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Ballet designers play a crucial role in the art form. Their work helps to communicate the subjects, themes and stories explored by choreographers – particularly in contemporary ballet, where sets, costumes and special effects are increasingly used to reinforce the expression of ideas through movement. Designer Jean-Marc Puissant works regularly at the Royal Opera House and has become known for his rich and award-winning partnership with The Royal Ballet's Artistic Associate Christopher Wheeldon.
Puissant began his career as a dancer, studying at the Paris Opera Ballet School and the Conservatoire national supérieur de musique et de danse de Paris before dancing with Birmingham Royal Ballet and Stuttgart Ballet. Having created roles in classical, neo-classical and contemporary repertory he decided to reinvest his knowledge and experience of the theatre, and in 1998 received a grant from the Dancers' Career Development charity to study under Alison Chitty and Percy Harris on the Motley Theatre Design Course. Sixteen years on, he is in constant demand as a designer for dance, opera and theatre.
Puissant describes how, 'having been a dancer, I know the needs of dancers from the point of view of uncluttered set design and the use of fabrics'. The designs for his Royal Ballet debut on Wheeldon's Tryst perfectly demonstrate this aesthetic. Puissant's set is dominated by a large, grey screen against which are projected washes of colour. The dancers wear leotards of a similar smudgy grey, cut through with blurry stripes of purple, red and fiery orange. The designs accord with what Wheeldon describes as the work's juxtaposition of 'the beauty and the romance of nature and this incredible shifting landscape… with the idea of a very urban civilization'.
Wheeldon and Puissant's next work was DGV: Danse à grande vitesse, which had its premiere in 2007 – a response to composer Michael Nyman's score, MGV: Musique à grande vitesse, written to commemorate the 1993 inauguration of France's TGV train. Wheeldon's choreography for this ballet takes the audience on a journey through extended pas de deux and surging choreography for the corps de ballet, while Puissant's set – which he describes as being 'at the crossroads of something theatrical and something functional' – is made up of huge sheets of contorted metal mesh that bring to mind the modern, technological world that produced the TGV.
The following year came Electric Counterpoint, winner of a Critics' Circle Award. The ballet explores the identities and inner thoughts of four dancers. Against Puissant's sleek, bare décor, which comprises white walls of differing heights and set at varying angles, the dancers perform Wheeldon's striking choreography with a multitude of video projections of themselves, created by Michael Nunn and William Trevitt of BalletBoyz.
Puissant's recent collaboration with Wheeldon, the 2013 ballet Aeternum, gave rise to his most impressive piece of stagecraft for the Company yet. Wheeldon set Benjamin Britten's haunting Sinfonia da Requiem in an exploration of the pain and horror of loss. Puissant's response is an imposing sculpture of wooden planks that looms at the back of the stage and, as the ballet progresses, rotates and expands into a towering, shattered structure before lifting into nothingness. The dancers wear beautiful, simple costumes in Puissant's signature palette of greys with flashes of purple and orange that highlight Wheeldon's powerful, tortured choreography. The ballet won the 2013 Olivier Award for Best New Dance Production and the 2014 Critics' Circle Award.
In addition to his work with Wheeldon, Puissant created the set designs for The Royal Ballet's first production of George Balanchine's abstract three-act ballet Jewels. Puissant's designs reference the styles that define the music and choreography in each act – French lyricism in 'Emeralds', brilliant American jazz in 'Rubies' and pure Russian classicism in 'Diamonds'. The production also won an Olivier Award for Best New Dance Production.
Led by visionaries such as Puissant, design and stagecraft continues to develop, to increasingly spectacular effect. Only time will tell where ballet set design will go next.
The Royal Ballet performs Aeternum as part of a mixed programme with Ceremony of Innocence and The Age of Anxiety until 17 November 2014. Tickets are still available.
The production is staged with generous philanthropic support from the Royal Opera House Endowment Fund.
Royal Ballet Soloists Claire Calvert and Eric Underwood recently swapped the sprung-floored rehearsal studios of the Royal Opera House for leafy Richmond Park to shoot a short film for Deloitte Ignite 2014.
Claire and Eric worked with choreographer Charlotte Edmonds on the film, which is inspired by the myth of Leda and the Swan. It will have its premiere as part of Sampling the Myth on 5 September, alongside film commissions from choreographers Kim Brandstrup and Robert Binet.
Behind the scenes: Eric Underwood and Claire Calvert being filmed for Charlotte Edmonds retelling of Leda and the Swan film © ROH 2014/ Ruairi Watson
Behind the scenes: Claire Calvert being filmed for Charlotte Edmonds retelling of Leda and the Swan film © ROH 2014/ Ruairi Watson
Behind the scenes: Eric Underwood and Claire Calvert being filmed for Charlotte Edmonds retelling of Leda and the Swan film © ROH 2014/ Ruairi Watson
Behind the scenes: Eric Underwood and Claire Calvert being filmed for Charlotte Edmonds retelling of Leda and the Swan film © ROH 2014/ Ruairi Watson
Claire Calvert being filmed for Charlotte Edmonds retelling of Leda and the Swan film © ROH 2014/ Ruairi Watson
Behind the scenes: Eric Underwood and Claire Calvert being filmed for Charlotte Edmonds retelling of Leda and the Swan film © ROH 2014/ Ruairi Watson
Behind the scenes: Eric Underwood and Claire Calvert being filmed for Charlotte Edmonds retelling of Leda and the Swan film © ROH 2014/ Ruairi Watson
Watch footage of Claire and Eric rehearsing the piece at Covent Garden
Deloitte Ignite, curated by The Royal Ballet with the National Gallery's Minna Moore Ede, runs 5–28 September and includes a wide range of free and ticketed events. Tickets are still available.
Try The Opera Machine here
When we are in the audience for an opera we are aware of the artists on stage and in the pit, we are hopefully caught up in the drama of the performance and pulled in by the power of the music. What is invisible – unless something goes wrong – is the team working behind the scenes to put the production on stage; managing and driving what could be described as the 'opera machine'.
Behind the scenes, stage crew, technicians and stage managers come together with the artists in an often pressurized, always carefully coordinated, way to enable the performances and deliver the spectacular theatrical effects.
This staff is usually unseen and often unsung, but we are tremendously proud of having some of the best teams you could possibly imagine. The artists know how important they are - and we now have a way to let you glimpse this part of our world.
Our new project, The Opera Machine, offers an extraordinary multi-angled view of all that is involved: a flaming helix, trap doors and a two-ton spinning wall all feature in this performance of Act III of Wagner's Die Walküre. In one tense moment, the Stage Manager works with colleagues to fix a crucial flaming prop for bass baritone Bryn Terfel, who sings the role of Wotan, delivering it just seconds before Bryn takes to the stage.
Decide how you would like to experience the opera: jump between cameras at will, or watch the director's cut (featuring footage from each of the 17 cameras) all the way through. It's possible to listen to the music alone, hear it with the backstage radio or overlay with commentary from BBC Radio 3's Suzy Klein. You can also dig deeper by following the prompt book, used by the Deputy Stage Manager, to get a sense of what it's like to coordinate such a large team during a performance.
Or if you want to understand even more fully why we think Antonio Pappano is the best Music Director in the world, watch him conduct the whole act through a camera in the pit capturing his every gesture and expression.
This project wouldn't have been possible without the support of Deloitte, who enabled us to film Die Walküre ahead of Deloitte Ignite 2013. We're looking forward to seeing what The Royal Ballet have in store for Deloitte Ignite 2014 this September, which takes the theme of myth as a starting point.
Have fun with The Opera Machine – enjoy it for two minutes or play around with it for hours. I learnt several things that I didn't know about how things work backstage watching this being filmed myself, so we think you will never be able to quite watch an opera performance again in the same way after visiting The Opera Machine.]]>
Booking is now open for TheatreCraft 2014, the backstage careers fair held at the Royal Opera House on Friday 17 October 2014.
TheatreCraft, now in its ninth year, is the essential free event for anyone aged 16 to 25 looking for a non-performance career in theatre. From directing to stage management, producing to marketing, lighting to design; TheatreCraft is the only place to be for a fun and unique glimpse at the behind-the-scenes world of theatre.
More than 1,100 people attended TheatreCraft 2013, which was opened by acclaimed director Jamie Lloyd. Attendees met more than 50 organizations and companies interested in hiring young talent, took part in over 70 workshops delivered by skilled theatre professionals, and visited the 'Ask the Experts' zone for one-to-one advice sessions with 33 industry experts. Find out more about TheatreCraft 2013.
Speaking at last year's event, Jamie Lloyd said; 'It's ok not to have an idea of what exactly you want to do in theatre or why, it is your passion and drive to be part of the industry that is the most important thing. This vital and important event gives you a chance to explore that passion. So soak it up and make the most of this day. Make it the best day of your life!'
Full programme details will be announced in September 2014. Sign up to the TheatreCraft newsletter for regular updates, or follow @theatrecraft on Twitter.
TheatreCraft is organized by Creative and Cultural Skills, Mousetrap Theatre Projects, the Royal Opera House, Society of London Theatre and Theatre Royal Haymarket Masterclass Trust.]]>
The Royal Ballet's The Sleeping Beauty, starring Sarah Lamb and Steven McRae, was relayed live in cinemas across the world on 19 March as part of our Live Cinema Season 2013/14.
The relay featured backstage films offering an exclusive glimpse behind-the-scenes with members of the cast and creative team. In case you missed them, or just want to find out more about The Royal Ballet classic, here they are again:
Re-awakening The Sleeping Beauty
When the Royal Opera House stopped performances during World War II, it was Oliver Messel's production of The Sleeping Beauty that was selected to re-open the theatre in 1946; a fairytale based around the re-awakening of a Princess, it was the ideal production to mark the opening of the theatre. The opening night, starring Margot Fonteyn and Robert Helpmann, was a tremendous success and the production remains a signature piece for The Royal Ballet. Find out more from Former Director of The Royal Ballet Monica Mason, Senior Teacher and Répétiteur to the Principal Artists Alexander Agadzhanov, Head of ROH Collections Francesca Franchi, and members of the cast about why The Sleeping Beauty holds such a special place in the repertory:
Rehearsing The Sleeping Beauty
Set to a passionate score by Tchaikovsky, The Sleeping Beauty contains many memorable moments; the Rose Adagio, in which Princess Aurora performs eight very exposed and challenging unsupported balances, has become one of the most famous set-pieces in ballet. 'One of the most difficult parts of dancing Aurora is the stamina, particularly in Act One,' says Sarah Lamb, who is performing the lead role. 'It is both a technical challenge and an artistic challenge.' Find out more about the challenges of the choreography from Sarah, Steven McRae, Alexander Agadzhanov and Monica Mason:
The Royal Opera House Cinema Season relays our performances to over 1,000 cinemas in 40 countries around the world. Upcoming productions in the 2013/14 Cinema Season include The Winter's Tale and Manon Lescaut.
