ami1436

I don't have much to say mainly because I feel like I'd be best off keeping my mouth shut right now. I don't think we can call DTH aboriginal - indigenous. I was that poster, as you well know. And my point was that the costuming affect of only seeing faces in the dark light would not work, and thus limit casting and further perhaps limit which companies would take this on. Should you have found the comment as inane or saddening, I do feel that there are, perhaps, more tactful ways in which it could be said. I wonder what obstacles are faced by non-coloured dancers in say, Cuba, Colombia... wherever. I have never ever felt the need to fully, purposefully introduce myself 'ethnically'. How odd that I almost feel I need to in the virtual world.

Thanks for the information Mashinka. Do you know if there is a commercially-available recording of Plisetskaya in Isadora? I think you're right, it brought out a softer, sweeter quality in her. I'm afraid that I feel that if Nioradze was trying to imitate Plisetskaya, it was a poor imitation. To me, it appeared nothing like the recording I've seen of this. And again, it lacked fluidity and the strong vulnerability of Plisetskaya's dying swan. Further, my issues with Nioradze were only cemented by her performance in Corsaire, I'm afraid. There, it wasn't an issue of interpretation, but actual technique. (And I now feel very bad for saying so... )

Hi again! Well, glad my tirade didn't upset you! Unfortunately, they completely cut out Don Q. Maybe you are thinking of the Snow White pdd? Do you have a programme? If so, everything went according to plan *except* they omitted Don Q, and move Tarantella to its place. Too bad there were no announcements. Actually, perhaps I should post the programme as it actually happened, also for the benefit of those who weren't there! Will do this when I get home tonight. If you were speaking of Snow White, well yes, Tamara Rojo is known for her turning. And those chaines - wow. Ami

Coda is right, and the Tarantella was danced by RB's Sarah Lamb and Samadurov (sp?). I'm afraid I must respectfully disagree Nioradze as well. I tend not to post too many thoughts here because as someone who aspired to dance professionally when I was younger, and who did not follow that, and then only recently really began watching professional performances in earnest - well... I'm by no means an expert and probably closer to the side of gushing fan of most dancers. There is very little that I find myself seriously taking issue with. However, I'm afraid (and apologies if I offend anyone), that I most actively disliked Nioradze. While her arms in Dying Swan were interesting - they approached more of contortionism than anything else - very different from the fluidity and vulnerability one sees in the clips of Plisetskaya in this role. And Nioradze in Corsaire was frightful - her arms are in such an angular, collapsed position when she turns that it's frightful, and her fouettes - the gesturing leg ended in the most floppy, practically flexed foot that I've ever seen on a professional stage. The foot combined with the arms was too much for me. Nonetheless, she still stopped the coda for umpteen bows after the fouettes. While I usually dislike the practise of stopping the music for prolonged bows (especially breaking the coda up) - there may be times when it is acceptable (?) - but they should hopefully be a response to applause, not the cause of it. Okay, grump session over. Back to your regularly scheduled programming.... P.S. My favourite thing of the night was the video clip of Maya playing... jacks? Or with butterflies? I have no idea what it was, but it was absolutely magical - even 'just' on video. If anyone knows anything about this piece, I'd love to hear more about it!

It was Ivan Putrov, Royal Ballet Principal. He and Roberta Marquez (also RB principal) were dancing the Giselle Act II pdd. I saw him do this just last Wednesday - I'm so impressed with him this season, he's really come into his own and his acting is getting better. Still needs work, but really improving, helped in large part, I think, by Marquez. In any case, he also danced the role the day before at the matinee. But he was really pulling out all the stops last night, going for broke. He had just started his variation and was jumping significantly higher than usual (in my eyes). Out of the second double cabriole he didn't seem to be over his landing leg and fell forward -sideways onto his knee. It was a really, really nasty spill. There has been lots of talk as to how he is, but nothing official. What is official though is that this is their week off - so at least he gets some built-in rest. I'm assuming they'd wait until after that to see if there needs to be any casting changes. He was injured at this time last year too - right before debuts in Rhapsody and Fille - this year he has a debut as Romeo coming up. Let's wish him well! On the whole, however, I found the evening to be a very mixed bag. What did you think, betty boop?

I had the same reaction to Bolshio's Bayadere, Hans, and the Pharaoh's daughter blackamoor - the slave which gets sentenced to death by a 'snake'. (Although the Bolshoi's 'animals' always serve to crack me up.)

Also at the Royal Ballet - other moms include Belinda Hatley, Leanne Benjamin, Jamie Tapper

There's a mixed bill with yet-to-be-announced divertissements. Would think she'd be somewhere in there....

And Darcy Bussell does Marks and Spencers.... Then there are all those fashion shoots (like the ones that were in various issues of Vogue last fall) with professional dancers in designer clothes...

