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Ashton Fan

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  1. I am not sure that I gained a lot from seeing Bathilde and the Duke of Courland arrive on horse however authentic that may be theatrically and socially. It was interesting to encounter a sympathetic Bathilde rather than the cold and aloof creature one is used to seeing in Bow Street. I know that this is an attempt to capture something of the flavour of the ballet as a nineteenth century creation and it is almost certainly authentic but I am not sure that Hans/ Hilarion's characterisation as a peasant clod adds much to the mixture. However I suppose that if Bathilde is to be played more naturally and sympathetically rather than as an unfeeling aristocrat then someone else has to be presented as an unsympathetic character. It was a pleasant change to see the peasant pas de deux danced as just that rather than being hacked about to provide opportunities for more than two dancers. The thing that struck me most about the first act was that the mime sequence used in the reconstruction is shorter and simpler than the version which the Royal Ballet has been performing since the 1960's. According to the company's performance records its current version was introduced in the production which Ashton and Karsavina staged in 1960. This mime sequence which the company has retained in subsequent productions is the version which Karsavina said was performed during her time with the Mariinsky. In it Berthe not only has the opportunity to warn Giselle of the threat which her love of dance poses for her but to provide the assembled peasants with a full account of the way in which the Wilis force unwary men to dance themselves to death. In the mime sequence Berthe demonstrates the confrontation between an unwary traveller and a Wili playing both characters. I can't help wondering when Ratmansky's version of the mime sequence became the norm ? I found the second act extraordinarily effective and was more than happy to see the loss of the pressage lift which is little more than a twentieth century technical trick which adds nothing to the ballet aesthetically or dramatically. The lift which replaced it is far more attractive and aesthetically in keeping with the rest of the choreography. I felt that when I saw Ball perform it when he took over as Albrecht mid performance at Covent Garden not so long ago. I didn't feel then that I had been cheated by not seeing what has become the Giselle cliche lift or in this streamed performance. Its replacement looks far more stylistically appropriate in a ballet in which those performing the choreography should be more concerned with the creation of atmosphere and mood than having opportunities for technical display. I have to say that I was pleased to see a production which fell back on the use of nineteenth century stage technology with Giselle showering Albrecht with flowers from a tree rather than all but handing them to him. While there were elements which did not entirely convince me such as the cross formation of the Wilis which, as I understand it, has its source in Justament's notebooks I should love to have the opportunity to see the production live. I hope that it is one of the productions which the Bolshoi bring with them next time the company visits Covent Garden. It was good to have the opportunity to see a Romantic ballet text treated with respect and to have the opportunity to go on Ratmansky's artistic voyage of exploration.
  2. It is pretty clear that there are more potential candidates for promotion among the ranks of the First Soloists than there are likely to be vacancies for Principals at the end of the season. The company seems to have largely lost its dead wood through retirement. It is going to be very interesting to see which dancers the management has decided have gone as far as their talents can take them. As the company does not seem to be touring abroad this summer perhaps Mr O'Hare will decide that he has no need to promote anyone at this time and that he can afford to defer what is likely to be a difficult decision for another season while he tries people out in a wider range of the core repertory than has happened so far. He is under far less pressure to make appointments than he would be if the company were visiting somewhere such as Japan, where the promoters demand principal dancers must be cast in leading roles as a contractual term.
  3. On what I hope proves to be a happier note. The Royal Ballet is increasingly becoming Kevin O'Hare's company rather than the one he inherited from his predecessor. It is usual for appointments to follow on from departures and retirement but some unusual things have been happening in the company as far as long serving personnel are concerned. It is almost unheard of for dancers to leave early in a new season but that is what both Alistair Marriott, Principal Character Dancer,and Jonathan Howells, Ballet Master and Character Artist, chose to do making it necessary to modify the casting for Coppelia which had already been announced. With their early depart it is just possible that Kevin may find that he has enough money to fund more than one new Principal dancer at the end of the season.Here I am assuming that Hallberg's appointment as Guest Artist is not going to be a permanent feature in the life of the company. Kevin will almost certainly appoint someone to replace Soares who announced that his appearances as Onegin were to be his last with the company.The question is whether he will appoint a second Principal, even if he has no immediate need to do so? There are several dancers who in recent months have been given the opportunity to reveal their potential for promotion to the company's top rank. While Clarke has consolidated his position as an extremely useful and adaptable dancer which explains his recent promotion to First Artist, dancers like Magri and O'Sullivan have been cast in roles which have not only expanded their personal repertory and range but have seen them performing key roles in ballets which are central to the company's core repertory. It seems to me that the revival of the long neglected Coppelia has expanded the group of potential candidates for promotion. It is going to be interesting to see who will have proved to be successful when the promotions are announced at the end of the season.