Like us, you may find yourself thinking about opera and ballet when you're out and about. Perhaps a tune lodges itself in your head when you're sitting on the bus, or you start thinking about costume designs while idly flipping through a fashion magazine.
To satisfy your appetite for information on the move we have developed a series of digital guides. Each guide costs just £2.99 and contains specially selected films, articles, pictures and exclusives to bring you closer to the production. Available guides include Giselle, Don Giovanni and The Sleeping Beauty, with The Winter's Tale coming soon.
Digital guides are the perfect accompaniment to the Royal Opera House Live Cinema Season too. Sign in and buy a guide before the screening and you can explore the production or the music through exclusive articles, photographs or excerpts from recordings. Your guide content will be updated as the screening approaches or as more becomes available. Many people have asked whether we would supply printed programmes to cinemas, and we hope that the digital guides meet that need.
Our short promotional film was filmed in collaboration with King's College London, whose Digital Humanities department was involved in the research phase of the digital guide. It shows opera and ballet literally on the move as a character accesses our website. 'The idea of the film is to show that you have this amazing content at your fingertips wherever you may be,' says Tom Turner, who directed the film.
'Filming was a bit surreal at times,' says Tom. 'At one point, Michel de Souza, opera singer and Jette Parker Young Artist, was standing on a table in the King's College London Maughan Library singing the famously difficult champagne aria from Don Giovanni.'
Guides for Giselle, Don Giovanni and The Sleeping Beauty are available online now.
The development of the digital guides was supported by the Digital R&D Fund for the Arts - Nesta, Arts & Humanities Research Council and public funding by the National Lottery through Arts Council England.
Kasper Holten's new production of Mozart's Don Giovanni, starring Mariusz Kwiecień, Alex Esposito and Malin Byström, was screened live across the world on 12 February as part of our Live Cinema Season 2013/14.
The relay, which was presented by Bryn Terfel, included backstage films featuring rehearsal footage and interviews with the cast and creative team. In case you missed them, or just want to find out more about the production, here they are again.
An Introduction
'Don Giovanni is a story about a man who has seduced 2,065 women,' says director Kasper Holten. 'On the morning of one of his conquests, he gets stopped by the father of a woman he has just seduced and, in the ensuing fight, kills him. It is both a tragedy and a comedy - a farce that needs to move fast and be funny.'
Kasper Holten, conductor Nicola Luisotti and set designer Es Devlin discuss Mozart's classic tragicomedy and the challenges in staging it, while members of the cast introduce their character in the opera.
Don Giovanni's women and their music
Kasper Holten, Nicola Luisotti and singers Malin Byström, Véronique Gens and Elizabeth Watts introduce the three main female characters in Don Giovanni - Donna Anna, Donna Elvira, Zerlina - as well as the different music that portrays their emotions.
'These characters that Da Ponte etched in his libretto have all our frailties and everything we come across in our lives,' says Elizabeth Watts, who sings the role of Zerlina, 'and so they are still just as real today as they were when they were written.'
Read audience reactions to the cinema relay
The Royal Opera House Cinema Season relays our performances to over 1,100 cinemas in 29 countries around the world. The next live relay will be The Royal Ballet's The Sleeping Beauty on 19 March. Other productions in the 2013/14 Cinema Season include The Winter's Tale and Manon Lescaut.]]>
The Royal Ballet's Giselle was screened live across the world on 27 January as part of our Live Cinema Season 2013/14. During the relay a series of backstage films were shown, featuring rehearsal footage and interviews with the cast and creative team. In case you missed them last night, or just want to find out more about Giselle, here they are again:
Corps de ballet rehearsals for Giselle
Follow the corps de ballet as they rehearse for Giselle with Ballet Mistress Samantha Raine. The corps play the Wilis - girls who've died of a broken heart. First Artist Nathalie Harrison and Annette Buvoli, the Company's youngest dancer at 18, explain the complexities and challenges of the scenes involving the corps.
The Romance of Giselle
Producer Peter Wright rehearses with Natalia Osipova and Carlos Acosta and discusses the story, the characters and legacy of the ballet.
A Giselle digital guide is available to buy containing specially selected films, articles and exclusives to bring you closer to the production. This performance of Giselle will be released on DVD in autumn 2014.
The next relay as part of the ROH Cinema Season will see The Royal Opera's Don Giovanni screened live around the world on 12 February 2014. Find your nearest cinema.
To see more films like this, subscribe to our YouTube channel:]]>
Don Giovanni director Kasper Holten's video diary series documenting the process behind staging an opera production is available to watch on the Royal Opera House YouTube channel.
The films give an exclusive glimpse into Kasper's directorial vision for the production, as well as first glimpses of the set. Over the past eight episodes the director has focused on subjects as diverse as directing lavish party scenes and intense on-stage fights, the challenges imposed by a Main Stage set, and initial rehearsals with the singers.
Kasper will continue to post video diaries in the run up to opening night on 1 February.
You can also get an insight into the process of preparing an opera by listening to a recent interview with Don Giovanni designer Es Devlin.
To ensure you don't miss films like this, subscribe to our YouTube channel:
Opera Footwear supervisor Cheryl Knight spoke to BBC Radio 4's Midweek to give listeners an idea what it's like to work in one of the Royal Opera House's less well-known departments.
'Opera shoes? What a niche job! But they are important,' said Cheryl, stressing the importance of comfort to opera singers who have to act as well as sing. 'The Norwegian soprano Kirsten Flagstad was asked what it took to make a great Isolde and she said "A comfortable pair of shoes". The shoes are often the first things asked for in a rehearsal because the singers are asked to do these incredible things, the last thing they want to do is wobble on stage. Shoes help define their character and personality.'
Cheryl took a pair of Bryn Terfel's shoes from Faust to the BBC studios, worn by Bryn Terfel in the scene in which Méphistophélès is dressed as a woman in David McVicar's production and complete with a small heel: 'The gentlemen do take a while to get used to a heel so we thought we'd play safe'. She also brought a pair of extremely ornate platform shoes from Aida worn by the singer playing Amneris, 'the most extraordinary shoes we've ever worked with...fairly late on the role was recast - the original singer had to withdraw. The lady who took over is someone who's really no-frills, is quite happy in a pair of jazz shoes, but she was really game. We've all had a go - They're easier to wear than they look!'
The Opera Footwear department has recently been working on the upcoming new production of Parsifal with its huge chorus of 94 and a total cast of 132 ('with multiple pairs of shoes!' Cheryl noted).
Other guests on the programme included soldier-turned-writer Andy McNab, who revealed that he is a big opera fan.
Cheryl was the first 'face' of our current philanthropy campaign to raise awareness of the Royal Opera House Foundation, which inspires individuals to support our work through donations. We rely on voluntary contributions to present extraordinary performances, incredible craftsmanship and inspiring learning and participation projects. Find out how you can support the work of the foundation.]]>
Last night Carlos Acosta's new Royal Ballet production of Don Quixote was screened live across the world as part of our Live Cinema Season 2013/14. As part of the screening a series of backstage films were shown, featuring rehearsal footage and interviews with the cast and creative team. In case you missed them last night, or just want to find out more about Don Quixote, here they are again:
Members of the cast and creative team discuss Carlos Acosta's Don Quixote
Don Quixote is Carlos's first full length work for The Royal Ballet. Having danced the virtuoso role of Basilio many times, he brings his own unique vision to the story, offering a fresh, modern take on the 19th-century classic. With music by Ludwig Minkus and designs by Tim Hatley and Hugh Vanstone, the production is full of Spanish flair and atmosphere. Carlos created the lead roles with Marianela Nuñez, and both danced in the opening night gala performance.
An introduction to Act Two
In the second Act, Basilio and Kitri stumble onto a gypsy camp, where they join the gypsies strumming on guitars and dancing. Hear from Carlos about why he chose a very naturalistic setting, and from conductor Martin Yates about his inclusion of live flamenco music on stage.
An introduction to Act Three
By the third Act, all of the characters have ended up in a candlelit, shadowy tavern. With energetic pas de deux and dancing on tables, there is a raucous feel to the scene.
Read audience reactions to the live cinema screening from the 2013/14 Season.
Don Quixote runs 25 November 2014–22 January 2015. Tickets are still available.
The production is generously supported by the Friends of Covent Garden.]]>
The Royal Ballet 2013/14 Season opens on Monday 30 September with a gala performance of Don Quixote, a new production by Carlos Acosta.
Christopher Saunders and Alexander Agadzhanov in rehearsals for Don Quixote © ROH / Johan Persson 2013
'Every opening of the Season is a very special moment for the Company,' says Thiago Soares, who will dance the role of Basilio alongside Fumi Kaneko as Kitri. 'And it is exciting to have a new show with our biggest stars performing.'
A stellar cast of Royal Ballet dancers will perform in the lead roles of Basilio and Kitri, including Federico Bonelli and Sarah Lamb; Steven McRae, Iana Salenko and Akane Takada; and Alexander Campbell and Roberta Marquez.
'I think the hardest part about opening a Season with a new ballet is how much more preparation is needed,' says Sarah Lamb. 'Many of us have danced Don Quixote in various productions, but Carlos is making this his own version - it's very different and it takes us longer to work on it and remember everything. Now that we are about to get it onstage, it's all those details that are most important.'
Described by Carlos as 'fun, colourful and a tremendous spectacle', the production promises to be full of Spanish flair and bravura. Watch an interview with Carlos about the production.
'I really like the fact that is a traditional classical production but also reflects today,' continues Thiago. 'The mimes and gestures relate to us, and this freedom of character is a fantastic vehicle for the artists performing.'