Thanks to those who've replied - and to Helene for starting the thread. When I originally posted this question (in another thread), LAC pointed me to this thread on classicism to have a look at. What I'm getting from that thread and this, is that the major argument lies in the dearth of new ballets (as opposed to "contemporary ballets"), and the pressure (real or perceived) on companies to stage contemporary ballets - thereby eventually changing the styles and technical competence of dancers, and also requiring students to be trained beyond/outside the classical rep. In that light, the end of the article (quoted above) suggests that classical training is doing well - and that companies should continue to foster and develop these dancers...... Which doesn't solve the problem, of whatever perceived pressures to stage contemporary work, and how to fund, produce, market, sell new ballet. Moreover, how to train new ballet choreographers.

Thanks for the link, LAC, and the thread, Helene!

I find Rojo to be one of the most stunningly beautiful women out there - made even more so by her ability to transform herself. And yes, then there's her feet....

Both Kaiser (2005) and Naeda (2004) are also Prix de Lausanne scholarship winners. I wish we could see more of the RBS performing here in England!!!!!!!! I don't know if this is the right place to put this, or if I'm being incredibly naive and missing something (quite possible), but I have been puzzling over the end of Alexandra's review of the program in the Washington Post. I've not really participated in many discussions besides reviews of performances on this board, so please forgive me for being a relative 'newbie.' At the end, she writes It's the last two sentences... ballet could be healthy? Is it sick now? And how are parent companies the impediment? And a renewal from...? I realise there are probably many thoughts on this - and some probably covered elsewhere on this board. What do people think?

The outstanding artist category usually tends to be like a 'breakthrough' category for up-and-comers. If you look through the site, http://www.nationaldanceawards.com , you can see that it used to be 'young' dancer - but then that title was done away with. The 'Best Male/Female Dancer', categories, although they tend to be won by ballet dancers, are open to all types of dancers (I believe) - the 'best artist' categories are split into classical and modern. Previously, there were also male/female awards in the best artist categories, but this year they were combined. However, again, looking through the history of the awards you can see that there are a variety of people who get them, many of whom are not British. Recent British winners, however, have included Jonathan Cope and Lauren Cuthbertson. Who knows how the decisions were made! There was lots of talk this year that it would go to Pennefather. And although he has yet to inspire me, there are many who appreciate his dancing and are excited about his potential (and not just because he's British!!!!!!!). Mme. Hermine is correct about Sarah Lamb. In any case, I guess it's the subjective nature of the beast that is ballet!

Nunez is known here as a very 'sunny' dancer - and I do think sunny is a good word to describe her. She is very musical and is also proving herself to be a good interpreter of Ashton (Sylvia, La Fille). Her Fille with Acosta was broadcast last year - and her opening night has become famous as the door didn't open and she cleverly covered - although I wasn't there. She'll be doing Tch. pdd with Acosta in Feb. My impressions of her - strong, accurate, but still musical and lyrical. And a very hard-worker - a well-deserved award. There's been loads of talk about Pennefather here - young and tall in a company that is desperately searching for tall men. He has been partnering Tamara Rojo and Darcey Bussell frequently, danced with Nunez in Sylvia, and will be in Ballet Imperial in Feb... I will admit that he hasn't fully won me over yet.

I doubt she'll get lost in minor roles - I think most of the First Soloists are cast really well. And yes, kudos to Mason.

Party at my place!!!! I've wanted to see her for ages, so my have been answered. She might not rise quite that fast (Sarah Lamb also is in the wings!), but I would say that considering how extremely different the repertoire is, First Soloist is a fabulous position to be in. Right. Now I get to and say to having the chance to see her!!!!

Yes, it is Penney and Dowell on the tape and on the DVD. Viewers with a longer history than I say that Zenaida Yanowsky's recent debut reminded them of Sibley. There is a ballet recording of this (although I believe not of Mayerling) - should be available via the ROH shop, which is online. HTH.

Kate_B, I agree with you regarding that insiderism... we'll have to swap notes! ;)

Actually, I can think of at least one big company that uses a major advertising firm. Obviously though, this is not the case for most companies.

Paul, He talked extensively about these, and the history of when they were performed, etc., at the Insight Evening. I didn't take notes, but I will ask my friends if they did. It would do me well to remember as well!!!! Ami

I just gave my ticket for that performance to a friend as I have a deadline that week. Enjoy!

Do the tour if you can!!! I've only been to Paris once, and unfortunately in the off-season. Walked by the Garnier unaware of the tours, the night before I left. My train the next day was in the afternoon, so I decided to go for a tour in the morning... and loved it! Went to the Bibliotheque-musee within it as well, and ended up spending so much time just wandering around and staring...erm, looking... that I missed my original Eurostar!!! Do let us know when you are in London as well!

Thanks Leigh, for your thoughts. I agree with you about Bonelli, he's finally moving beyond being a Prince all the time, and I do think he's gaining in the details of some of his technique. It's nice to see! I agree with you about the costume for Brighella - how did Ed dance it? With the costume and his over-the-top villain acting, Carlos Acosta could have jumped straight out of a comic book! Very different from the soul-exposing interpretations of Putrov and Chapman.

Bart started a thread about Pierrot Lunaire, in which I posted my opening-night thoughts: Pierrot Lunaire/Tetley thread I unfortunately am unable to see the second cast - Bonelli/Galeazzi/Watson, and was wondering if anyone else here has seen it?