB?   

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As Hamilton said in the article she is getting opportunities at Dresden that she would not get elsewhere. There was little in this season's schedule for her and little next season either at Covent Garden. A dancer's life is very short.A dancer's career is coming to an end at the point at which in opera or the spoken theatre an artist is coming into their own, having attained the combination of skill and experience to enable them to play the great roles and make a success of them.

 

The transition between young and promising, established, and twilight with ever dwindling powers, is much shorter for the dancer which means that a dancer who wants to achieve something with his/her career has to take their chances where they can. It seems to me that Hamilton has taken charge of her career. Whether the permanent contract at Dresden means that she has signed a contract to dance at Dresden as a member of the company only for the coming season or whether it means that she has decided to throw her lot in with the company for the foreseeable future will become clear in due course. At the present moment Hamilton is certainly getting more opportunities to dance as a Principal dancer at Dresden than she would have got as First Soloist at Covent Garden where she would have been one among an ever increasing group of young hopefuls all of whom need to be given their chance.

 

On past showing Hamilton is not an Ashton dancer her appearances in Symphonic Variations were less than stellar and she is unsuited to a role like Lise or for any of the roles in Pigeons. At best this season she might have hoped for Juliet,a debut of some sort in Giselle, a couple of SPFs and possibly something in the Invitation. The 2016-17 season would not have been that much better for her, something in Anastasia,a couple of SPFs maybe a debut as Aurora possibly something in Jewels. Neither this season nor next offers her enough dancing, let alone enough of the tough technical challenges which she needs on a consistent basis at this stage of her artistic development. I trust that the programming for next season indicates that the company is trying to accommodate the development needs of a number of dancers currently showing considerable promise. The casting for the first booking period suggests that it is intended to do so. I doubt that within this group Hamilton would have been given any more opportunities to dance than the others in it. At Dresden she gets the opportunity to dance as Principal and presumably gets the same allocation of performances that the other Principal dancers have which seems to me to be a better prospect than being a First Soloist waiting with more junior dancers hoping for an opportunity to make her debut as Aurora.

 

As the RB management has only announced a further year's leave of absence for her I think that at this stage it is premature to assume that Hamilton has done anything except exchange her Guest Artist statusfor a time limited contract as a member of the Dresden company or a contract terminable by agreement within specified timescales.

Edited by FLOSS
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