  4. AB's Mom,Thank you for posting the link to the Guardian newspaper article about this. There are some posts on this topic in the section devoted to news from the Royal Ballet which may be of interest to you and others.
  5. Since his time as a student at the Royal Ballet School Scarlett has been seen as a choreographer of considerable promise and on the basis of his choreographic talent he was able to retire from dancing in his mid twenties and take up an official choreographic post at the Royal Ballet which was created for him. It has now been announced officially that he was suspended from his company post in August last year and that his activities there and at the school are under investigation by an outside organisation. The investigation which concerns allegations of sexual misconduct and bullying are ongoing. He has been banned from the Opera House and the Royal Ballet School. Strangely although he had been banned from the Opera House last August it was only announced that "The Cellist" mixed bill was no longer going to include a new work by Liam Scarlett comparatively recently. Presumably at that point,the announcement was made for the practical reason that it isn't really possible to create a new work, if the choreographer is banned from entering the building where rehearsals are to take place. The investigations have not been completed but I think that It will be interesting to see how much further the company feels it needs to distance itself from Scarlett, now that the broad nature of the allegations are known. There are revivals of his production of Swan Lake and his ballet Symphonic Dances scheduled in the coming months. While I am sure that the company is capable of reviving them in his absence there is the question of whether it will wish to be seen to do so. If they are keeping him at arm's length and denying him access to the building and the dancers will they want to be seen to be paying him royalties for these revivals ? Of course there is no problem if the allegations are found to be without substance. But will the company or the Royal Opera House organisation want to run the risk of the enquiry finding that the allegations have substance to them at very the time that his Swan Lake is being performed in Bow Street ? There is always the possibility that other former students and dancers will come forward and make their own allegations now they know that an official enquiry into Scarlett's activities and behaviour is under way. The investigation is already said to concern his activities going back over a period of ten years. The company was able to drop Scarlett's new ballet without explanation or comment when the investigation was not public knowledge but from now on its decisions with respect to his existing ballets scheduled for performance this season are likely to come under scrutiny and may well be the subject of adverse comment. It is going to be interesting to see how the company decides to handle the situation . It is possible that it is just too late to do anything about the version of Swan Lake the company will dance this season. Symphonic Dances is likely to prove much easier to lose.
  6. The closer you get to the performance dates the more likely it is that you will find tickets appearing on the ROH website. In my experience the ROH puts tickets for resale on its site as soon as they come in. So while it may be true that returns are included in the Friday rush the point to note is that they are not held back until the date of the next rush. I see that the performances you want to attend are midweek ones so while I think that tickets can come in at anytime the days when you are most likely to strike it lucky are probably going to be the Monday and Tuesday of the week in which the performances are due to take place and the day of the performance itself. I hope this helps.
  7. It would seem that the ROH no longer uses the services of authorised ticket agents as it once did. Unlike the old one the current version of the website makes no reference to any authorised ticket outlets and states very clearly that tickets can only be obtained from the ROH box office. I shall be very interested to know if you get a more positive response from the Ballet Co Forum website.
  8. As tickets go on sale months in advance of the performance dates to which they relate it is most unusual for the ROH not to receive tickets returned for resale for most performances. The ROH puts returned tickets on its website as soon as they are received. Returns are not held back for the Friday rush for the week in which the performance is scheduled to take place. My advice would be to keep an eye on the ROH website. Although returns, if any, tend to become available during the weeks immediately preceding a performance rather than six weeks before it, someone might return a ticket earlier than usual. The tickets shown on the ROH website are genuine and they are sold at the original price which is not something you can say about tickets offered for resale elsewhere. As far as the casts you wish to see are concerned you might find it somewhat easier to get returns for the Nunez cast than the Osipova one for the simple reason that there is likely to be less demand for returns from Nunez obsessed fans than Osipova obsessed ones with the result that there may be less temptation for purchasers to sell them at inflated prices on a resale site. Other reasons for trying for the Nunez cast are that Nunez is less likely to injure herself and be replaced at short notice than Osipova and you can be certain that Muntagirov has the artistry and the physical ability to dance the Prince. While Hallberg may still be an artist of note, sadly from what little I have seen of him in performance at Covent Garden, his physical strength is somewhat uncertain. I would strongly advise against using resale sites. A couple of days ago, out of idle curiosity, I had a look at a couple of such sites to see what the scalpers were charging for the next Osipova/ Clarke Onegin. There were tickets available. I saw somebody was trying to get over six hundred pounds for tickets for a part of the auditorium from which you would be lucky to have any view of the stage. The more expensive seats on offer although in posher parts of the theatre were not necessarily going to offer much of a view of the performance either. The auditorium is horseshoe shaped and there are plenty of seats which while they may be acceptable for opera performances are all but useless for ballet. In answer to the enquiry about Ballet co Forum. It is a British based site.