'The challenge of Don Quixote is the technical demand and the level of energy required, but this flavour and freedom is why the audience will love it!'
A selection of the photos above were taken by Royal Ballet First Artist Andrej Uspenski, who recently published a book entitled Dancers: Behind the scenes with The Royal Ballet. The book, which offers an intimate portrait of life in The Royal Ballet, is available in the Royal Opera House Shop.
Don Quixote runs from 30 September to 6 November and will be screened live in cinemas on 16 October. Tickets are still available for performances on the Main Stage. The production receives generous philanthropic support from Mrs Susan A Olde OBE, Lindsay and Sarah Tomlinson and the Royal Opera House Endowment Fund.
Verdi's grand opera Les Vêpres siciliennes will be staged for the first time at the Royal Opera House on 17 October, in a brand new production by Stefan Herheim. The opera will also be screened live in cinemas around the world on 4 November.
'The trailer hints at the themes of revenge and occupation that are core to the opera,' says trailer director Tom Turner. 'It is a depiction of the opera's beautiful surface, yet alludes to a broken reality beneath it.
'Although there is a sinister element to the trailer, there is power and strength in both the dancer and the music; art will triumph.'
Tom worked closely with the production's dramaturg Alexander Meier-Dörzenbach. Watch an interview with Alexander about Les Vêpres siciliennes.
One of Verdi's less frequently performed works, Les Vêpres siciliennes was written for the Paris Opéra in 1855 in the traditions of French grand opera and includes impressive choruses, passionate duets and showpiece arias. Stefan's imaginative production will draw parallels between the opera itself and the opera house for which it was written. Find out more about his vision for the piece here.
'Stefan Herheim is the hottest ticket in the operatic world right now,' says Director of Opera Kasper Holten, 'and he is making his UK debut with this enormous production, which will be conducted by Antonio Pappano.'
Les Vêpres siciliennes runs from 17 October until 11 November 2013. Tickets are still available.
The production will also be screened live in cinemas around the world on 4 November and is staged with the generous philanthropic support of Mrs Susan A Olde OBE, Mrs Aline Foriel-Destezet, Mr and Mrs Baha Bassatne and The Maestro's Circle.]]>
Booking is now open for TheatreCraft 2013, the 'beyond the stage careers fair' that takes place on Friday 22 November from 9am to 3pm.
Hosted by the Royal Opera House, TheatreCraft is a free event for anyone aged 16 to 25 who is looking for a non-performance career in theatre. From directing to stage management, make-up to marketing, lighting to costume, TheatreCraft offers a fun and unique glimpse into the behind-the-scenes world of theatre.
Attendees on the day can take part in workshops led by theatre professionals; explore the vibrant marketplace of theatres, training providers and theatrical suppliers; and join in at the 'Ask the Experts' zone for one-to-one careers advice. New for this year, there will also be networking hubs where attendees can make connections with their peers.
Holly Parker was one of more than 800 people who attended TheatreCraft last year. 'Whether you have a definite arts career path you'd like to follow, are curious about the different directions you can take within theatre, or are after an insight into how the industry works, TheatreCraft can help,' says Holly. 'My one-to-one session with an industry professional was invaluable, and without that I doubt I'd be in the job I am today. TheatreCraft really opened doors for me.'
Last year, amongst professionals from across the industry, Royal Opera House staff led workshops on lighting, make-up, costume, armoury, education and marketing. This year, attendees will also be able to meet Royal Opera House apprentices and hear first-hand about their experiences.
Full details of this year's programme will be announced shortly. However, you can reserve your place now and register for news updates on the TheatreCraft 2013 website.
If you are already working in the industry and would like to exhibit or volunteer your services on the day, please email Greg Jauncey.
Find out more about employment and work experience opportunities at the Royal Opera House.
TheatreCraft is organized jointly by Creative & Cultural Skills, Masterclass at the Theatre Royal Haymarket, Mousetrap Theatre Projects, the Royal Opera House and the Society of London Theatre.]]>
Nothing quite prepared us for the reception Alice's Adventures in Wonderland received over the weekend. The five shows we performed over the weekend were met with rapturous applause and there was a frenzy of people by stage door.
With two shows on each day (including our Friday dress rehearsal), it was a very busy three days. Alice is such a high energy show, and you really have to work hard to balance story-telling with comic timing and parody. Monday, a day off for the Company, was a welcome rest. However, although it was exhausting, there was such a wonderful reception that it was worth every drop of sweat.
Talking of sweat, it's roasting here: as well as the anticipated humidity it's sunny. Talk has moved from sleep to hydration and we are guzzling down isotonic beverages to combat the combination of 35 degree heat and Swan Lake rehearsals. Yesterday we rehearsed Swan Lake, La Valse and Symphony in C at The Tokyo Ballet studios. With the whole Company in full swing (literally), the rehearsal morphed into what felt like 'Bikram Ballet'. Our inner thermostats need to adjust! Today, we are back in the theatre for a stage run through before curtain up on tonight's gala performance.
In between, we've had the chance to explore Tokyo a bit. For our day off on Monday, a small group of us went for a tea ceremony at Happon-En. It is an incredibly peaceful and beautiful place, and it was a real treat to escape the searing heat at midday. It makes sense how popular classical ballet is here as there is such an awareness of courtesy, refinement, manners and historical reference. It's a lovely atmosphere.
However, there is no time to wilt in the heat or immerse ourselves in Tokyo's shopping as we still have work to do! We have set the bar high after the reception that Alice received, and we know this Gala and the following performances of Swan Lake have to be up there. Our changing room has now been emptied of the flower costumes, caterpillars and cats, and is now a mix of swans, tutus and colourful La Valse frocks.
Here we go, on with the Gala show!
Hear more from Nathalie about The Royal Ballet's tour in Japan.]]>
Rehearsals are underway for Don Quixote, a new piece by Principal Guest Artist Carlos Acosta, inspired by Marius Petipa's original ballet. Based on the classic novel by Miguel de Cervantes, the ballet follows the adventures of the bumbling knight Don Quixote and his squire Sancho Panza.
The new production, Carlos's first work for The Royal Ballet, will open the 2013/14 Season at The Royal Ballet with a gala performance on 30 September. It will also be screened live in cinemas on 16 October.
Carlos has been performing at Covent Garden as a Principal Guest Artist since 2003, and is already established as an exciting choreographer: his first work, Tocororo - A Cuban Tale, was a sell-out success when it had its premiere at Sadler's Wells in 2003.
Don Quixote, which will feature designs by Tim Hatley and lighting by Hugh Vanstone, promises to bring Spanish flair and colour to the main stage.
Don Quixote runs 24 November 2014–22 January 2015. Tickets are still available.
The production is generously supported by the Friends of Covent Garden.
Subscribe to our YouTube Channel for more films like this one:]]>
At the Royal Opera House, we're big fans of Instagram and have been enjoying the thousands of photos you've taken of the building. We've also been posting our own pictures @RoyalOperaHouse, including a selection of behind the scenes images.
In celebration of your great photos, we've selected a few of our favourites. If you're an Instagram user, why not share your own using the #royaloperahouse hashtag?
From productions with the Royal Shakespeare Company to the Opening Ceremony of the Paralympic Games 2012, set designer Jon Bausor has a diverse collection of credits to his name.
His work with the Royal Opera House includes set and costume design for Cathy Marston's Ghosts; William Tuckett's Pleasure's Progress and The Thief of Baghdad; and, most recently, Liam Scarlett's Hansel and Gretel. Cathy Marston's new work Witch Hunt opens on 22 May. We spoke to John to find out what influences his designs.
'I've worked a lot with Cathy Marston. Together we made a couple of pieces, including Ghosts, based on Ibsen's play,' he says, 'It's interesting how I have learned my craft of costume particularly from dance; working out how clothes move and how fabric works on a person rather than it just becoming an aesthetic. My interest in dance has informed how I use space.'
John's most recent designs for Hansel and Gretel were inspired by the style and atmosphere of a 1950s horror movie. Find out more about his work on the production.
Bennet Gartside as The Father and Laura Morera as The Stepmother in Hansel and Gretel © ROH / Tristram Kenton 2013
James Hay as Hansel, Leanne Cope as Gretel, Brian Maloney as The Wtich and Steven McRae as The Sandman in Hansel and Gretel © ROH / Tristram Kenton 2013
Steven McRae as The Sandman and Leanne Cope as Gretel in Hansel and Gretel © ROH / Tristram Kenton 2013
Cathy Marston's Witch Hunt opens on Wednesday 22 May and will run until Saturday 25 May. Tickets are still available.
Liam Scarlett's Hansel and Gretel returns in the 2013/14 Season.
La donna del lago runs until 11 June. Tickets at Covent Garden are no longer available though the performance on 27 May will be relayed live into cinemas around the world.
The production is sponsored by the Peter Moores Foundation and the Friends of Covent Garden with generous philanthropic support from Celia Blakey, Hélène and Jean Peters, Judith Portrait and Susan and John Singer. The Production Director generously supported by Hamish and Sophie Forsyth.]]>
Liam Scarlett's hotly anticipated dark balletic take on Hansel and Gretel has now opened, causing much conversation and debate among the audience. The ballet, a dark re-telling of a traditional fairytale, features set and costume designs by Jon Bausor, whose previous credits range from productions with the Royal Shakespeare Company to the Opening Ceremony of the Paralympic Games 2012.
Jon began working on Hansel and Gretel with Liam last year, discussing how to give the Brothers Grimm fairytale contemporary relevance.
'It's been interesting learning about one another as well as the piece we are trying to create. Darkly, the first thing we started talking about was its relevance in our society, in particular the Fritzl case in Austria. It gave us a keyhole to understanding the story.'
Staging the ballet in the Linbury Studio Theatre also presented challenges - The staging arranged in traverse, with the audience seated around the set: 'The design is very much informed by the Linbury architecture. We're really exploring ideas of restriction and imprisonment. It is also very immersive, and seen in traverse: every single person will have a particular viewpoint.'
Hansel and Gretel runs until 11 May. Tickets are sold out though returns may become available. The ballet returns for five performances in January 2014 as part of the 2013/14 Season.
