Showing posts with label Ballet. Show all posts
Showing posts with label Ballet. Show all posts

Thursday, 13 May 2010

Saute On - The Ballet


Saute On - the ballet

Saute-On - the ballet is an iPhone app which is usually chargeable to download.  Courtesy of the developers, I have 10 codes to give away to US readers. 

Please note - the code only works in the US, so if you are based anywhere else it just won't work. That's the way it has been set up by Apple. I have not reviewed the app and so I am not endorsing it. 

Please leave a comment with your location and contact details in the form below, and the first 10 readers who do so will receive the free code. 

Good Luck !






Thursday, 1 April 2010

Cupcakes & Conversation with Maria Kochetkova, Principal, San Francisco Ballet


Cupcakes & Conversation with Maria Kochetkova, Principal, San Francisco Ballet

Elo Double Evil photo © Erik Tomasson

What motivates you at 8am on a Monday morning ?
Coffee and a croissant.

What are you looking forward to dancing in 2010 ?
We just had a premier of Wheeldon's new ballet Ghosts where I was dancing the central pas de deux, it's a beautiful ballet to dance and to watch and the creative process was very interesting too. Also I just had my debuts in Balanchine's Serenade and Theme and Variations and Jerome Robbin's Opus 19/The Dreamer. Now I'm looking forward to the New Yuri Possokhov's ballet and artistic director Helgi Tomasson's Romeo & Juliet.

Who would you most like to dance with & what would you dance ?
I would like to dance with Michail Baryshnikov... anything.

Possokhov Diving into the Lilacs partner Gennadi Nedvigin) photo © Marina Gulyaeva

If you could dance anywhere in the world (not only in a theatre), where would you dance ?
The Mariinsky theater.  I would like to experience what it feels like to dance on that stage where so many of the greatest dancers performed.

How do you prepare your pointe shoes ?
I don't really do much to my pointe shoes... I just break the box of the shoe so I can do demi pointe.

What is your daily routine at the moment ?
Wake up, breakfast, warm up, class, rehearsals, lunch (if I'm lucky), more rehearsals, make up, warm up, performance, bow, dinner, shower, bed.

Tomasson Swan Lake photo © Erik Tomasson

You can ask six famous people to dinner - who would you invite ?
Sergei Diagilev, Alexander Pushkin, David Lynch, Audrey Hepburn, Petr Tchaikovsky, Yuri Gagarin.

What would surprise people about you ?
People always tell me I look much taller on stage.

Who inspired you to dance ?
While I was studying at the Bolshoi I admired Ekaterina Maximova, Sylvie Guillem and ballerinas from the Mariinsky theater. I remember watching videos over and over again, I really wanted to be like them.

Wheeldon Ghosts (partner Vitor Luiz) photo © Erik Tomasson

What is your best piece of advice ?
Trust yourself, you can do so much more than you think you can.

How do you prepare in the hours before a show ?
I start getting ready very early and take a long time (a few hours) to warm up, I also avoid talking to anyone so I can concentrate for the performance later.

Coralli, Perrot Giselle (partner Gennadi Nedvigin) photo © Marina Gulyaeva

Which role has tested you the most & how ?
Odette and Odile in Swan Lake. I never felt like I was right for this ballet and never felt like I wanted to do it which is not normally like me. As I started working on it I fell in love with it, but the working process wasn't easy for me. It was also the first time I had to do some sort of evil character as Odile in ballet.

If you were asked to design your own ballet costume, what would you create ?
It would definitely be something plain and comfortable to dance in. I would love it if Vivienne Westwood could design a costume for me.

Forsythe in the middle, somewhat elevated photo © Erik Tomasson

What do you look for in a dance partner ?
I like dancing with partners who want to keep working until everything feels right and I can trust them.

What is your favourite quote ?
Everything happens for a reason.

What’s been your best on-stage moment so far ?
At the curtain call of the opening night of Giselle at the Kennedy Center. I was still new as a Principal dancer to the company and I was given this opportunity. I felt very nervous as I was representing the whole company. When I saw audience standing during the bows I was so relieved and happy.

Tomasson Swan Lake'photo © Erik Tomasson

Do you have a secret skill which no-one knows about ?
Yes, but I can't tell you.

