Jamesrhblack

I've just watched a clip of Takada in La Sylphide on You Tube. Was curious as injury had taken her out a lot and I'd not seen her (didn't go to Raven Girl). Absolutely exquisite, with a wind blown,borne on the music, delicacy reminiscent, to my eyes anyway, of Alina. Fumi Kaneko's intensity impressed me very much in 24 Preludes and there's a lovely ROH video of her rehearsing Nutcracker, partnered by Kish, under the watchful eyes of Lesley Collier and Jonathan Cope. I have no wish to enter into the mini debate above on Japanese dancers or, pace a veiled criticism above, to denigrate other dancers. However, re-watching these two remarkable young ladies clarifies why Kaneko is suddenly getting a lot of chances and also why Takada was being offered them. If she's fit, I think Takada is a likely replacement to dance with MacRae as Kitri (his physique obviously conditions with whom he can be paired) and, just possibly, depending on preparation time (I don't know if she's learned iit in the past and accelerated 'forcing' is my hunch re the I juries that took her out of Beauty and Swan Lake) as Juliet too. Splendid as Morera is (and she was an extremely detailed and affecting Larisch most recently) I think the time for Juliet has gone and I don't see her being cast in Beauty or Swan Lake now as management will be looking to the long term future of the company with debuts in those roles. Of course, having danced Kitri years ago under Stretton when she was just starting, she might get lucky re Don Q. However, remember Marquez was booed when replacing Cojocaru - unfairly, of course. My opinion, and it is just that, is that management will wish to give an audience deprived of a much loved favourite something fresh and special to soften the blow. This is not, be assured, intended as a denigration of Laura Morera. I think it's important if we enter into these speculations, and perhaps an earlier poster is correct and we should really desist and just patiently restrain ourselves, that we try to maintain as objective and realistic a stance as possible - that, I am sure, is what management tries to do.i recall Cervera saying he'd asked to do only one role, Oberon, and had been refused. If i am correc this was around the time Polunin left. Whilst many on the forums would have been delighted to see him, management decided against this and brought in a guest. That's possibly not the best example and time logistics may also have informed the decision. However, I hope it will explain what I am trying to convey regarding my thoughts on realistic management decisions.

As, of course, was Deborah Bull, one of the dancers I have most admired over the years. However, in common with Galeazzi, Morera and Wason, she wasn't regarded as a core classicist, and although I thought she was a wonderful Odette/Odile and I wish I'd seen her Aurora, I can't really envisage her as, for example, Giselle, Juliet or Manon. She'd have been a great Larisch though (seeing Mayerling three times this season has reinforced what a great role it is and why MacMillan wrote it for a major star ballerina, Merle Park).

I mean nine, not eight. Apologies.

I am going to stick out my neck here. Although I think there will be promotions in the lower ranks, I am not convinced that there will be at principal level. Kevin O'Hare has made it clear he felt the were too many principals and I don't think there is anybody who absolutely justifies promotion at that level. I know that Yuhui Choe has her devoted fans and I always enjoy seeing her. However, her career seems to have stalled a little of late. Takada has been cast in Beauty and Swan Lake ahead of her (admittedly, injury prevented either performance happening), Kobayashi has been cast in Beauty ahead of her and danced Nikiya when injury intervened despite Choe having danced the role before (I appreciate she danced several Gamzattis) and Kaneko has been cast ahead of her as Kitri. Her casting as Stephanie, originally a principal role but now seemingly much more often a junior soloist role, suggests that management doesn't necessarily see her at a higher level than she has now achieved. I think Alexander Campbell is a wonderfully engaging artist and his technical brilliance as First Officer in Mayerling was dazzling. I am thrilled he will dance Basilio but his relatively compact stature will always be contentious at principal level and despite the examples of Kobborg and, more particularly, McRae, I don't think it will happen just yet, although I can see that there is a gap, particularly with Edward Watson not dancing some of the core classical roles. Looking at the other First Soloists, Valeri Hristov and Ryoichi Hirano have danced the occasional principal role but don't seem consistent principal material, Hikaru Kobayashi has smiling grace but, for me, lacks principal authority and glamour, and Itziar Mendizabal always impresses me hugely but I don't see at a higher level either. So, my tips would be:- Melissa Hamilton to First Soloist Fumi Kaneko to First Soloist James Hay to First Soloist David Trzensimiech to First Soloist Olivia Cowley to Soloist (just possibly) Meaghan Grace Hinkis to Soloist Claudia Dean to First Artist Tristan Dyer to First Artist Francesca Hayward to First Artist I don't think there is room for much more promotion, and, sadly, consistent injuries to Beatriz Stix-Brunell and Akane Takada mean that they've not been seen enough to justify anything more for now. That's eight promotions with four principals, one soloist and one First Artist going (that have been announced) What do other people think?