This production is made possible due to generous philanthropic support from Sarah and Lloyd Dorfman, Sir Simon and Lady Robertson, Sue Butcher, Siri and Rob Cope, Victoria Sharp and The New Ballet Works Syndicate.]]>
It's one of ballet's most famous solos: prior to the wedding scene in La Bayadère Act III, a gold statue in the temple comes vividly to life and takes the spotlight.
First Soloist Alexander Campbell is one of the dancers performing this role in the current run of Natalia Makarova's production and he tells us a bit more about the preparation that goes in to becoming 'bronzed' from head to toe:
'The ladies in the shoe department, Jane and Màire, paint my Repetto shoes bronze (more gold really) with a special fabric paint. After painting, the shoes tend to have shrunk a little bit and the canvas becomes very stiff so I usually wear new painted shoes once or twice in rehearsal, or class, to wear them in for a performance.'
Of course shoes aren't the only element of getting Alexander stage ready: 'It takes about ten or fifteen minutes to be painted for the Bronze Idol. I've had two people paint me up and we are getting the job done quickly! It's nice to be able to get painted at the last minute as once you're painted you can't touch anything until you're off stage.'
Finally, there's the process of taking the paint off, which takes considerably longer than getting out of most costumes: 'I usually leave the theatre about forty minutes after the curtain has gone down on the performance but I wouldn't say I'm completely 'de-bronzed' by then, as I seem to glitter for a couple of days after!'
Are you inspired by the effort that goes into getting Alex ready? Perhaps you might consider helping all our dancers give their very best performances through a gift to the Pointe Shoes Appeal. Your donation will support the commitment made by every dancer in the Company, and those who work with us behind-the scenes to make each performance happen.
How could you help?
Find out more about our Pointe Shoe Appeal]]>
Royal Ballet First Artist Andrej Uspenski has released a book of photographs that offers an intimate portrait of daily life with the Company. Dancers: Behind the Scenes with The Royal Ballet features many Company members as well as guest artists such as Natalia Osipova, and showcases the best of Andrej's photography over the past five years.
The book includes a mix of over two hundred rehearsal, backstage and performance photos, reveals the unseen world of The Royal Ballet. 'Instead of perfect pictures of dancers in perfect positions, I want to show what we do to achieve that perfection on stage,' explains Andrej.
The book is more of a story than a collection of individual pictures. It shows a day in the life of a dancer, from daily class and rehearsals to backstage preparation and performances.'
'For example, in one photo Melissa Hamilton is trying on different pointe shoes to find the most comfortable pair for the performance. The photo shows the spotlights and the lines on the stage, revealing the auditorium from the dancers' perspective.'
Andrej grew up in St Petersburg and has been passionate about photography since he was a small child.
'My father was a photographer, and he always had a camera with him. I used to work with him in our dark room at home,' he said. 'Of course, my career is dancing, but when I'm backstage, so many things catch my eye to take photos of.'
Andrej, who is currently performing in Alice's Adventures in Wonderland, has been dancing with The Royal Ballet for over ten years.
'I'm here all the time with access to the studios and dancers and so I know them and the productions, as well as what is most interesting from a photographic point of view,' he explains. 'Sometimes I dance and photograph in one night – I just ask somebody to hold the camera for me while I'm on stage!'
Royal Ballet Principal Roberta Marquez preparing for a performance of Romeo and Juliet © Andrej Uspenski 2013
Dancers: Behind the scenes with The Royal Ballet is available to buy online now from the Royal Opera House Shop. Other titles currently on-sale include Darcey Bussell: A Life in Pictures and The Royal Ballet Yearbook 2012/13.
Lighting designer Paule Constable recently revealed the world of lighting opera and theatre productions as part of an ROH Insights session.
'If you imagine when you're first making a show and a director is [working out] how they want to tell a story, they're obviously going to think very early on about the set and costume designer that they're going to work with,' Paule said. 'How that is seen, how it's perceived, how it's brought to life is what the lighting designer does.'
On working on this key aspect of production design, Paule said: 'There are infinite possibilities with light - it's very far from arbitrary. We consider every decision we make in a huge amount of detail.'
Paule also spoke about how she got into lighting design: 'I love the technical side of things, which for many [lighting designers] is our way in. I love climbing ladders and changing gels and playing with light but I also found I really loved what you can do with light in a theatre.'
As well as Royal Opera productions such as Die Zauberflöte, Faust and Le nozze di Figaro, Paule has also designed for a host of other opera companies and theatres. She lit the stage show of War Horse for the National Theatre (and subsequent West End transfer and international tour) and recently worked on a new production of Les Misérables.
Paule was recently nominated for an Opera Award in the lighting category.
Find out more about ROH Insights and listen to further audio highlights.
David McVicar's production of Die Zauberflöte runs from 16 April - 9 May. Tickets are still available.
Metamorphosis Titian, a book chronicling the production of last year's collaboration of the same name between The Royal Ballet, and the National Gallery, is now available from the Royal Opera House Shop.
The book is published in both a limited edition and a standard edition and tells the story of the complex project from conception to stage and gallery. It features images from rehearsals, set creation and gallery installations, as well as dozens of unseen photographs of the performances themselves.
The three-ballet programme brought together seven choreographers - Kim Brandstrup, Wayne McGregor, Alastair Marriott, Christopher Wheeldon, Liam Scarlett, Will Tuckett and Jonathan Watkins - and three contemporary artists - Chris Ofili, Conrad Shawcross and Mark Wallinger - to create works inspired by the paintings of 16th century Venetian artist Titian.
The limited edition version of the book is presented in a cloth bound case and includes three original, signed prints by the artists involved. 250 copies were published.
The standard hardcover edition is priced at £24.99.
View images from the book:
Marianela Nuñez and The Royal Ballet in Diana and Actaeon. Metamorphosis: Titian 2012. © ROH/Johan Persson, 2012.
Towards the end of 2012, an in house production team assembled in one of the Royal Opera House's Opera Rehearsal Rooms to film the Spring Season Trailer.
The room, a cavernous space normally reserved for opera sets and principal singers, was instead filled with trolley-loads of lights, power cables and sand bags. The tables of fake food and jewels from rehearsals were pushed to a back corner, the windows blacked out and the space was transformed into a film studio for the day, a temporary home for a camera crew, two Royal Ballet dancers and a Harris Hawk called Rusty.
The trailer, which forms part of the One Extraordinary World campaign, was inspired by the Spring Season image and draws on themes from productions across the forthcoming season, focusing particularly on David McVicar's production of Die Zauberflöte and Natalia Makarova's La Bayadère. To re-create elements of the image, a sky backdrop was hung from a raised metal pole and an enormous orange balloon inflated and maneuvered carefully through the opera house to the rehearsal studio.
Harris Hawk Rusty, who is usually employed catching pigeons, took to his work in the studio like a true professional. Bribed by snacks of chicken's feet, he flew repeatedly across the studio so that, filmed by cameras shooting at a high frame rate, the movement of his flight could be captured in detail worthy of a David Attenborough documentary.
"The Harris Hawk represents the Opera Company," explained director Tom Turner, "not only as a reference to Die Zauberflöte, but also a visual metaphor for the grace and power of the work in the Season."
With all hands on deck to operate various cameras and lights, anyone with a spare arm was enlisted to hold Rusty as he flew from one side of the studio back to his handler – even those with a slight fear of birds such as myself.
I was coaxed into holding Rusty with assertions that it was a once in a lifetime opportunity. He was certainly well-behaved, perching on my arm, the very model of obedience before flying directly to his handler right on cue. Even so, the threateningly sharp talons and hooked beak were enough to cause a nervous sweat, and I was unable to meet his expressionless, hawk-eyed stare. Similarly, despite his expert performance, watching him calmly disembowel a dead baby chick after a hard day's work did little to endear him to me.
Dancers Letitia Stock and Elsa Godard also had to combat their unease of dancing in unison on a small podium. Despite being filmed just before a performance of Swan Lake, they repeated the sequence multiple times so that the cameras could capture the intricacies of their movement.
"The hawk's flight leads you to the ballet dancers, who are both from the corps de ballet to emphasize the level of strength and talent that goes through the whole company," said director Tom.
The choreography used in the trailer is from La Bayadère's most frequently performed dance Kingdom of the Shades, a mesmerizing dream-like sequence in which the entire corps de ballet dance in unison. "This is a very ephemeral and fleeting dance, and so I chose this particular section to highlight the meticulous timing and physical strength demanded by the choreography," said Tom.
"The trailer embodies the beauty and art in both the opera and ballet," explained Tom. "It is meant to show the subjects at close quarters, revealing details in texture and movement to highlight the level of precision that goes into every performance night after night."
View our Autumn Season and Winter Season trailers.
The Royal Ballet perform La Bayadère from 5 April while David McVicar's production of Die Zauberflöte returns to The Royal Opera from 16 April. See full details of the Spring Season. Public booking is now open.
Have you ever wanted to sing with The Royal Opera? This is your chance!
On Monday 7 January, we're broadcasting Royal Opera LIVE and we want you to be part of it. We'd like you to submit a video of yourself singing 'Va Pensiero' – the famous slave chorus from Verdi's Nabucco.
We want as many voices as possible – whoever you are, whatever you sound like, we want to hear you sing and we'll feature the best during Royal Opera LIVE.
Not only that, but British composer Elspeth Brooke has been commissioned by the Royal Opera House to write a piece of music inspired by 'Va Pensiero', one of Verdi's most famous choruses. She will incorporate the best moments into her new work, which will premiere later in 2013.
To enter, watch the video of Rolando Villazón singing 'Va Pensiero', get someone to film you somewhere interesting and sing along. If you don't remember the words, feel free to hum along instead. Then, upload your clip as a video response to our clip on YouTube.
Royal Opera LIVE will be streamed around the world on Monday 7 January via the Royal Opera House website, The Space and the Guardian website.
Royal Opera LIVE is a co-commission between the Royal Opera House, Arts Council England and The Guardian.
Last week, before the curtain was raised for The Royal Ballet's evening show, for the first time in 122 years the Royal Opera House was filled with the grand sounds of Meyerbeer's Robert le diable.
The auditorium was not set up for a performance: the stage was hidden by an imposing iron safety curtain and the Royal Opera Chorus occupied the velvet seats of the stalls. Eight soloists sat comfortably in a line across a narrow section of stage, as relaxed as if they were at home with a cup of tea, and the orchestra in the pit below played in jeans and t-shirts rather than the customary black tie.
