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Royal Ballet: 2009/10 season
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Author:  Cassandra [ Tue Nov 10, 2009 11:14 am ]
Post subject:  Royal Ballet: 2009/10 season

A uniique celebration at Westminster Abbey next week, the following from the Abbey's web site:

Quote:
A Service to Dedicate a Memorial to the Founders of the Royal Ballet 17 November 2009 at Noon

A Memorial to the Founders of The Royal Ballet will be dedicated in Westminster Abbey during a Special Service at Noon on Tuesday 17 November.


I plan to attend this and will report back.

Author:  LMCtech [ Tue Nov 10, 2009 2:06 pm ]
Post subject: 

Sounds very interesting. I will be interested to hear who will attend.

Author:  Cassandra [ Wed Nov 11, 2009 10:30 am ]
Post subject:  New Triple Bill

I chickened out of both Mayerling and the Sleeping Beauty I’m afraid, but the triple bill with a new work by Wayne McGregor was far more tempting. I didn’t go to the opening night but on the night I went the Agon wasn’t that great, though cast changes at the last moment couldn’t have helped.

Of all the fascinating works of Glen Tetley goodness knows why the RB decided to revive Sphinx, it isn’t typical of that choreographers work and needs a strong dramatic trio of dancers to do it justice. Edward Watson of course fitted the bill perfectly with some powerful emoting but the Sphinx herself and Oedipus were underplayed.

It was up to McGregor to save the evening with his new work, Limen. More classical than anything I’ve seen from him before, at its heart was a pas de deux of translucent beauty heart-stoppingly danced by Sarah Lamb and Eric Underwood. They complemented one another perfectly with Lamb looking almost unworldly, a spiritual presence rather than flesh and blood. Danced to an impressive modern score by Kaija Saariaho McGregor moved away from his bankable formula of high energy exertion and showed us more subtlety than I’ve come to expect, as if his choreography is finally emotionally growing up.

Here's what the critics have to say:

The Times
http://entertainment.timesonline.co.uk/ ... 905078.ece

The Guardian
http://www.guardian.co.uk/stage/2009/no ... ill-review

The Telegraph
http://www.telegraph.co.uk/culture/thea ... eview.html

The Financial Times
http://www.ft.com/cms/s/2/d3dc9a06-caf9 ... abdc0.html

Evening Standard
http://www.thisislondon.co.uk/theatre/r ... -ballet.do

A quite unwarranted attack from the Telegraph on the dancer Rupert Pennyfather I thought. He may have been somewhat mis-cast in the role, but in a company where the standard of male dancing isn't impressive, I find it odd to single out Pennyfather who is at least adequate (sometimes more) which can't be said of a worrying number of his colleagues.

Author:  Francis Timlin [ Thu Nov 12, 2009 8:47 pm ]
Post subject: 

Clement Crisp reviews Thiago Soares as Rudolf in "Mayerling" in the Financial Times:

Financial Times

Author:  Cassandra [ Fri Nov 13, 2009 6:45 am ]
Post subject: 

Fulsome comments indeed from Mr Crisp about Mayerling, but I can't share his enthusiasm for a work with such a bewildering cast of characters that newcomers to the ballet need a thorough knowledge of the politics of 19th century Austro-Hungary if they are to make any sense of it at all.

What was it Balanchine once said about mothers-in-law in ballet?

Whatever one's feelings about them, R & J and Manon are danced across the globe: to the best of my knowledge Mayerling isn't.

Author:  CarolinaM [ Sun Nov 22, 2009 9:02 am ]
Post subject: 

Quote:
The Sleeping Beauty and The Rite of SpringRoyal Opera House

London WC2

Luke Jennings The Observer, Sunday 22 November 2009

In Act One of The Sleeping Beauty, shortly after her first entrance, the ballerina dancing Princess Aurora faces one of the hardest tests in the classical canon. Presented with four suitors, she dances with each in turn in a passage known as the Rose Adagio. As the sequence approaches its climax, each suitor takes her hand and slowly rotates her on the spot in attitude. Between these promenades, Aurora lifts her arms to balance on pointe. Sounds straightforward, but as former Royal Ballet principal Deborah Bull remembers, these long unsupported balances make the Rose Adagio "quite simply, the most terrifying dance in the ballet repertoire".

