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Lynette H

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Everything posted by Lynette H

  1. Starting March 2014, a series of documentaties and a Fonteyn Sleeping Beauty from 1959 - details here http://www.bbc.co.uk/programmes/p01sgymj
  2. There is a large exhibition of Paul Klee's work running at Tate Modern in London. In among the many abstracts are some cartoon-like works. I was particularly struct by one from 1922/23 called "Main scene from the Ballet 'The False Oath'"". I found an image of this Klee work here http://www.bridgemanart.com/en-GB/asset/220672/klee-paul-1879-1940/scene-from-the-ballet-the-false-oath-1922-w-c-and-ink Does anyone know more about this ballet and who made or performed in it ? What would Klee have been seeing in the 1920s in Germany ?
  3. The recent run of Jewels at Covent Garden has made me ponder what the conventions are for crediting performers and staff for Balanchine ballets. When Symphony in C is staged at Covent Garden, it seems that all the corps names are listed in full on the cast sheet. But not so for Jewels. We get the names of the principals only. A pity really, as one would like to see the names for the four men in Rubies. Does this vary according to who is setting the work ? In other companies it is usual to get more detailed credits ? In previous runs of Jewels the stager has appeared on the first night for the curtain calls, but that didn’t happen this time, I think. (I’m sure we saw Patricia Neary before). Is it usual for the stager to appear ? The Jewels credits given are as follows. Emeralds, Staging Elyse Bourne, principal coaching Elyse Bourne, Ballet Mistress Samantha Raine. Rubies: Staging Patricia Neary, Principal coaching Patricia Neary & Christopher Saunders, Ballet Master Christopher Saunders. Diamonds: Staging Elyse Borne, Principal coaching Elyse Bourne and Christopher Saunders, Dance Notator Anna Trevien. These don’t seem to have changed much since the last run in 2011, except Sam Raine replaced Ursula Hageli as Ballet Mistress. I understand that all works are notated at Covent Garden, including new-to-the-company Balanchine acquisitions. I have a feeling we were told once that when the stager for one of these pieces changed, they had to notate the differences in the setting. I think that might have been Diamonds. (The Royal first took on Jewels in 2007 or so). Forgive me if this sounds a bit nerdy, but I am curious why some roles are thought to mention an acknowledgement and others aren’t.
  4. Lynette H