The Royal Opera Chorus, the Principal Artists and the Orchestra of the Royal Opera House had gathered for the Robert le diable Sitzprobe. The Sitzprobe, translated literally as 'to sit and try out', is a non-staged music rehearsal that gives the conductor a chance to tweak the finer musical details. Concert Master Peter Manning describes it as 'when the chorus meets the complex tissue of sound that is the orchestra. It's when we join forces all together to create the show.'
Bryan Hymel, who is singing the lead role of Robert, explained that it's one of the favourite rehearsals for a lot of singers. 'It's a crucial step for us because it's a chance to break from the complications of being on stage, and to co-ordinate with the orchestra one section at a time.You get to sit there and concentrate on the music, which is what we spend months preparing for. '
With Laurent Pelly's new production of the French masterpiece opening on 6 December, rehearsals have been underway for some time now. The Sitzprobe we saw was the first of three and the music, already rehearsed separately by singers and orchestra to an impeccably high standard, sounded seamless. The power of the chorus was magnified in the otherwise empty auditorium and the soloists casually reeled off show-stealing arias, eliciting a professionally understated ripple of applause from the music staff. It also came as a surprise when the conductor's voice suddenly interrupted mid-melody to shout out bar numbers and instructions about nuances of tone and expression.
'Robert le diable demands a lot of resources and energy', says Bryan. 'You have to pace yourself through the evening so that you can still sing by the time you get to the end. It doesn't really get any easier towards the end, it just gets progressively more involved.'
Bryan recently sang the role of Enée (Aeneas) in Berlioz's epic Les Troyens, which is currently being screened in cinemas.
'It's been a very full year of big long French operas', he explained. 'Robert le diable is
a real challenge for me as my part is a good bit higher than in Les Troyens. The singing
is very virtuosic – bel canto-type singing – but also with very dramatic acting.'
Barbara Senator as Ascanius, Robert Lloyd as Priam, Sophia Mcgregor as Andromache, Sebastian Wright as Astanax, Pamela Helen Stephen as Hecuba and Anna Caterina Antonacci as Cassandra in Les Troyens © Bill Cooper/ROH 2012
Eva-Maria Westbroek as Dido, Bryan Hymel as Aeneas and Barbara Senator as Ascanius in Les Troyens © Bill Cooper/ROH 2012
Barbara Senator as Ascanius, Ashley Holland as Panthus, Bryan Hymel as Aeneas and Fabio Capitanucci as Coroebus in Les Troyens © Bill Cooper/ROH 2012
Though a huge success when it had its premiere in Paris in 1831, Robert le diable hasn't been staged at Covent Garden since 1890. Bryan says, "It's not performed often because it's very hard to find four singers who can all sing the Principal roles and are available all at the same time."
Watch director Laurent Pelly discuss why he was drawn to this forgotten opera:
Robert le diable opens on 6 December and runs until 21 December. Tickets are still available.
The production is staged with generous philanthropic production support from Alfiya and Timur Kuanyshev and Michael Hartnall.
From 12 December, the Linbury Studio Theatre will be taken over by a mischievous Toad and a mild-mannered Mole as Will Tuckett's The Wind in the Willows returns to the Royal Opera House.
A mixture of song, dance, poetry and puppetry, it is an exuberant and theatrical piece that brings the adventures of Kenneth Grahame's classic to life on stage.
Watch the trailer:
The trailer was filmed a few Sundays ago as opera-goers enjoyed a performance of Wagner's Siegfried. The Clore Studio was taken over for the day by The Wind in the Willows cast: the normally pristine floor was covered with an array of willow branches, leaves and wrapping paper, and the air was slightly heady with smoke.
Take a look at our backstage photos:
A Christmas favourite for children and adults alike, The Wind in the Willows will run from 12 December until 5 January.]]>
Since 1605, when Guy Fawkes planted 36 barrels of gunpowder beneath the Houses of Parliament, we've celebrated 5 November as Bonfire Night. Fires are lit, effigies are burnt and the skies across England sparkle with fireworks; whether to celebrate Fawkes's failure or to honour his attempt to overthrow the government is up for debate.
While the Gunpowder Plot was successfully foiled and the Houses of Parliament escaped an explosive end, the Royal Opera House has a less fortunate history: in the 19th century, the theatre burned to the ground twice in just fifty years.
The first theatre on the Covent Garden site was opened by theatre manager and actor John Rich in 1732. Built next to the city's principal fruit and vegetable market (which moved to Vauxhall in 1974), it was primarily a playhouse for the first 100 years of its existence. However, in 1808, the theatre was destroyed by fire. The pipe organ of Baroque composer George Frideric Handel, who frequently performed there from 1735 until his death in 1759, was just one of many valuable items lost.
The theatre was rapidly rebuilt and re-opened in 1809. Over the next thirty years, the theatre became increasingly popular with high society. By the 1830s, Queen Victoria and Prince Albert would frequent the Royal Box up to four times a week in high season. However, in 1856, disaster struck once again. The theatre, hired for a masked ball by a man known as the 'Wizard of the North', burned to the ground following a night of drunken revelry and had to be completely rebuilt.
Much of the current Royal Opera House building dates back to this rebuild, including the beautiful velvet-clad auditorium, a Grade 1 listed building that seats some 2,250 people. It has been used as a furniture repository (during World War I) and a dance hall (during World War II). The historic auditorium is now surrounded by a 21st-century labyrinth of modern offices, state-of-the-art backstage areas, dressing rooms and workshops. Needless to say, these days it is also equipped with fire alarms. From time-to-time, the entire cast of an opera or ballet are evacuated into the Covent Garden piazza in full costume, much to the delight of passersby.
The Royal Opera House of today is the result of an extensive renovation that took place between 1997 and 1999. Over the course of two years the auditorium was re-raked, re-seated, re-painted, re-gilded and re-lit, and the surrounding building equipped with high-tech storage mechanisms, new public areas and studios. Take a look at just what goes on behind the main stage:
From the light and airy ballet studios that overlook the piazza, to the cavernous set-storage carousel three stories beneath the stage; from the rooftop props workshop, to the enormous set-construction area built on a rotating floor; the building is an architectural feat.
Monitoring and maintaining the auditorium and its historic contents is the responsibility of the ROH Collections Department, who carry out and oversea extensive renovations and conservation projects. Most recently, a frieze of Queen Victoria in the Auditorium was conserved.
Take a look behind the scenes and find out more about the colourful history of the Royal Opera House on one of our public tours. For full details, visit our Tours pages.]]>
Ring Cycle Director Keith Warner was interviewed by Director of the Royal Opera Kasper Holten as part of a recent In Conversation event.
Keith spoke about his career, what inspired his production of Richard Wagner's masterwork and how he tackled such an ambitious project He also spoke about whether there is new hope at the end of the piece or whether it is entirely pessimistic.
"It's a massive artistic experience that we all have together. I think Wagner's real religion is art and theatre itself," Keith told Kasper. "He says, we who've experienced this take from it and we go out and change the world or change ourselves."
Watch the full interview here.
I've been a screen director for over twenty years, but during the 1970s and 80s I performed as a dancer in The Royal Ballet. Because of my background, I specialize in directing dance films but I also produce opera and documentaries.
My job as director is to convey my vision to a team of camera operators, vision mixer, script supervisor, lighting director and sound supervisor as the live feed is sent to over 900 cinemas in 27 countries around the world.
I've directed many Royal Ballet productions over the years and for each the preparation is the same: if I'm unfamiliar with the work, I make sure I see it in rehearsal and performance as I have to understand how the choreographer tells the story. If it's an abstract ballet, I need to understand the shape and form of the movement. I'm fortunate in that I've performed in many of the works and have seen most of the others. The benefits of knowing the work intimately are obvious, but my principal aim is to show on screen the narrative the choreographer wants the theatre audience to see.
Once I've got to grips with the essence of the ballet the practical business starts. First I write a camera script – a shot-by-shot description of the entire ballet, which details the shots, the sizes, the duration, which camera, and my edit decisions. This process takes about two weeks as I'm considering every change of angle, pan and cut that will happen in the live cinema screening.
When creating this script, I watch a 'scratch recording' (a single wide shot that shows the entire stage all the way through the ballet or opera). That script is then written into the musical score, which acts as a template for the vision mixer (the person who physically cuts between the cameras during the performance) and the Script Supervisor (who talks the cameras through the script as it the ballet progresses).
With so many works on stage at the Royal Opera House and stage time limited, we're only able to have one camera rehearsal before the live transmission to practice the shots. After this camera rehearsal I'll fix the shots that haven't worked for whatever reason and then we all get together as a team and watch the recording through to perfect it for the live transmission. I also watch the camera rehearsal in the cinema at a special screening for the Royal Opera House production team – the make up, wigs, lighting and also for the director of the Company to see how they look on the big screen. We scrutinize the screen and try to spot every blemish, whether it's the positioning of the corps de ballet, make-up that looks too 'stagey', scenery that needs touching up, or shots that need adjusting.
I never grow tired of directing the same production as, with different casts, each performance is unique.
Despite a rapid growth in audiences embracing the arts through cinema, I'm occasionally told that, "opera and ballet don't work on screen". Not surprisingly I disagree, although I appreciate that the experience is different from watching a live performance. The camera is very good at telling a story; cutting between characters to show relationships that are often missed in the wider perspective of the auditorium.
My favourite ballet to direct is Romeo and Juliet. The contrast of busy marketplace scenes and large-scale sword fights with intimate pas de deux makes for a very rewarding experience as the screen director. I love the dynamism that film can bring to a production like this, with fast cutting and reaction shots that you could never see sitting in the auditorium. Showing a big close up of Juliet as she sits on the end of her bed in Act 3 contemplating her next move, literally makes me tingle. That's the kind of detail that the screen serves so well.
Find out more about our 2012/13 Cinema Season. The Cinema Season is sponsored by Bank of America/Merrill Lynch.
Flakes of white paint peel from walls lined with dilapidated filing cabinets, their contents spilling onto the floor in chaotic disarray. Two immaculately dressed dancers arch gracefully, their movement mirroring the fly-away sheets of notes. A figure draped in a blood-red gown perches on top of the cabinets behind, contemplative and isolated…
With fluttering white papers and agile dancers in the place of shadows and the hulking silhouette of the Minotaur, the One Extraordinary World Winter Season campaign is a dramatic contrast to the Autumn Season image and accompanying film.