A shame indeed. I saw him as Bratfisch about ten years ago and that he was a captivating dancer and personality. Unfortunately, he seems always to have been injured on other occasions ...

i was thinking g that Nehemiah Kish might have worked as Des Grieux with her ...

Ah, yes, of course. Apologies. I did check before posting and even so managed to miss that. I'm very relieved too and just wish she were given wider opportunities. Her first Manon was so extraordinary and I've always been sorry that she wasn't cast in later seasons in this role.

I'd agree that the reporting was sloppy but the inference seemed clear. However, as Ian points out Boston and RB schedules don't coincide in any useful way. On the other hand, Zenaida Yanowsky doesn't seem to be cast at all in Period One. mind you. There have been announcements made regarding Benjamin and Galeazzi so it would seem odd that the RB wild let such information reach the public via an outside article.

Picked up a seat for £10 in Row D of the Upper Circle for today's matinee (the Balcony was closed) and was able to move to the front row as the theatre was half empty, although the audience was hugely enthusiastic. Perhaps there's a glut of dance this week but it is ominous for Rojo's ambitious programming policy. If audiences won't respond the board is bound to intervene. That would be a great pity. I don't really know much about ENB's current dancers to my shame and was hugely impressed by much of what I saw. Of course, Rojo and Le Riche danced up a thrilling storm in La Jeune Homme et la Mort but the ensemble, in particular, the men were outstanding in ensemble and panache in Petit Mort. It was astonishing how modern the Petit felt and I loved the contrast between the classical purity of Mozart's music and the angular formalities of Kylian's style. Etudes seemed rather long and fussy by comparison and the rather cacophonous orchestration of the Czerny was not to my taste. Nor did the dancers always look technically comfortable (I appreciate that some of the demands are fearsome). Nevertheless, there were some dazzling moments from Shori Kase and Guilherme Menezes (such foutées) and it was an excellent afternoon

A cause for concern that Takada still seems to be injured. What is the prognosis for Galeazzi actually returning?

I guess I'm just pleased Galeazzi is doing Vetsera (surely unsurpassed since Seymour). I'd agree it's odd that Choe is Gamzatti not Nikiya and although I can appreciate the logic of Chapman not doing Gamzatti am kicking myself I didn't see her do it last opportunity. I'll never the amazing impact she made the first time I saw her (as Mitzi Caspar) and hate to think of her just in character or quasi character roles. At least Yanowksy is cast in three consecutive programmes :-)

My first Neapoltan Dance in 1971 was Merle Park and Alexander Grant, both principals, and I still remember the expectation, and consquent delight, epxerienced by audiences in the later 1970's reading that the Neapolitan was to be danced by Lesley Collier and Wayne Sleep, both Principals. During the late 1970's / early 1980's, I do recall Laura Connor and Wendy Ellis as a Big Swan and Zulma (or was it Moyna), both of which would have involved them as Principals in Corps de Ballet work. It's probably also true to say, with no disrespect intended, that both ladies were rather like Laura Morera in that they had defnite qualities which deserved promotion but were not obvious principal material and that the sheer exigencies of keeping them on stage necssitated some sideways thinking casting wise. I'd also like to make it clear that I think Laura Morera a splendid dancer and whilst I'd be delighted to see her Neapolitan I would think it odd to see her now in a role that involved extensive corps de ballet work.