ami1436

Hi Leigh, Wow, you're packing it all in! I'm missing you on Tuesday (going tomorrow), but will be at the Wells on 29th matinee and hopefully cross your path on the 29th evening at the ROH. Happy flying! Ami

I could not agree with you more Jane. Last night was the first time that I actually enjoyed M&A, and indeed was moved by it.

I'm about to fall asleep, but have just returned from seeing Pierrot for the first time, and I have to say wow. The music has been much criticised, but I didn't have problems with it, and I think it fairly set the atmosphere for the piece. As for Ivan Putrov's performance - wow. I have to admit that when I first started watching the Royal Ballet I did not like Putrov at all - I found him cold, inaccessible, and his dancing had a quality of arrogance (to my mind) which I found off-putting. Over the past two seasons, he's grown immensely - beginning with Prodigal Son, carrying on into Spectre de la Rose and Requiem, and having a stable partnership hasn't hurt him. He's always had a nice ballon and clean line, but character portrayal was not always clean cut - and this goes for his opening night performance of La Sylphide, which I loved, but at times his characterisation was very vague. Tonight, I sat watching thinking 'This is Ivan Putrov? Really? It looks like him but...' Wow. If he begins to invest in all his roles this way, stop what you're doing and buy your tickets to London now. And, someone, please - after seeing him in this, I dare say we need to see him in Petroushka. Diedre Chapman was wonderful - and she has performed this role before with Rambert. I did however find Carlos Acosta a bit cartoonish - you know, the evil green monster thing in Superman (the new one that came out maybe 2-3 years ago). It did seem he was trying too hard almost. In my opinion though, not to be missed if you are in/can get to London. Only four performances left!

I saw Le Parc for the first time yesterday - and indeed, this was my first live viewing of POB as well! Happy times as they made their way back to London for the first time in 22 years. My own personal jury is still out on Le Parc - there were times when I thought 'this is some of the most insipid choreography...', and other times that it was oustandingly beautiful. What did strike me as insipid was the consistent use, in each section, of repeated movement phrases which were then interpolated and performed in canon, with the individual dancers meeting and diverging at calculated points. While this worked, there was one extremely long repition in which I felt like yes, yes, now person 1 is going to the floor while person 2 is moving left... I probably need to see this again (or several times) to really determine what I thought of the choreography. That said, I don't think there are any doubts that it was exquisitely danced. Dupont and Hilaire as the lead couple, with beatiful tenderness in the pdd. Moreover, however, the four gardeners were amazing, regardless of what one may think of the choreography. I daren't say any more I think - I simply don't know enough about the company or about the piece to feel like I can add much besides those initial impressions.

Helene's point is important here. She's continuing through this season. After that, she's retiring as *principal* with the company and will be Principal Guest Artist - with few contractural obligations and a greater ability to have her own say in both rep and partners (who, at this stage, are increasingly also guest artists). It also gives her greater flexibility to guest elsewhere.

Thanks for your kind words carbo - I'm writing up at the moment so otherwise feel unable to cobble a full sentence together! Will try harder next time. And *very* glad to see other's views! Pennefather has been a real up-and-up since last season, where he filled quite a bit when Inaki Urlezaga left the company. As far as I know, his first partnering on stage with Tamara Rojo was at the Tsunami charity gala at Easter. She wiped the stage with him, to be honest. She has such presence, that if one is going to partner her, they must literally hold their chin up - if nothing else than out of respect! I haven't seen him yet this season, but by all accounts people have been happily surprised by how he has grown. I will withhold judgement until I see it myself! Drew, Cojocaru's feet aren't short, but she has noticeable bunions, that quite frankly, look really really really painful, and sometimes distort the line. But then, as Alymer noted, sometimes you don't even notice!