The winter campaign was inspired by the concept of memory, as Concept and Art Director of agency AKA Matt Dixon explains:
"The image is informed by those fleeting moments in time that determine our path in life; moments over which we seemingly have no control, and which, when remembered, distort and betray us, are represented as a chaotic store of notes and bound volumes of memories. The foreground characters are controlled by the forces around them - pulled into the scene by the flow of the wind and carried weightless."
The campaign draws on themes from Winter Season productions, in particular Jonathan Kent's production of Tosca and the tale of Eugene Onegin, on stage as both a ballet and an opera. The campaign features Royal Ballet Principals Steven McRae and Thiago Soares. Find out full details of the Winter Season.
The image is part of a series that celebrates the Royal Opera House as a centre for creativity and first-class ballet and opera. Each image will be accompanied by a season trailer. View our previous trailer for the Autumn Season.]]>
We recently released our new Autumn Season film, starring the Minotaur and five Artists of The Royal Ballet. If you haven't seen it yet, watch the film and tell us what you think.
The trailer was shot over two days at The Backstage Centre at High House Production Park in Thurrock, home of our scenery workshops and the National Skills Academy. The industrial set required five brave dancers from The Royal Ballet to perform on a (perfectly safe, but still terrifying) wire floor, 40 feet up in the air. Smoke and ambient lighting gave a real intensity and atmosphere to the film.
The film is intended to reflect the symbiotic relationship of Covent Garden's two resident companies- The Royal Ballet and The Royal Opera - with the performance and artistry of each fuelling the other. Each company is depicted in the film as giving its all, emotionally and physically, to support the artistic life of the other.]]>
There may not be any productions on the Covent Garden main stage over August, but the Royal Opera House has still been very busy: for two weeks every summer the building closes for essential maintenance and redecoration. It has been almost 15 years since the re-development of the Royal Opera House, and some of the frequently used areas of the building are now in need of a little bit of TLC. This year, the elaborate Crush Room, the Conservatory and Royal Entrance are getting a makeover before the new Season begins this month.
The public areas of the ROH contain many historic fixtures and fittings, as well as furniture, sculptures and artwork, all of which come under the responsibility of the ROH Collections Department. Some of these items have been in place since 1858, when the third theatre on the site opened, following the incineration of the second theatre. Before any maintenance work could begin, all of these precious items had to be either removed or covered and protected in order to prevent them from being damaged.
In the Crush Room, where guests can dine in grand surroundings before an evening of opera or ballet, affected items included ornate light fittings, oil paintings, decorative sofas, cut glass chandeliers and one very large 19th-century mirror. Over the course of three days, specialist art handlers K-Pak were drafted in to undertake this work. While the majority of items have been stored off site for the duration of the maintenance period, the oil paintings have gone to our conservators Plowden & Smith for a well deserved clean.
In the Royal Entrance and Staircase, the items date back to the reign of Queen Victoria, who was a keen opera goer and a regular visitor to the Royal Opera House. Items including a beautiful 19th-century Adam revival mirror, a marble bust of composer Alfred Mellon and two ornate light fittings had to be removed or covered before the painters moved in. Once the decorators finished and the paint dried, all the items were returned and uncovered, ready to start the new Season in their revitalised surroundings.
ROH Collections works closely with conservators to monitor and maintain the Royal Opera House and its historic contents. This year, a frieze of Queen Victoria in the Auditorium was also conserved. The department also has an extensive archive that chronicles the history of the three theatres that have stood on the Covent Garden site since 1732.
You can find out more about the Royal Opera House on one of our backstage tours. For full details, visit our Tours page.]]>
There may be no productions on stage in Covent Garden this August, but things are as busy as ever at the Royal Opera House. The Costume Department, in charge of preserving and fitting the thousands of costumes that appear on stage at the Royal Opera House, is already hard at work getting ready for the forthcoming season.
The team is currently preparing for The Nutcracker, re-making skirts for 36 snowflake ballerinas. Each skirt will be double-layered and decorated with more elaborate detail. At a rate of one skirt per day, it is already over a month's work. In addition, the costumes for John Cranko's Onegin and the dresses for the 40 swans that will dance in Swan Lake are being altered and adjusted.
Working on five to six opera and ballet productions at a time, carrying out around 6,000 fittings per season, it pays to plan ahead. Mal Barton, Costume Department Manager, explains:
"At the end of the season we tend to fit the first three or four productions of the next season so that the costumes are ready to go in September. Every production revival involves a refit, and each production can have some 500-600 costumes."
However, despite such planning, unavoidable last-minute cast changes for The Royal Ballet can lead to the department starting refits at 5.30pm, for a performance at 7.30pm. Soraya Parsa, who has been working with the Costume Department for eight years, explains:
"Fittings can take anything from five minutes to two hours. Towards the end of the season, there are always lots of last minute re-fits to do and we often have to make adjustments just before performances or from the side of the stage."
The Costume Department is focused on heritage, as well as performances, and works hard to maintain costumes true to their original designs. Faded colours are re-dyed, worn darning is repaired, and shapes and patterns are revised to ensure that costumes can stay in use for decades.
Tailors work from a "costume bible", a hefty volume that meticulously details original designs and subsequent revivals, to make sure that costumes stay accurate to their original design. The oldest costumes still in use include those from La bohème, which date back to 1974, and Swan Lake, which are from 1986.
Find out more with a look at Soloist Claire Calvert's Lilac Fairy costume from The Sleeping Beauty.
The Royal Opera House is home to the largest collection of theatre costumes in the UK, a selection of which is available to view online. The earliest opera item in the collection is a pair of shoes worn by Italian soprano Adelina Patti from her debut in 1861. The earliest ballet item in the collection is a single pointe shoe worn in the 1930s by Royal Ballet Founder Ninette de Valois.]]>
A tangle of blackened branches scattered with coloured bottles and a wreath of roses and ribbons; the hulking silhouette of the Minotaur and the graceful White Swan ballerina - the photo adorning the Autumn season guide cover is a powerful and contradictory image.
Drawing on themes from across the forthcoming season, it is designed to create a world where nothing is quite as it seems, encouraging the audience to create their own story.
Concept & Art Director of agency AKA Matt Dixon explains:
"The image represents a moment between heaven and hell, love and loss, and darkness and light… a place between reality and fantasy."
The image plays with traditional interpretations to present a world at once familiar and otherworldly. The White Swan tutu for example, though classical in form, is aligned to contemporary fashion and style. Similarly, the artists, in place of being the main focus of the image, feature as performers within a constructed world.
Matt continues:
"By taking reference from themes rather than focusing on specific subject areas, the audience can map their own narrative to the image. We pull people into the image, into the Royal Opera House's world – One Extraordinary World."
This image is the first of a series that will celebrate the Royal Opera House as a place for story-telling and world-class ballet and opera. Our creative team is currently producing a short promo film to accompany the image, exploring the themes and symbolism in more depth.
One Extraordinary World follows on from the World Stage campaign of previous seasons. You can watch a playlist of our World Stage films on our YouTube Channel.
Royal Ballet dancers can get through up to six pairs of pointe shoes a week. That's a lot of shoes, most of them made by Freed of London, a major supplier of custom-made pointe shoes to the world's top ballet dancers.
We recently took Royal Ballet First Artists Leanne Cope and Nathalie Harrison to Freed's factory in East London for a behind-the-scenes insight into how this most vital tool of a dancer's profession are made. They also had a chance to meet those who hand-make up to 40 pairs of shoes a day to dancers' individual specifications.
With shoes costing the company £250,000 each season - at £216 a week for a busy dancer - the Royal Opera House runs an annual Pointe Shoe Appeal to raise funds. The face of this year's appeal is Principal Lauren Cuthbertson, who recently re-opened the Freed shop in St Martin's Lane, London.]]>
One of the daily challenges faced by the Royal Opera House's make-up artists is the need to conceal visible tattoos sported by singers, dancers and actors appearing onstage. Opera team leader Mathias Nacke and technician Cecilia Öberg shared some of their secrets.
'There are two products that we use, depending on what the artist is going to be doing onstage. Dermacolor is like a very thick foundation, and is sometimes used medically, to camouflage discoloration, birthmarks or scarring. It's expensive – a professional palette costs around £90 – but you can blend it to match any skin tone. It works well for performers who are not going to be moving too much onstage or getting close to other people – otherwise it can transfer onto costumes or rub off on other performers. It can be removed with an oil-based cleanser.
'For artists who are going to be moving a lot on stage, such as dancers, we need to use a waterproof product. Skin Illustrator is alcohol-based, and once it's dry it's sweat proof and won't rub off without an alcohol-based cleanser. It's even more expensive than Dermacolor – about £120 a palette – and is definitely a product that should only be used by professional make-up artists.'
This feature was adapted from a piece originally featured in About the House magazine, received quarterly by the Friends of Covent Garden.]]>
Passion and enthusiasm emanate from director Robert Carsen as he sits down to discuss his new production of Falstaff.
A few weeks into rehearsals in one of the Royal Opera House's two hanger-like rehearsal studios, Robert is relishing the challenge of tackling what he believes to be one of the greatest works of lyric theatre. "It demonstrates Verdi's extraordinary ability to tell a story through music," he enthuses, "Verdi's Falstaff is written by a composer who at that time considered himself quite advanced in years. Verdi knew it was going to be his last opera and it has these autumnal colours plus great joy, wit and an appreciation for youth. It's the sort of piece you don't get a chance to direct all that often. Falstaff is one of those magical pieces you cannot describe the DNA of, like Don Giovanni. There's no reason why it should be as incredible as it is, but it is…"
Robert explains that behind the overt comedic farce of the opera lie other, subtler layers and the director is keen to profile the piece as a social commentary as well as an opportunity for laughs. "I love that it's not a black and white piece. It features a rich mix of elements and as a director you have to make sure that at any one moment in the production, you're juggling them all."
The character of Sir John Falstaff himself typifies this multi-faceted approach. "Falstaff has this acute sense of his own worth and his own abilities. He's not just some pompous, blown up fool and that's part of the comedy," Robert muses, "Although his self-importance is at times absurd."