    Yuan Yuan Tan

    Yuan Yuan Tan appears in London at Sadlers Wells in November. "a new British-Chinese cultural collaboration exploring where classical meets contemporary dance, showcasing the extraordinary talents of Chinese prima ballerina Yuan Yuan Tan, principal dancer with San Francisco Ballet and Taiwanese virtuoso Fang-Yi Sheu. The evening includes three UK premieres choreographed by Taiwanese-born American Edwaard Liang, and Sadler’s Wells’ Associate Artists Russell Maliphant and Christopher Wheeldon". http://www.sadlerswells.com/show/Liang-Maliphant-Wheeldon
  5. The list of graduate contracts has been published in the RBS Linbury performances programme. I see from this that Esteban Hernandez is joining SFB.
  6. Cojocaru gave an interview just a month ago where she sounded happier with the RB than she had been for some time, which makes this more surprising. http://www.theartsdesk.com/dance/10-questions-ballerina-alina-cojocaru?page=0,1
  7. Cinema broadcasts for opera, theatre and ballet have all taken off. Maybe exhibitions are next. The British Museum has a hugely popular exhibition on at present, Life and Death in Pompeii and Herculaneum. It's quite difficult to get a ticket, given the demand. There will be a cinema broadcast of the exhibition on 18 June. Details at http://www.britishmuseum.org/whats_on/exhibitions/pompeii_and_herculaneum/pompeii_live.aspx The cinemas in question seem to be only UK / Ireland, but I suppose it might spread further or be repeated. This might not be the first live cinema event for an exhibition - I have a vague recollection that the Royal Academy's recent Manet exhibition was broadcast.
  8. It's not new - the group held their first performances last summer at the Peacock. The group aims to give performance opportunities to young dancers and choreographers at the begining of their careers. Darcey Bussell is a Patron, I think. They are fundraising at present. They will be back at the Peacock this autumn. http://www.nebt.co.uk/performances.shtml
  9. I think the Royal Ballet last danced Illuminations in 1994 or 1996. I think the cast at that time included Jonathan Cope and Darcey Bussell.
  10. The Royal Opera House is holding a live streaming event on 7 January. This one is opera, not ballet focussed - you can read about it here: http://www.roh.org.uk/news/royal-opera-live-streaming-day-announced Sounds similar in concept to the ballet-based live stream that they did last spring. They say it should be available worldwide.
  11. Maybe you are thinking of something like this, a pas de deux for man and mechanical digger: staged in London by a French company a few years ago. http://www.guardian.co.uk/stage/video/2008/oct/20/dance-umbrella-digger-priasso
  12. You might be intersted in this on the BBC website for its sheer difficulty - its the gold medal performance on the high bar. http://www.bbc.co.uk/sport/0/olympics/18903127
  13. No, I don't think so - it was created earlier, for Dutch National Ballet. I think Dawson did quite a lot of work there - not much in the UK.
  14. English National Ballet did A Million Kisses To My Skin a few years back - very strongly cast including Agnes Oaks and Thomas Edur. It was very popular with the audience. It's been a long time since I saw PNB but I think it should suit them.
  15. I just looked at the ticket availability - its not totally sold out that date now. There are 45 tickets left in the srtalls but only a handful of singles left in stalls circle and grand tier. There are seats available in the amphi. You will need to be online very promptly when public booking opens. The availability is much better on Sat 28th.
  16. I think I recognise the name Hye Jung Lee: if I'm right she was one of the finalists in the Cardiff Singer of the World this year (shown on the BBC). I recall a really specular aria as Madame Mao, brandishing the little red book. Yes it was her - details here http://www.bbc.co.uk/wales/cardiffsinger/sites/2011/pages/korea.shtml
  17. David Bintley did a Beauty and the Beast for Birmingham Royal Ballet in 2003 and it has been revived since. There's some photos at http://www.brb.org.uk/4851.html And a listing of reviews here http://www.brb.org.uk/4774.html
  18. You and me both, and many others too... I found details of a performance of the solo from The Wise Virgins quite recently - rather a surprise for me. It was peformed at a ceremony in Westminister Abbey http://www.balletassociation.co.uk/Pages/company.html#changes1011 You need to scroll down a long way but there is a picture of Natasha Oughtred in this.
  19. Thanks for posting that, rg. I've seen some film clips of Venus and Mars (without sound) - I don't know if it was from 1932. An early example of Ashton's love of ribbons, I think.
  20. There's an article about the forthcoming exhibition on the V & A web site http://www.vam.ac.uk/collections/theatre_p...ilev/index.html This has links to other V&A resources - including an article on ealier work involved in conserving Ballet Russes costumes (more than 1000 hours on one costume alone...).
  21. I have a charming little book - photos of Fonteyn by Gordon Anthony (brother of de Valois) published in 1950 with brief notes on his recollections of the works she appeared in. Of The Wise Virgins he says: "As the Bride in this very lovely, slow but strangely moving lyrical ballet of Ashton's, Fonteyn was the very personification of the dawn of womanhood.....The grace and beauty of the stylised movements of the arms and hands suited her to perfection and, giving full rein to her lyricism, she appeared literally to melt from one posture to another. A perfect complement to the imposing, celestial dignity of the Bach fugue, she seemed to surround herself with a great tenderness and peace." I've always been struck by the number of ballets he was obviously so impressed by which did not survive - nice to see a little clip of this one.
  22. Probably no more so than any other of us when we reach certain age. I also love this music but it is for me associated with an embarassing memory of Serge Lifar standing up in the stalls waving his hand to the audience to acknowledge the applause of a performance of this ballet and sadly few people seemed to know who he was and the applause dwindled, but that did not stop him waving. It is the type of celebratory exhibition ballet I am happy to see, but like Etudes, it no longer gets performed in the UK. English National Ballet have been enthusistic performers of Etudes in the UK for many years, notching up several hundred performances. The last one was last summer, at the Festival Hall. Suite en Blanc is vary rarely performed in the UK.
  23. The choreographic additions apart from the Ashton’s Neapolitan dance which was resuscitated in the 1992/93 season, include David Bintley’s Act 1 Waltz, Irina Jacobson’s pas de trois variation and the National Dances in Act 3. Leonid, has your focus moved here to Royal Ballet versions of Swan Lake rather than Sleeping Beauty. Are you in fact referring to Ashton's Neapolitan dance being reintroduced to the ballroom act of Swan Lake i 1992/3 ? Likewise the other changes that you mention. My cast sheet from the RB Beauty from 1994 (which says it is being recorded for TV) gives the following notes on the choreography "The choreography for the Fee des Lilas Variation in the Prologue is by Feodor Lopokov; for the Garland Dance in Act 1, Kenneth MacMillan: Aurora's variation and the Prince's Variation in Act2 and the Sapphire variation in Act3 by Frederick Ashton: entree and coda in the Act 3 pas de quatre, Anthony Dowell after Frederick Ashton" This version has gold, silver, sapphire and diamond in Act 3. (I miss that sapphire variation - didn't Sarah Wildor use to do this ?) The May 2006 "after Messel" production cast sheet gives the following: "Additional choreography Prologue: Carabosse and Rats, Anthony Dowell Act 1: Garland Dance Christopher Wheeldon Act 2: Aurora's variation and The Pronce's variation Frederick Ashton Act 3, Florestan and his sisters, Frederick Ashton after Marius Petipa Polonaise and Mazurka Anthony Dowell assisted by Christoher Carr" This version does not have gold, silver etc but Florestan and his sisters instead.
  24. A documentary has been made about the Royal's Cuban visit: The Royal Ballet came to Cuba at the end of their summer tour to Washington and Grenada, and brought with them a small group of Royal Ballet supporters who made individual donations to the tour. This was supplemented with unprecedented support-in-kind from the Cuban Ministry of Culture, Performing Arts Council and a small amount of local British support. Cuban journalists are now talking about the visit of the New York Philharmonic Orchestra in the autumn, these visits considered by many to be the most high-profile cultural exchanges with ‘the West’ since the revolution in 1959. In addition, Ballet Boyz (ex Royal Ballet dancers) have made a documentary about the visit which will be shown on TV towards the end of the year http://www.britishcouncil.org/arts-dance-r...ballet-cuba.htm I don't have further details but I assume this will be on Channel 4 (as for their Wheeldon at the Bolshoi documentary).
  25. I was at the performance on Thurs 6th. I wish I could say that the company made a case for this work to be a masterpiece, but they didn't, at least not for me. I didn't feel that all the performers really believed in it, and that it was real for them. Coherence of purpose seemed to be lacking: the performers seemed to be in different ballets. I last saw this in London in 2000 with Asylmuratova and Zelensky, and I admit I remember far more about her glorious performance than the work itself. She outshone everything. The critics at that time were certainly not so dismissive of the work (there is a review from 2000 available on Ismene Brown's web site). But I did come away last night wondering how a production where some performances in the past had been so revered could prove such an unrewarding evening in the theatre. It makes you gloomy about the fragility of the art form.
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