Sorry, it's taken me a while to get back here. So far, I've only seen one cast of this bill, but am looking forward to hopefully a few more, especially of La Sylphide. The Mixed Bill which opened the season features La Sylphide as its latter 2/3rds, following either The Lesson or Rendevous. Opening night started with The Lesson, which although interesting and entertaining, might not hold up to several repeated viewings in a short period of time. Zenaida Yanowsky was the pianist, with Kobborg as the teacher and a perky Roberta Marquez as the student. But I'm going to skip that - because La Sylphide was so simply perfect. Alina Cojacaru's sylph was innocent to the pointe of being naive, other-worldly, and combined nicely with Ivan Putrov's James - broody and introverted, seemingly looking for more meaning in life. One only wishes that something might be done for poor Alina's feet! Putrov's acting capabilities are still not always even, but he has grown so much as an artist in the past two seasons, and it shows. He also has the advantage of extremely light ballon - he jumps that much higher, his beats are extremely clear, and his landings noiseless. Sorella England is guesting as well as coaching this production, and her Madge probably received the most applause that evening. It was also delightful to see Iohna Loots as Effie - as opposed to a goat or dog or something that she seems to have been pidgeon-holed into.... Cheery, light on her feet, and showing that she can dance as a human! (!!!). And, Jose Martin as a loveable Gurn. The company as a whole looked comfortable with the choreography, and *ready*. I don't know if they *are* the Danes, so-to-speak, having only seen snippets of the Danes live over the summer in London. Perhaps those more sensitive to those details will react differently to the performances than I. Overall, however, bouquets and love and bravos three million times over to Kobborg. The production, of both ballets, was perfect to my eyes, avoiding the OTT-ness of some other new RB productions. Sylphide was colourful without being garish, and very warm and welcoming. Unfortunately, the audience opening night seemed rather subdued, perhaps missing some big and flashy tricks? Who knows why - in my mind, this is one of the best things the RB has done in years.

I know that many of us were there! I loved it. Kobborg has done an excellent jobs and the productions look fabulous... With a firt-rate cast as well. More from me later - but hoping to encourage some comment!

Me, being purely selfish: NOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO!!!!!!!!!!!!! In my opinion, Cope is the best partner the Royal has, not to mention one of the tallest. But, in recent years we've also seen him grow more as an artist and an interpreter, as well as being successful in coaching ballets such as Romeo and Juliet and Ondine. I'm saddened. Cope is a true danseur noble and has one of the most artistic, strong, and vulnerable arabesques I've ever seen. That's what makes his opening solo in Manon so sublime, so perfect - his simple, clean dancing coupled with shy but yearning glances at the young Manon pave the way for the rest of the story to unfold. His Prince Rudolph in Mayerling is remarkable, to say the least. While his partnering skills and the freedom with which his partners danced with him are memorable, he has shown himself to be so much more than a partner. (Indeed, as much more than a partner to Guillem and Bussell as well. My more immediate concern is for Tamara Rojo!) While saddened, I am glad to hear that he is continuing at the Royal as a repetiteur, giving so many a chance to learn from his vast amount of knowledge and experience. I think I will go and make several cups of tea now.

Congrats to all, and thanks for the update! Any other official news on former Studio Company members? Their pages seem very empty!

Sorry for being unclear, I meant 7 as in the 7 parts of Voldemort's soul...

I just finally finished this book last night, and finally talked to my flatmate about it and read this thread - I agree on all accounts - Dumbledore's death didn't hit me, but I think part of that was how it was presented. He was less present and tied into this book than others I think. Also agree about Snape's ambiguity; I want to believe that he is a Good Guy and that Dumbledore was not wrong. What do people think the significance of the number 7 is? Or is it 'just a number'?

And another review, at the bottom of this article, also fairly short. RBS Review - The Observer

Tamara Rojo will be making her debut as Marguerite in RB's next season.

She was the lead girl last night in Forsythe's Approximate Sonata. I really warmed to her - she has excellent presence to top off gorgeous technique. A lot of the dancers didn't seem to know how to 'perform' the Forsythe, seeming not knowing where to look or when to be independent and when to engage with other dancers/the audience. I thought she had it just right, and I couldn't stop watching her. She can do the 6 o'clock for sure, but she didn't seem to be throwing her limbs around last night either. It was all controlled and placed.... I unfortunately could not see her Juliet however!

I think the photo is like that partly because of the position they are in - with the body and pelvis tipped slightly, it's easier to slip back into the hyperextension. While most of the Kirov dancers have those legs, from what I've seen they know how and when to use them! Just saw the Forsythe bill here in London yesterday, and am still thinking. I think an entire bill of Forsythe becomes a bit insipid - lots of similar steps, and oh, how tired did I get of seeing secondbesque! Ugh. And then there were those grand jetes where the front leg was thrown up so high that the girls' torsoes were also skewed backwards, so the back leg never gets up, you don't get a clean line, and the leap collapses on itself rather than really getting any elevation. But really, it was the secondbesque that I couldn't take any more of. But, all this has me thinking, that more and more perhaps hypermobility is required in ballet. One needs to be extremely flexible to do Forsythe obviously, but what about Ashton's Monotones? So much requires this flexibility, and so many dancers now seriously work on extreme flexibility from a young age, that the chances for a dancer with less flexibility to be hired are limited. Obviously the Kirov cast accordingly for the Forsythe bill, but nonetheless - I felt like all the girls could easily do a 5 past 6 penchee.... And some of the men with their legs in front of their noses...