Alastair Elliott as Bardolph, Ambrogio Maestri as Falstaff and Lukas Jakobski as Pistol in rehearsals for Falstaff © Catherine Ashmore/ROH 2012
Ambrogio Maestri as Falstaff and Carlo Bosi as Dr Caius in rehearsals for Falstaff © Catherine Ashmore/ROH 2012
Together the creative team including Paul Steinberg (sets), Brigitte Reiffenstuel (costumes) and Peter van Praet (co-lighting designer with Robert Carsen), have decided to set the production in the late 1950s, a period which they were immediately drawn to: "I couldn't imagine doing it in the Elizabethan period so we've opted for post-war Britain. There were parallels in terms of class struggle and the rise of the middle classes, represented in the opera by the very rich Ford, and the twilight of the aristocracy represented by Sir John who's clinging to his aristocratic roots."
The upper class is represented visually through references to hunting and costumes featuring stylish tweeds, some of which have come from famed cloth maker Harris Tweed. Robert expects that this look will be lapped up by the Italian audience when the piece transfers to Milan next year to open La Scala's Verdi bicentenary programme. As to cultural ownership of the piece, the director has catered for both audiences: "The piece is very English because it's based on this much-loved Shakespearean character but it's also very Italian - the libretto is in Italian, it was written by an Italian and the composer was Italian. It is something that the English feel belongs to them and the Italians feel belongs to them."
He expects the gastronomic theme to appeal to both audiences and a visit into the rehearsal studio reveals an array of prop food, from whole salmons and roast beef to summer puddings and garden salads. "Falstaff loves eating and drinking so we wanted to celebrate that. We've tried to incorporate elements of food and drink into every scene."
The food consumed through out the show has been rendered in impressive, appetite-whetting detail by the Royal Opera House props team: "They've done the most incredible job. I've never seen anything like it - not just the quantity but the way it's been done. It looks unbelievably real and it feels absolutely right."
As well as his work directing operas Robert has also directed musicals – most recently My Fair Lady (with an English cast for the Theatre du Chatelet in Paris), which recently transferred to the Mariinsky Theatre in St. Petersburg (with a Russian cast). It's a little-known fact that one of his early directing jobs was a Disney show in Paris which he also wrote called Buffalo Bill's Wild West; it's now been running for 20 years. He also has directed two productions for Andrew Lloyd Webber.
What's the particular appeal of opera, and what does he want the audience to take away with them after seeing Falstaff?
"When you go to the opera, it should be an experience which is as rewarding for the head as for the heart. In fact there's nothing quite like it. A comedy can create a sense of catharsis as much as tragedy, but you are looking at life wearing a different pair of glasses. This piece has a very joyous ending, but the richness comes from everything that has come before, including Shakespeare and Verdi through to our times; hopefully," he adds smiling, "we can bring that off."]]>
Photographer Sim Canetty-Clarke recently shadowed Gerald Finley as he prepared for, and sang the titular role in Francesca Zambello's production of Don Giovanni. Part of an ongoing photography project with the singer, her work reveals the transitions and environment that a singing actor encounters when performing such a role - the mystery, comedy and drama of Mozart's Don is apparent even behind the scenes.
Here's a glimpse behind the scenes:
You have one more chance to see Gerald as Don Giovanni in this ROH season when he performs the role on Friday 3 February. From Thursday 16 February the role will be sung by Erwin Schrott.
To celebrate the arrival of the festive season we're highlighting our December productions, designed to enchant and thrill. The first sparkling item on our Christmas list is The Nutcracker.
The ballet equivalent of It's a Wonderful Life, The Nutcracker is a joyful celebration of Christmas with a hint of darkness at its heart. If you haven't seen our production the trailer is a good place to start to get a feel for it.
For the view from the stage, First Artist Leanne Cope talks about what it's like to dance the lead role of "feisty" Clara, while Senior Stage Manager Johanna Adams tells us what it's like to work backstage on The Nutcracker.
If it's a close look at the costumes you're after, Royal Opera House Collections contains details of a number of costumes from productions past.
Throughout December, our guest blogger Gavin Plumley will be dissecting The Nutcracker on his blog, Entartete Musik. Every day until Christmas Day, Gavin will be looking at everything to do with the ballet from the story to the staging and the music. He starts with his recommendations of which recordings to listen to.
The Ballet Bag have also produced a fantastic beginner's guide to the ballet including background, a synopsis and information about the various different versions.
Next in this mini series, we'll take a look at The Royal Opera's La traviata.
Will you be seeing The Nutcracker or have you seen it in a prior season? What makes it the definitive Christmas ballet?]]>
Goings on at the Royal Opera House aren't just restricted to central London. Over in Thurrock, there are a wealth of activities happening over the next few months run by the Education team…
On Saturday the 24th and Sunday the 25th of September the High House Production Park hosts the Royal Opera House Costume sale. This is a fantastic and rare opportunity to buy costumes, hats and shoes from past productions and own your own piece of Royal Opera House history! Find out more about the Costume sale.
If singing is more your thing, The Thurrock Community Chorus are now back in rehearsals and to start the new season, will be performing at the Welcome Performance of Gianni Schicchi & Rubies on the 1st October. The chorus is open to all Thurrock residents who are interested in flexing their vocal chords. Find out more about the Community chorus.
Schools haven't been left out either - The new tours programme for the Bob & Tamar Manioukian Production Workshop at the High House Production Park will be kicking off in late September – the first pilot phase is only open to school groups in Thurrock, but will be rolled out more widely in 2012. The tours give a chance for primary, secondary and further education students to get a hands on look at the processes behind creating world class opera and ballet. Teachers also have the opportunity to run their INSET days at the production park with the option of bespoke packaged working with Royal Opera House Education practitioners. Find out more about tours and INSET days.
So the next time you think that the Royal Opera House is confined to Covent Garden, think again – down the Thames there's a hive of creative activity waiting to be discovered!]]>
Did you know that The Royal Opera House is usually open daily to anybody who is just curious to pop in? Monday to Saturday bars and restaurants are open to the public 10am to 3pm. There are conducted tours, exhibitions and archive displays and free lunchtime recitals in the Linbury Studio Theatre. It's a fascinating building, with lovely open spaces, a good place to escape the hubbub, or just dodge the rain for an hour. Don't be bashful; you can enter either from the Piazza side or any of the doors on Bow Street. If you're coming far, you can check with Switchboard (020 7240 1200) to see if the house is open.
This mini Crystal Palace was built in 1860 and is a feat of Victorian engineering and ironwork. In its day, the hall was used as an exotic flower market and in the evening was converted into a ball room or concert hall. In fact, the very first promenade concerts took place here - well before such events in the Royal Albert Hall. In 1965, after around 300 years, the flower market was moved out of Covent Garden to south London. The hall was left in disrepair for many years before being incorporated into the Opera House's main scheme. It was completely dismantled and then raised up to accommodate the new spaces underneath. The hall now also displays costumes and other artefacts from our Collections department which runs exhibitions throughout the building.
(Just off the Bow St entrance or off to the side of the Paul Hamlyn Hall)
Stop to pay homage to two divas of 19th-century theatre. On the left is a bust of Dame Nellie Melba, the Australian soprano who was the leading lyric soprano at Covent Garden at the turn of the century (famous also for the peach and icecream dessert created for her at the Savoy Hotel, Peach Melba). On the right is the Italian coloratura soprano Adelina Patti who had remarkable success at Covent Garden from the 1860s onwards. Her diva-like status was evidenced by the fabulous gown created for her as Violetta in La Traviata, encrusted with 3,700 diamonds.
When first unveiled in 1999, it was the longest escalator in the world. It gives magnificent views of the Paul Hamlyn Hall and is an excellent spot for some surreptitious people watching. It will take you up to the Amphitheatre Bar.
This glamorous long bar is perched halfway up the Opera House and has a special floor-to-ceiling-viewing balcony that looks down into the Paul Hamlyn Hall below. Art lovers can take a seat beneath David Hockney's marvellous 1971 portrait of Sir David Webster. It was the first ever portrait commissioned from Hockney, who usually choses his own subjects. Seen side on, Sir David appears almost to be weightless suspended by a modernist 60s chair. He retired as General Administrator for the Opera House shortly after this painting was finished, and passed away shortly after. There are many more works by leading modern and contemporary artists dotted all over the building. Have a wander down our corridors and foyers, or seek them in our Collections database.
If you exit the amphitheatre bar by the revolving doors you can peer over the terrace wall to watch the hoards of tourists in Covent Garden, or look out to the monuments on the skyline. You can see The London Eye, Nelson's Column, Westminster Cathedral, Waterloo Station and numerous spires, towers and skyscrapers way off into the distance.


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QB prospect still has look of No. 1 pick, but teams aren't through with him. Matt Bowen
It was hard not to notice the impact of Sam Bradford's pro day Monday down in Norman, Okla. — or the post-workout hype that surrounded this event like the opening night of the NFL Draft.
Bradford was good — real good — in front of pro scouts, coaches, GMs and basically any personnel man in the NFL who has even hinted on drafting a QB in April.
The former Sooner did exactly what he was asked, and despite your view of a pro day on campus -- the staleness of it or the engineered environment that surrounds it – this one was big, and it carried just enough, if not more, hype than the circus surrounding Tim Tebow's workout in Gainesville, Fla. Because Sam Bradford is expected to come off the board with the first pick of the draft.
The league had to see him through, had to see his footwork and, most importantly, had to see what condition his arm was in after surgery. By missing out on the combine in Indy, this was Bradford's showcase day to show scouts he has a legit NFL arm, complete with velocity and the ability to throw the deep ball with accuracy.
Remember, this is a prospect who hadn't thrown a football in front of anyone with a clipboard since October. Because of that, we all wanted to see how he was perceived and how he would be graded.
And after the workout, he now can carry the grade of a No. 1 pick.
Longtime scout Gil Brandt of NFL.com said, "Sam Bradford's workout Monday in front of representatives for all 32 NFL teams at Oklahoma's pro day almost left me speechless. And that's saying something." Brandt, who has the respect of everyone in the NFL, even went so far as to compare Bradford's workout with that of Troy Aikman's when the former Cowboy was coming out of college.
