volcanohunter

The company could easily exempt children from the requirement.

I've seen Ramasar as Demetrius. I suspect they're afraid of the queues for the women's toilets. Lots of people bunched up together sharing air, stalls and fixtures.

I think I've been misunderstood. I was not horrified by what I saw in that clip the way I am horrified by Zakharova, Somova or Smirnova. Rather I found it soulless and uninteresting, lacking in phrasing or daring or energy running through the limbs and extending beyond them. I didn't enjoy any aspect of it, not the principals, not the demi-soloists and not the corps. That's what's so dispiriting. (Although yes, I despise arabesques--and attitudes--that rise above the head, unless they're actually supposed to be penchés.)

Hmm. I guess ballet has reached a point where I can't enjoy it anymore. It's deeply sad for me, but I evidently after some 45 years, I have to get off the carousel.

Planes can easily fly over Latvia, I've transferred there many times myself because the airport in Minsk is a dive. And I'm pretty sure that Aeroflot planes, assuming regular flights between London and Moscow are continuing, aren't avoiding Belarusian airspace. More likely, the quarantine requirements in Britain make traveling untenable. The United States has no such quarantine restrictions, so Sara Mearns recently flew to Moscow and back.

The Stuttgart Ballet in a program of works by Christian Spuck, Marco Goecke, Edward Clug and William Forsythe. On demand until June 21.

Viewers in the UK, US and Canada can purchase access to the British Ballet Charity Gala featuring Ballet Black, Birmingham Royal Ballet, English National Ballet, New Adventures, Northern Ballet, Rambert, Scottish Ballet and the Royal Ballet, and hosted by Darcey Bussell. The stream will be available until July 18. https://stream.roh.org.uk/products/british-ballet-charity-gala The program includes pieces by Sophie Laplane, Will Tuckett, Jonathan Watkins, Kenneth Tindall, David Bintley, Matthew Bourne, Yuri Possokhov, Andrea Miller and Valentino Zucchetti.

Not as far as I know, but the performances can be accessed online.

The Staatsballett Berlin has announced its repertoire for next season. (The link at the top of this thread leads to the Bavarian State Ballet.) https://www.staatsballett-berlin.de/en/saison_21-22 It includes a David Dawson double bill, a new piece by Sasha Waltz, The Sleeping Beauty, Don Quixote, Onegin, Swan Lake, Jewels, a Forsythe/Eyal bill and a young choreographers' evening.

The Royal Ballet's stream of Apollo, Tchaikovsky Pas de Deux and Dances at a Gathering can be purchased here: https://stream.roh.org.uk/products/balanchine-and-robbins It can be accessed until July 11.

Oksana Lyniv is about to become the first woman to conduct at the Bayreuth Festival. https://www.bayreuther-festspiele.de/en/programm/auffuehrungen/der-fliegende-hollaender/ https://m.dw.com/en/the-bayreuth-festival-to-have-a-female-conductor-for-the-first-time/a-55003920

Sae Eun Park has been named danseuse étoile following today's performance of Nureyev's Romeo and Juliet. https://www.operadeparis.fr/actualites/sae-eun-park-nommee-danseuse-etoile-du-ballet-de-lopera-national-de-paris

The National Ballet of Canada in excerpts from The Sleeping Beauty - prologue fairies, bluebirds, cats and newlyweds.

Sure, especially in light of the fact that the Gold and Silver Waltz was not choreographed on an Amazonian ballerina.

The director of the 1983 telecast dealt with this by showing the entire stage, so you do see a smallish Farrell making her exit, but you also see the chandeliers switch on and the couples coming on from stage right. Sort of the Fourth Ring view.

At the beginning of the season the Vienna State Opera announced it would no longer be running a paid streaming service. Granted, the theater was plunged into a repeat lockdown pretty quickly, and its migration to the (paid) Fidelio platform was delayed. But the mostly Robbins program streamed last weekend was free of charge.

I certainly wasn't hoping for skycam, but one camera for medium shots and another for a wide shot would have been nice. In particular the transition from Kowroski's solo exit to the entrance of the whirling couples was, um, clumsy. Had I been watching on a computer, the figures on the screen probably would have appeared larger and clearer than they ended up looking on my TV. But the music was really disappointing, not just because of the thin recorded sound, but also because there was quite a lot of flat playing, particularly in the Lehar.

I've been thrilled that NYCB has been posting archival recordings, but in this case the tinny sound and single camera really blunted the ballet's impact.

France is introducing a QR code that confirms vaccination/infection status. As of June 9th it will be required at any event hosting more than 1000 seated spectators. Non-residents of France have to present their Covid credentials pending the introduction of a pan-EU system. Basically, the rules are the same as in Hamburg: full vaccination or negative Covid test within the preceding 48 hours or proof of recovery 15 days to 6 months ago, plus ID. https://www.operadeparis.fr/en/info/health-pass

The Hamburg Opera House has just re-opened, and it was interesting to read what Covid safety protocols are in place. Tickets have the holder's name printed on them and must match ID. Spectators must present a negative PCR test taken within the preceding 48 hours or a negative antigen test taken within the preceding 12 hours; or proof of full vaccination at least 14 days earlier; or proof of infection 28 days to 6 months ago plus a negative PCR test taken within the previous 48 hours. (Not sure why anyone would fess up to having been infected if a negative PCR test is adequate.) FFP2/N95-type masks are obligatory at all times, the bars are closed, physical distance must be maintained and moving to a different seat is not allowed.

La Scala paying final respects to Carla Fracci

If she felt unsafe on stage because duets were under-rehearsed, I'm not sure she could have done anything differently. (In particular, more than one dancer has suffered a debilitating injury because of the feet-first slide in Manon.) But as you say, she was in a weaker position in that equation, and if he implication was "choose him or me," she ended up on the losing side. Perhaps she remembered the experience of Sascha Radetsky, who accepted a principal contract with the Dutch National Ballet and headed off for Amsterdam without Stella Abrera, but ultimately returned to ABT and his old rank less than a year and a half later. As far as distance goes, Amsterdam isn't the furthest European capital from New York, but it was far enough.

Today I've been watching her Giselle, her Dying Swan, clips of other roles, and I feel an eviscerating sense of loss. May she rest in peace, but we are so much poorer without her.

The National Ballet of Canada in Balanchine's Apollo, with Brendan Saye, Svetlana Lunkina, Jeannine Haller and Calley Skalnik, and Tarantella, with Koto Ishihara and Skylar Campbell

This is a rehearsal of Kyle Abraham's piece from the same program.