The reviews of her in London have been quite mixed. All enjoy her technique, but questioning the interpretation. Someone said to me that he felt 'cold' through the Swan Lake performance, others have been fully involved and enraptured. Beyond the news links, there's posters' views of her, as well as the other Odettes/Odiles (including Somova!) in the current London run here: Kirov Swan Lake, London

Another very short, but positive review. For clarification, Paul Boyd is on the staff of the Upper School, teaching contemporary. RBS Review - The Stage

I've had loads of questions/requests about this performance - so here's a bunch of info from the programme as well as my very cursory thoughts. Sorry for the long post. The Royal Ballet School Contracts 2005-2005 (with years in upper school in parantheses and A = Former Associate) Royal Ballet: Xander Parish (3A) Liam Scarlett (3A) Demelza Parish (2A) Gemma Pritchley-Gale (2A) Sabina Westcombe (2A) Birmingham Royal Ballet Joseph Caley (3A) Alexander Campbell (3) Feargus Campbell (3A) Kristen Mcgarrity (3) English National Ballet Shevelle Dynott (3A) James Forbat (3A) ABT Studio Company Tom Forster (3) Colorado Ballet Kaori Higashiyama (3) Dresden Ballet George Hill (3A) Pattra Sarikaputra (3) Briony Viele (3A) Stuttgart Ballet Alexander Jones (3A) William Moore (3A) Heather Chin (3) Zurich Ballet Laurence Rigg (3A) K Ballet Ayano Tsuchiya (3) National Ballet of Marseilles James Pickup (3A) The Vanemuine Theatre Ballet Company, Estonia Hayley Blackburn (3) Dutch National Ballet Milena Sidorova (3) Scottish Ballet Emma Rigby (3) Asier Edeso Eguia (3) Other 3rd year students: Amy Hadley (A), Amanda McGuigan, Marie-Claire Newton (A), Jade Payette, Rodrigo Barras, Gregory Mauree Programme: Allegro de Jeunesse Choreography: Liam Scarlett I arrived a little bit late and had the chance to glance at the cast sheet, but not to peruse the programme before the show began. While slightly repetative at times, this piece shows a talent waiting to happen in Scarlett, especially as he managed dealing with a large cast and large formation really well - something that doesn't often happen in current choreography. Scarlett was also combining a variety of levels, and both pointe and non-pointe work, and he did so very well. It was also surprising (to me!) to see the already decent partnering skills of some of these very young men. At first I thought this piece included both upper and lower school students, and only when looking at the programme in the interval did I realise that it was all lower school ('years' 7-11 - this is not ages, but rather level). The lead girl was impressively dance by Ruth Bailey (10A), who had oodles of stage presence for her young age. Two couples danced around her and mirrored each other, with the older couple (Yvette Knight (11A) and William Bracewell (9A)) dancing more complicated versions of steps performed by the younger duo (Zoe Arshamian (8A) and Sean Bates (8A)). Monotones II Choreography: Ashton Cast: Heather Chin, Thomas Forster, George Hill La Valse Choreography: Ashton Cast: Adeline Kaiser, Amanda Mcguigan, Demelza Parish Joseph Caley, Alexander Campbell, Gregory Mauree Pas de Quatre: Mark Aitchison, Leigh Alderson, ,Russell Clarke, David Moore Corps: Comprised from Upper School students Part of the school performance is to show both accomplishment and potential, which these two pieces did. While La Valse will also be in RB's rep next season, I wonder if this was also a point to say yes, we can dance Ashton, in all his diversity!? As I mentioned in a previous post, I thought that Monotones II was superbly performed. Yes, there were a few hiccups, but overall this was a smooth, introspective performance, and has me sitting up expecting Great Things from these dancers in the future. Heather Chin has the cool grace and necessary flexiblity for this piece, and the boys had nice clean lines and good partnering skills. The curtains then went up on La Valse, seeming to surprise a few dancers who were not already in position. Unfortunately, from the back of the Amphi I was unable to discern which dancer was which (!). The overall performance could have used some more mysterious glamour, but was nonetheless well-danced again. Uneven Ground Choreography: Paul Boyd Cast: Leigh Alderson, Feargus Campbell, Shevelle Dynott, Jade Hale-Dhristofi, Gregory Mauree, Jade Payette, James Pickup, Liam Scarlett As a correction to my previous post - this was orginally created in 2001 for the Queensland Ballet. The curtain rises on a late summer, beachy afternoon, with the guys lounging about on hammocks and on the ground. They dance together, they dance individually. At first it seems that the individual stories might take root, that there might be some exploration of what seems to be the disgruntled nature of their youth... but no. After a while, one of the 'guys' takes off his hat, letting her long hair tumble down. Some saw the following interactions between her and the rest of the guys as flirtation, I rather saw it as a challenge - her asserting her right to be there and demonstrating 'I can do what you can do'. Overall this is a fun piece, but repetative at times. It did succeed in demonstrating that these are versatile young dancers as well. Payette is also dynamic to watch, although her stage presence could have been a little 'higher' at the begin of her solo (it was there at the end). Raymonda - Act III, Grand Pas Choreography: Petipa Cast: Principals: Milena Sidorova, Alexander Jones Girl's Solo: Amy Hadley Pas de Quatre: Joseph Caley, Alexander Campbell, Asier Edeso Eguia, Laurence Rigg Pas de Trois: Kristen McGarrity, Pattra Sarikaputra, Ayano Tsuchiya Corps: Hayley Blackburn, Amy Hadley, Kaori Higashiyama, Kristen McGarrity, Emma Rigby, Pattra Sarikaputra, Ayano Tsuchiya, Briony Viele, Joseph Caley, Alexander Campbell, Asier Edeso Eguia, Thomas Forster, George Hill, William Moore, Xander Parish, Laurence Rigg Sidorova and Jones seemed well-suited to each other, with easy partnering. She could have danced with more authority in her 'clapping' solo, but overall had a well-placed extension and charming musicality. I was most impressed by the solo by Hadley and whoever was the middle girl in the pas de trois. Nice footwork, good control, and great stage presence. The performance came to a close with the usual Grand Defile involving all the students and allowing a few of the boys of the Upper School to wow the audience with their jumps and multiple pirouettes (whomever Mr. Pirouette was, he was really impressive, although I wish he would start his turn with a little less skater-like openness). Overall, the afternoon probably saw one of the highest rates of ice cream sales (hot day, loads of kids), and a bubbly and appreciative audience. Of the dancers, it appeared that a lot of attention was being given to good, attentive partnering and line/placement. I think that the BRB has really gobbled up the great and the good in regards to the students its gaining, particularly the boys. The most impressive girls are going elsewhere in Europe, and it appears that is why (combined with nationality issues?) the RB is taking up some of its second years.