Big words, right? Of course they are, but that's how the entire league reacted and how the entire league thinks about Bradford right now. Forget the fact that this workout was scripted or that Bradford threw passes to his own receivers in short and T-shirts because the NFL visitors got what they asked for. In their minds, he's a legit No. 1.
What Bradford now faces is another series of tests when he "auditions" for teams during private workouts. The generic script used yesterday for all 32 teams will be gone, and he'll face team-specific routes in front of coaches. They'll see how Bradford can run their playbook, complete their simulated game plan. It's in these workouts that clubs — such as St. Louis — will get that final checkup before they call his name on opening night of the draft.
I get the hype, and I also get that coaches and fans like us can sometimes overreact to a workout — because that's all yesterday was. It isn't NFL football; in fact, it's the farthest thing from Sundays. But when it comes to rookie prospects, these pro days carry weight.
Especially for a guy who's being thought of as a franchise QB at this level.
Check back this afternoon when NFP scout Wes Bunting breaks down Bradford's mechanics from his workout.
Follow me on Twitter: MattBowen41
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NOV 25 Jeff Fedotin
Does Mike Evans deserve Rookie of the Year?
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NOV 20 Joel Corry
Will there be first ballot Hall of Famers in 2015?
A detailed look at the eight candidates vying for that unique honor.
NOV 18 Dion Caputi
Cleveland quarterback Brian Hoyer has overcome long odds to put his team in contention for a playoff berth.

subset: commoncrawl


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Cool features about the best places to stay, visit and shop around the world. New York, Miami, London, Sydney and more.
Travel Features 7 May, 2014
10 Seriously Cool Los Angeles Hotels
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Bali has long been famous for its natural beauty. Now it has the top-notch accommodations to match. Bali's five-star establishments hold their own with t…
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The 2014 FIFA World Cup will take place in Brazil this summer in 12 different cities across the country. Unlike other massive sporting events like the Olym…
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One trip in Business Class, and you'll never go back to Economy. One trip in these Business Class seats and you might even consider giving up your car be…
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When most people say "I love to travel," what they really mean is "I love arriving at my destination."
In between home and your holiday, there�…


text: Class of '57 Indian Brave View full-size image < previous next > Is this photo a winner? "The MCHS Class of '57 Celebrating their 55th reunion wearing the customink tee shirts with the pen and ink drawing of our mascot on the back." - Thomas G. Clayton (Sep 03, 2012) Share this photo on: Twitter Facebook Pinterest Similar Photos: class reunion | event reunion | reunion | class of '57 | class of 1957 | 55th reunion Feeling inspired? Visit the CustomInk Design Lab to start your own group order. Design Your Own


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Thursday, 31 Jul 2014
Creative announces affordable T3250 wireless 2.1-speaker system
The new Creative T3250 Wireless features Bluetooth connection that enables it to stream music wirelessly from most stereo Bluetooth devices. To improve performance, it utilizes various technologies developed by the company, including the Creative Image Focusing Plate and Creative Dual Slot Enclosure.
Sony's latest laser projector is the 7,000-lumen VPL-FHZ700L
After last year's VPL-FHZ55, which was the world's first 3LCD laser light source projector, Sony has now introduced the VPL-FHZ700L with a higher 7,000 lumens of color brightness. The company also took the opportunity to refresh its C, D, E series projectors.
Friday, 25 Jul 2014
Cooler Master announces new Resonar in-ear headphones
Cooler Master's new Resonar in-ear headphones features Bass FX technology, which allows you to physically move the bass drivers to adjust the sound to your liking.
Monday, 21 Jul 2014
Creative's new T50 wireless 2.0 speaker system is now available
Spinning off from the award-winning GigaWorks T40 series, the Creative T50 Wireless is a 2.0-channel speaker system that supports Bluetooth and NFC for fuss-free wireless connection, as well as the aptX audio codec for high quality music streaming.
Friday, 18 Jul 2014
Audio-Technica releases new CKR series
Audio-Technica's new CKR series includes five models that promise to offer the same clean sounds and accurate balance as those found in the popular CKM series.
Thursday, 17 Jul 2014
Samsung introduces new "Level" premium audio products to do battle with Apple's Beats
In anticipation of future Apple Beats audio devices, Samsung is launching its four new premium "Level" audio products in the U.S., which includes two headphones, one earphone and a Bluetooth speaker.
Monster debuts limited edition Diamondz collection and new flagship headphone, the Dna Pro 2.0
Monster has just announced the launch of their 2014 line-up, notably a limited edition Diamondz collection and a new flagship headphone. Hit the jump for more details.
Wednesday, 16 Jul 2014
Creative's new SB Inferno gaming headset is versatile and affordable
The SB Inferno headset uses 40mm full spectrum Neodymium drivers and has a detachable microphone so that you can get it out of the way when you're listening to music or watching movies.
Club 3D announces new USB 3.0 to 4K display adapter
Club 3D has announced its new USB 3.0 to 4K display adapter. This adapter will allow you to use your Ultra HD display with current devices that have USB 3.0 ports, but are unable to output in 4K resolutions.
Friday, 11 Jul 2014
SoundSight breaks new ground with video + audio recording headphones
SoundSight has just announced the launch of a pair of Bluetooth headphones that not only plays and records audio, but captures video too. Read on to find out more.


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MJM Magic is that 1 online store that has everything a magician needs. I'm a beginner magician but performing professional stage illusions! (And I'm...Read More ->
I am very impressed by MJM Magic's online check out theymake it very easy and quick. I'm also impressed by their prompt e-mail response to my orders...Read More ->


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Alyssa Milano dishes on what led to Shannen Doherty's departure from "Charmed."
Part I: Alyssa Milano talks about her connection to George Clooney and Chef Roblé reveals the food he most hates to cook.
Part II: Chef Roblé names the Housewife he'd most want to date and Alyssa Milano dishes on her tattoos.
Chef Roblé guesses if Alyssa Milano has appeared in the vintage clips.
Chef Roblé sticks up for embattled celebrity chef Paula Deen.
Alyssa Milano picks her least sexy onscreen hookup, makes nice with Shannen Doherty and talks competition with Winona Ryder on 'Plead the Fifth.'
Part I: You might not believe what type of instrument Mariah Carey used to write "All I Want for Christmas is You."


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Fall Open Studios Gallery Reception Show & Sale
Presented by Artists at Indian Orchard Mills
November 13 - November 14, 2010
Fall open Studios. Stop by the Dane Gallery for an all new show featuring the works of over 50 artists. Visit the working studios of this unique artists colony nestled on the banks of the Chicopee River in Indian Orchard Massachusetts. refreshments will be served.
Indian Orchard Mills
34-40 Front Street
Indian Orchard, MA 01151
Admission Info:
$2 suggested donation
General Day and Time Info:
Phone: 413 543 3321
Accessibility Information: Currently, no accessibility information is available for this event.
Facebook Comments
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Germany, 1998 (MIFF 1998, Fiction)
Director: Sandra Ehlermann
The middle of the night at a madhouse in Germany. A young woman travelling alone is nearly run over by a semitrailer. So begins a deadly serious game of seduction, but who is 'playing' who? This dark, disturbing tale of sex, power and violence combines tantalising manipulation of film language and powerful performances to create an intriguing thriller which both draws on and subverts the film noir genre.


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After a stop in Portland, Rodolfo and I continued up North towards Seattle/Olympic National Forest. We made a pit stop in Seattle, ate some good food, and then continued North. We are craving those Northwest camp vibes, so we made it a point to camp.
After a stop in Portland, Rodolfo and I continued up North towards Seattle/Olympic National Forest. We made a pit stop in Seattle, ate some good food, and then continued North. We are craving those Northwest camp vibes, so we made it a point to camp.
*The pictures look a little wonky here because I used wide angle lens attachment.
Driving through the park
I am in love with this gorgeous lake. The sights and the colors were absolutely breathtaking.
Caught this lil guy munching on some leaves. I've never seen a black slug before!
We stopped off the road and did some exploring. We walked through a gorgeous grove of trees that led us to this river bank. I imagine there is a lot more going on here in the spring.
Random fact: Did you know that rivers are considered the most dangerous body of water? I believe it. The currents shift rapidly because of shifting rocks, debris, and trees. The water is FAST. I made sure to keep my distance, because I'm pretty sure I could easily be washed away in a matter of seconds.
The gorgeous fern groves that line the roads.
Before we got to our campsite, we explored Ruby Beach and I played all over the driftwood. We even saw a bald eagle in the trees. These little sightings just leave me in awe, because it's a reminder that I have so much more to see and explore outside of my little San Francisco/Bay Area bubble.
Forts galore!
What else happened? Rodolfo and I pitched a tent for the first time. I'm not going to lie, I am an anxious person and have a habit of worrying about new activities and minute details, such as pitching a tent, or finding materials. I also talked about this when I went snowboarding. Again, I am so thankful to have friends and life companions that gently push my boundaries in a supportive, loving way. It's a constant practice for me to put myself out there, stretch my comfort threshold, and it is always a positive experience. After doing it once, I'm completely confident that camping is going to be an ongoing activity from here on out.
Inside our tent
The view from our campsite. *heart eyes*
The star of the show.
I have to give a big round of applause to my wee little car! This lil guy took me places!
I'm so grateful for this experience. Being in nature is such a grounding experience for me, physically and mentally. I can see myself building a home in the Pacific Northwest, and I think it will be an amazing experience. I need a change of pace, and I want more green spaces. Suddenly, San Francisco feels just a little bit smaller. I'm happy to be back, but the Pacific Northwest, particularly Portland, has stolen my heart.


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Rachel ParkerThe Toadies' Vaden Todd Lewis at Saturday's DOMA Showcase.With the huge choice of groups performing at the DOMA Showcase this past weekend, it was nearly impossible to see every performer on your preferred list. The zombies and turtle-lovers trying to be zombies along Deep Ellum prob ... More >>
Can't make it out to Neverland to see Michael Jackson's body? Or perhaps you'd just prefer to appreciate Jackson in a less ghoulish way than looking at a corpse? Either way, The House of Dang is the place to be tonight.The boutique shop will screen the King of Pop's 1988 straight-to-video feature fi ... More >>
Shadowrun is fresh and exciting--and on its way to being obsolete
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Our intrepid correspondent gets punked like a girly man on the video gridiron