  9. If the fate of the nineteenth century ballet repertory is anything to go by, what survives for future generations is a matter of chance in which prestige and artistic reputation count for very little. One thing that is certain is that nothing in the repertory stands much chance of survival if it is not exposed to public view. In order to survive a choreographer's works at the very least need company managements who are committed to staging a representative range of their output ensuring they receive regular revivals coached by those who understand the individual choreographer's musicality and performance style and have the aptitude to convey what the choreographer wanted to see in performance to those who are to dance it. The Ashton Foundation has just posted videos from its coaching events on You Tube. They give you an opportunity to see sessions on Ashton's choreography for "The Walk to the Paradise Garden "coached by Merle Park; two sessions on "Raymonda Pas de Deux" coached by Darcey Bussell with interventions from Donald MacLeary in which Nunez and Bonelli work on the pas de deux and Anna Rose O'Sullivan and David Donnelly work on the solos and Gary Avis coaches Donnelly ; a session on Foyer de Danse and finally there is the choreography Ashton created for a staging of Le Rossignole in which William Bracewell and Anna Rose O'Sullivan are coached by Anthony Dowell. I hope you find the coaching sessions of interest . I leave it to you to decide whether the Foundation is justifying its existence with the work it is doing. It would be great if these events were to prompt the revival of at least some of the works shown.
  10. The film was given a limited cinema release in the UK and was shown on BBC 2 at Christmas. It is fine if you accept that it is not a film of MacMillan's ballet but an attempt to make a film which emphasises the ballet's narrative and gives priority to its choreographed action over its dance elements although it retains most of the significant set pieces. Its visual elements include an obtrusive bush which someone has identified as a rosemary bush and a fluttering curtain which gets in the way in some of the scenes set in Juliet's bedroom. Perhaps it was intended to be artistic. The film shows the company in a state of transition in 2019 as a generation of young dancers takes over from those who became its leading performers during Mason's directorship. In future years it may even come to be seen as an historic record of that change because of the minor roles in which some named dancers appear. Both Anna Rose O'Sullivan and Mayara Magri appear as Juliet's friends and given the way in which their careers are progressing it seems highly unlikely that they will dance those roles again and the same may also be true of both Tierney Heap and Beatrix Stix-Brunell who appear alongside Laura Morera as the ballet's trio of whores. There was some concern when it was announced that Matthew Ball, who is in his mid-twenties, was to dance Tybalt when the ballet was last revived because the role is generally seen as marking the transition from active dancer to character roles. The same is true when it comes to the role of Juliet's Nurse so there were concerns that Romany Pajdak might also be on her way out as an active dancer when she made her debut in the role during the same run. The film's pluses include not only the performances of Hayward and Bracewell but the opportunity to see Sambe dancing Mercutio and leading the Mandolin dance and the editing of much of the choreographic padding for the scenes set in the market square. Although this means that you don't get to see much of Morera or her fellow whores it spares the audience most of the townspeople's tiresome repetitive choreography which cannot be cut in theatrical performances if you want Romeo to survive until the tomb scene. If you are curious about the state of the Royal Ballet Company and want to see something of the dancers of whom you may have heard then the film will give you an opportunity to do so. The film was not made by the ROH and it is not clear whether there are any plans for a DVD to be issued although there would almost certainly be a market for one.