Every so often, however, a ballerina decides to risk making the sequence even harder – as Tamara Rojo did on Monday. Holding her arms above her head en couronne, she ignored her final suitor, and just balanced, statue-still. The moment stretched and stretched, and when the final chord sounded and Rojo's leg coolly unfurled from attitude into high arabesque, the audience went wild. It was an expression not just of supreme technical mastery, but of theatrical calculation. This Aurora, Rojo was telling us, breathes the heady air of independence.
.../....


Full article at The Guardian

The ROH is schedulled at el Liceu in Barcelona next July with their Sleeping Beauty :D

Tamara Rojo will be dancing two performances. Don't want to miss her!!! and neither Alina nor Marianella even if I get ruined!!! :roll: and even if Tamara will stop dancng for while in a short as she will be learning on how to manage a company with the management of the National Ballet of Canada.

Author:  CarolinaM [ Thu Nov 26, 2009 1:08 pm ]
Post subject: 

Quote:
Tamara Rojo's leap of faith

She is one of the Royal Ballet's finest dancers. Now Spain wants her back. The outspoken Tamara Rojo reveals what's stopping her from going

Judith Mackrell
guardian.co.uk, Wednesday 25 November 2009

It is November, and most ballerinas are getting ready for the seasonal round of Nutcrackers. Tamara Rojo, however, won't be among them. She grins with delicate malice. "The Sugar Plum Fairy isn't my favourite role. She's so vacuous, a character with no past and no future."
../...


The Guardian

Author:  Francis Timlin [ Tue Dec 15, 2009 3:51 pm ]
Post subject:  Les Patineurs/Tales of Beatrix Potter

Sarah Frater reviews a performance of Ashton's "Les Patineurs" and "Tales of Beatrix Potter" in The Evening Standard.

Evening Standard

Clement Crisp in the Financial Times.

Financial Times

Judith Mackrell in The Guardian.

The Guardian

Debra Crane in The Times.

The Times

Ismene Brown in the Arts Desk.

Arts Desk

Author:  Francis Timlin [ Thu Jan 07, 2010 2:54 pm ]
Post subject:  Re: Royal Ballet: 2009/10 season

In The Guardian, Judith Mackrell previews Kenneth MacMillan's "Romeo and Juliet," opening, as she points out, for the 420th time on Tuesday, January 12, 2010 at Covent Garden.

The Guardian

Author:  Francis Timlin [ Wed Jan 13, 2010 2:34 pm ]
Post subject:  Re: Royal Ballet: 2009/10 season

At the Tuesday, January 12, 2010 performance of "Romeo and Juliet," Rupert Pennefather substituted for an injured Carlos Acosta in partnering Tamara Rojo. Some reviews of that performamce follow.

Sarah Frater in The Evening Standard.

Evening Standard

Ismene Brown in The Arts Desk.

The Arts Desk

Author:  Francis Timlin [ Thu Jan 14, 2010 2:00 pm ]
Post subject:  Re: Royal Ballet: 2009/10 season

Two more reviews of the opening night of "Romeo and Juliet."

Judith Mackrell in The Guardian.

The Guardian

Sarah Wilkinson in The Stage.

The Stage

Author:  Francis Timlin [ Thu Jan 14, 2010 2:37 pm ]
Post subject:  Re: Royal Ballet: 2009/10 season

Debra Craine in The Times enjoyed the "Romeo and Juliet" casting substitution on Tuesday, January 12, 2010.

The Times

In The Independent, Zoe Anderson is more equivocal.

The Independent

Author:  Francis Timlin [ Mon Jan 18, 2010 8:15 pm ]
Post subject:  Re: Royal Ballet: 2009/10 season

For The Independent, Susie Mesure interviews Rupert Pennefather after his unexpected substitution as Romeo to Tamara Rojo's Juliet.

The Independent

Author:  Francis Timlin [ Tue Jan 19, 2010 6:48 pm ]
Post subject:  Re: Royal Ballet: 2009/10 season

In The Telegraph, Mark Monahan compares two "Romeo and Juliet" casts: one headed by Tamara Rojo and Rupert Pennefather; the other by Alina Cojocaru and Johan Kobborg.

The Telegraph

Author:  Cassandra [ Wed Jan 20, 2010 8:25 am ]
Post subject:  Re: Royal Ballet: 2009/10 season

What is it with Mark Monahan and Rupert Pennyfather? This is the second time he has given him a kicking in print in the last couple of months.

Time was when critics maintained a discreet silence over any shortcomings of dancers stepping in to replace an injured colleague, has this basic courtesy now been dropped?

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