While I'm typing up my thoughts, here's a link to today's review in the Times: RBS Matinee - Times Review

Will report back tomorrow (am madly working on a chapter deadline at the moment) and bring my programme into the office w/ me for accuracy! What I remember: First Half: Choreography by graduating student of upper school, for lower school Monotones II La Valse Second Half: Uneven Ground (I think originally for RNZB? With 8 boys, one girl - Jade Payette) Raymonda, Act III Finale A lot of graduating students going to BRB, and then elsewhere (Stuttgart, Royal Dutch.... mainly European companies), while RB is gaining some second years from the Upper School... Sorry for the lack of information at hand today! Ami *edit*: and there's a review on ballet.co: RBS Annual Matinee Performance - ballet.co review

I went to the matinee, which I thought was *fabulous* - loads of energy and joy. I don't have my programme with me, but remember a bit.... anything in particular you want to know??? One of the highlights for me was Monotones II with Heather Chin (who's going to Stuttgart Ballet) - and I don' t remember the guys. There was one or two hiccups, but overall a really really superb performance.

Re: Zakharova - this from an inteview in 2003, http://www.ballet.co.uk/magazines/yr_03/au...zakharova_2.htm wherein she is asked about her extension: I remember reading that and initially thinking 'well, then'.... This thread is interesting as I've just come from a long discussion with my new ballet teacher about extension (and my lack thereof, in today's standards), and have also been having an email conversation about it with my former teachers, who see the 'Guillem effect' and, to some extent, the need to train their dancers and promote their flexibility if the dancers are going to be competitive in today's world... The key point being about training - so that flexibility is not hyper, beyond control, and without placement, artistry, etc... and doesn't compromise strength. All this as just a long-winded approach to say that I wish some other young dancers out there were reading this - so much is made of the 'impressive' factor that often all other factors are put to the side. I've seen this a lot by teachers themselves.... Thank you, Hans, for starting this topic.

Well, Acosta, for one, is scheduled for next year at the RB... I'm assuming that some of these are considered *guest* principal artists? Does ABT delineate?

Farrell Fan - the accounts of that day are fabulous. See end of the thread at: Exploring Ballet with Suzanne Farrell, for Adults (At Ballet Talk for Dancers) Of course, how gutted am I that this company started up *after* I moved away from DC???