  11. No doubt when they will do that, they will find a wide difference in the effectiveness and outcomes of each of the organisations they study. I don't get the impression that many of the Foundations are undertaking something approaching a last ditch effort to preserve an entire repertory but that is what the Ashton Foundation seems to be engaged in doing. The main problem in the years immediately following Ashton's death was that Dowell, Grant and Somes, who had been left the most valuable ballets in terms of their potential earning power, do not appear to have seen the need to co-operate and make long term plans for their legacies possibly because theirs were the Ashton ballets being performed. They may have been influenced in their attitude by Ashton's own pessimism about the likely life span of his works after his death. Whatever it was that delayed the creation of an organisation to safeguard Ashton's ballets the fact is that the Foundation was established very late in the day with the result that many people who might have made valuable contributions to its teaching resources died before they could be filmed coaching the roles created on them or explaining what Ashton wanted in performance. At the moment I think that the Ashton Foundation is playing catch up and doing some very basic work that should have been done some time ago. The Foundation website lists various activities which are intended to preserve the Ashton repertory and ensure that it is capable of being revived and performed in an authentically Ashtonian form and style. Of all these initiatives the one that will almost certainly prove to be the most important is its decision to develop repetiteurs for his ballets through a shadowing scheme. In spite of the fact that the Foundation's first potential repetiteur to participate in the scheme, Cervera, has since been recruited to teach at the Royal Ballet School this initiative seems to be the first real attempt to try to secure the Ashton repertory for future generations. There is a pressing need to ensure that there is a second generation of Ashton repetiteurs capable of taking over from the first generation who worked in the studio with Ashton creating and reviving his works and have extensive experience of dancing his choreography. As Leslie Collier has pointed out dancers of her generation inevitably became Ashton dancers because whether they were dancing in his ballets or in Sleeping Beauty or Swan Lake they would find themselves dancing his choreography and performing in his preferred understated ultra musical style.This was true of the entire company including those dancers on whom MacMillan created his best works. I think that it is possible to argue that the Royal Ballet became Ashton's company in terms of its performance style and aesthetics in the mid thirties when he became the company's resident choreographer and that it was still largely a company conforming to his aesthetics at his death. Although he had worked for the company creating works for it for many years the company's active repertory did not come to be dominated by MacMillan's ballets until after Ashton's death. It seems to come as a shock to those who ardently proclaim themselves to be MacMillan adherents to be reminded that, with the exception of the works he was forced to create in Stuttgart , all of the MacMillan ballets created for the Royal Ballet were made on dancers who had been formed artistically by dancing Ashton's choreography.Jeremy Isaacs records a meeting with Lady MacMillan soon after Ashton's death at which she pressed her husband's cause arguing that his works should be given greater prominence in the repertory as he was capable of producing new works for the company. I think that it was at that point that the Royal Ballet became MacMillan's company as after that time his works seemed to be given much more stage time and suddenly we entered the world of extended runs of MacMillan's dramballets as casting policy seemed to require that every female dancer of note, if deemed suitable by the master choreographer, would give the audience "her Juliet" and "her Manon" every time those ballets were revived. 1988 was a significant year for the Ashton repertory. Not only was it the year of Ashton's death it also marked the point at which his aesthetic influence over the company came to an end; it was agreed that the MacMillan repertory should be given precedence in programming and Guillem danced her first Giselle for the Royal Ballet and became its most influential dancer artistically and aesthetically since Nureyev's arrival there more than thirty years before. I find it interesting that when David Bintley made Tombeaux his final ballet for the main company as its resident choreographer he made a work which he later described in interview as prompted not only by wanting to mark Ashton's death but to mark what he saw as the death of the "English style". The ballet which uses the Fred step in a number of inventive ways was premiered in 1993 and by then the company's cultural revolution was well under way. It was indisputably MacMillan's company rather than one in which choreographic honours were shared fairly evenly between the two men and their works. It seems to me that it became acceptable, if nor fashionable, to compare Ashton's technically rigorous works unfavourably with MacMillan's output. The former's works were "twee" and "camp" while the latter's with their "realistic" scenarios and action and their expressive choreography were outstanding examples of choreographic art. This view of the relative merits of the two men's dance works was exacerbated by Dowell's decision to stage The Tales of Beatrix Potter which Ashton had created for the cinema. As Ashton had predicted years before it made it look as if he had gone "ga-ga". The fact that Ashton's ballets were often less than ideally cast and subjected to inane new designs which destroyed floor plans or restricted the dancers' movements while the school seemed to have increasing difficulty in producing the sort of dancers able to do justice to Ashton's choreography did not help his cause or his claim to be regarded as one of the twentieth century's major choreographers. Although there has been a move to rehabilitate and restore a wider range of Ashton repertory to the stage under the current director and his predecessor there is still a long way to go. The Two Pigeons was recently restored to the Covent Garden stage after an absence of thirty years Such revivals are still often marred by casting decisions based more on the need to give big names stage time than their suitability for the roles they have been given. All of these mistakes and miscalculations add to the difficulties which the Foundation has to surmount if it is to restore the fullest range of the Ashton repertory to the stage. Last year's Fonteyn Gala was such a missed opportunity to create an audience as there was no follow through with revivals of works included in it programmed in this season. I suppose that we have to be grateful that Kevin is replacing the unavailable Ratmansky piece with Monotones i and II in the final mixed bill of the season and that a very small number of people are to have the opportunity to see both Dante Sonata and Valses Nobles et Sentimentales in the Linbury . It really isn't enough.Once a performance style has ceased to be part of a company's artistic DNA it is extraordinarily difficult to revive works created in that style.Of course the Foundation has no control over what either company stages and not every Ashton ballet is destined to be part of the core repertory of either Royal Ballet company but the fact that neither company has any sort of programming policy which would ensure that the bulk of Ashton's ballets are given a regular airing leaves them very vulnerable, after a period of neglect people start to believe that there must be sound reasons for the neglect and after that all it takes is a badly cast revival to all but settle a work's fate.