In terms of your ballet career, where would you like to be in a year from now ?
I'm very happy with where I am at the moment. There is so much I could wish for but it's always nice to have more work created on you, more ballets to learn, to travel around the world and meet more interesting dancers and choreographers.

Petipa The Sleeping Beauty (Nikolay Korypaev) photo © Nikolai Krusser

Tuesday, 23 September 2008

The Royal Opera House

Having endured yet another day of absolute hell on sticks trying to book ballet tickets via the Royal Opera House website, I am left reeling by their inability to fix long-standing problems.

The problems with system overload when the Friends try to book online, all at the same time, have been around for as long as I have been a member. Even when it was first introduced, as a way of alleviating the burden on the box office staff who processed postal ballot papers, and to give us members some control over the process and cut out the dreaded wait for the post, there have been problems.

Today's issues contributed to the worst ever booking experience, and an email to the Friends office elicited only an apology. That's better than nothing but with no mention of a solution in the pipeline, you wonder whether things will ever get better, and boy have we Friends been patient. Yes, we have been vocal in our admonition of the process, because the Company are so keen to promote themselves as a world class organisation, and this debacle every booking period shows that they are plainly not.

The unannounced introduction of the "waiting room" last year had angered many. As the website cannot cope with, I think it is more than 200, people at any one time, one is forced into an interminable wait. The number ticks round but I have never found it to be a true representation of my place in the queue and as often as not I will be nearly at the front, only to be thrown back to 1039 or something.

Another irritation is that fact that even though booking opens at 8am, the box office staff have to load each date into the system so that in fact, even if you are lucky enough to skip the waiting room and be one of the lucky few first in, you will still have to refresh the pages and wait around 10 minutes depending on how far down the list your favoured production is. I think they need to find a way so that everything is available at 8am as they state - so that the pour souls left worrying in the waiting room can get in faster.

One of the worst facets of all of this is the lack of transparency from the ROH. We are never told the extent of the problems, and never given any indication that they know what needs to be done to fix it. Even testing the system doesn't provide them with fool-proof workings.

In my own experience at 8am this morning, I was one of the lucky few straight in, but getting from one page to another I was timed out and had to start again. I don't understand how I missed the waiting room every time but I did. Even so, when I found the right page, there were almost no tickets left in the area that I wanted - and that was the top priced areas which are usually more freely available. Eventually I found a few I was happy-ish to pay for, but going through the checkout was a disaster. It took forever, but the payment was authorised by my bank. The ROH never got any notification of it and refused to accept it had been authorised. I called the Friends office and was told that they had experienced problems with MasterCard's the day before, so why on earth had they not emailed all the members they could to warn them ? The evening before booking I received an email reminding me of the date and time for booking, so it surely must have been possible. As it is, I am left with tickets reserved somewhere because they were in my basket, but because of the inability of the Company to retrieve authorised transactions, we have to wait for it to fall off my account and then they take the money again. I know there are plenty of people who end up paying three, four or even five times for the same tickets, and I suppose this gets sorted out later, but I simply refused to be party to this way of working when my credit card company assure me that the transaction is good.

I dare say the box office staff are swamped on days like this, and to their credit they are always helpful even when under the most intense pressure.

But is is just not on for a supposedly world class organisation to put it's members and staff through such stressful times during every single booking period and consistently fail to fix the problems which occur every time. I wouldn't mind betting that their solution this time is to limit even further the number of people who can access the site, when really an injection of capital and resource is needed to increase capacity. Maybe the money just isn't there - but then transparency is called for and we should be told that they are just unable to improve sufficiently. Sure, more members will cancel their direct debits but that's happening anyway because in all honesty no-one has the time or wants to be stressed out at 8am every time booking comes around.

I'm also very concerned about the lack of tickets available when I book. I used to find that my membership level was sufficient to be able to buy the top priced seats which I favour, but no longer. As each new booking period comes along I find that it's harder and harder to find available seats, and at the top price why shouldn't you be picky about exactly where they are ? I would like to know where all these seats have gone. I know some members say that they find a better allocation when public booking comes around. Again, transparency is called for when it comes to the allocation of the tickets for each membership level but I have never found the ROH agreeable to this. I dare say if a VIP needs a seat on any given night, they are not turned away, which means that there must always be spare seats held back. But this is just my assumption because the ROH never say how it works.

All in all, not impressed.