  12. I think that I need to clarify what I said about the ownership of Les Patiners and Les Rendezvous as the Foundation's website states that it owns them. My understanding is that the Foundation looks after the ballets on behalf of the Royal Ballet School which receives any income the ballets generate through being performed. Wendy Ellis and Antony Dowell both own valuable ballets. It will be interesting to see what they decide to do with the ballets left to them when the time comes to make provision for their subsequent ownership and management.Will they do what Derick Rencher did with his ballet which ensures that the works he owned are safe from revision and tinkering or will they leave them to people who might believe that as owners they have the right to revise and tinker with them ?
  13. Alexander Grant left Fille to his partner Jean-Pierre Gasquet and Facade to his brother Gary Grant. All the details of who owns what can be found on the Frederick Ashton Foundation website. With the exception of the gift to Tony Dyson Ashton's specific bequests seem to have had more to do with the recipients' association with the ballets left to them than the possibility that they would provide an income for the legatee. Ashton's nephew is the residuary legatee but seems to do very little to exploit the ballets left to him by pushing for their revival.The potential for problems to arise with these legacies increases as they pass from the original legatee into the hands of people who have little or no direct connection with Ashton or the world of ballet. I seem to recall that one of the Foundation's expressed aims was to acquire his works but to do that it needs to generate income. Brian Shaw's ballets Les Patineurs and Les Rendezvous were left to Derick Rencher who in turn left them to the Royal Ballet School. The Ashton Foundation looks after their staging and revival on behalf of the school.The Foundation was able to buy Daphnis and Chloe which had originally been left to Fonteyn but that work was not a money spinner because it costs so much to stage as the original score uses a full chorus. Fille on the other hand does generate an income and would be much more costly to acquire.
  14. It's a bit better than that. We have just had a really exceptional revival of Enigma Variations with three separate casts in which only a couple of dancers, at most, were definitely miscast and really should not have been on stage. This compares very favourably with the last revival of the ballet at Covent Garden when it seemed to me that very few of the dancers involved were suitable for the roles they had been selected to dance. In addition to Valses Nobles et Sentimentales which I believe was thought lost until it was revived and performed in London as part of the celebrations for Ashton's eightieth birthday and his Duncan influenced wartime work Dante Sonata we are also to have the opportunity to see both parts of Monotones as part of the final mixed bill of the season. I am pleased that we are being given the opportunity to see these works this season but the fact remains that the performances of Monotones are only there to replace a previously announced work that had to be shelved. I would feel far more certain about the future of Ashton's ballets as a part of the Royal Ballet's active repertory if there was some evidence that its artistic director was committed to regular revivals of Ashton's ballets and that his most important works were timetabled for regular revival as part of the turnover of the company's active repertory. We are told that we can't have Daphnis and Chloe because it is expensive to stage,although I am told that there is a version of Ravel's score which does not use a chorus. We are told that Cinderella is a problem because of the designs, presumably this is some sort of difficulty between the rights holder and the company, and there are rumours of problems with the current owner of Fille. I can't help thinking that that if the company was as committed to its Ashton repertory as it claims to be that the problems would have been resolved with some alacrity. The fact that they are not sorted out suggests that they are a useful excuse for not reviving the works in question.
  15. It has just been announced that Reece Clarke has been promoted to First Soloist. This is unusual as promotions are generally announced at the end of the ballet season rather than half way through them. However I don't think that many people will be surprised that he has been promoted or that anyone will think that his promotion is undeserved given the range of works in which he has danced principal roles to considerable acclaim beginning with the Michael Somes role in Symphonic Variations very soon after he joined the company. Although no reason has been given it seems that the promotion is not entirely unconnected with the cast changes announced for the forthcoming performances of Onegin. Clarke replaces Muntagirov as Onegin and dances with Osipova as his Tatiana, while Mendizabel dances Tatiana opposite Soares in his final performances with the company, Mendizabel replaces Cuthbertson who was previously announced. There are other cast changes but these are the most significant.
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