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  2. Thank you for your comments. However, the prices I quoted are those I pay. I am going tomorrow (Friday) to a screening of La Scala's Le Corsaire, the ticket for which cost $16.00 (almost £9.00). The maximum price for a ticket is $24.00 (approximately £13.50). It appears from their publicity that Event will be showing those RB ballets missing from the 2017-2018 lineup in the coming year. Not sure about Village: I'm not familar with their offerings. I recognise that outside the capital cities, access to ballet films is generally difficult, often extremely so. This seems to be a problem in many areas. Those of us who like ballet are going to have to do a better job of enthusing our colleagues, friends and relations 😊
  3. Hi Sheila, the announcement to which I referred is on La Seine Musicale's Facebook page, it's an hour and 25 minutes or thereabouts of video originally broadcast live. I must thank the French ballet tweeter who drew it to my attention! Unlike this year with the Robbins theme then the PNB stand-alone visit, no mention was made of any theme for 2019 Etés de la Danse.
  4. jmb, I certainly never paid only $20 at Palace (the previous chain) - it was always at least $24 if not $28! So Village at $20 is at least a 20% reduction. But what you haven't noted is that Village and Event cinemas are not even showing all the ballets they could. Available for 2017/18 were Alice, Nutcracker, Winter's Tale, Bernstein centenary triple bill, Manon and Swan Lake. Event only offered Alice, Nutcracker, Manon and Swan Lake, and Village didn't even show Alice! You can thank your lucky stars you don't live outside Melbourne or Sydney (I think Sydney?). I live in Albury, and came from Hobart. The only ballet screenings in Tasmania until last year were in Devonport, four hours plus driving each way. My mother can now go to a ballet film fairly close to home which as a physically-challenged 70-something (she'd shoot me if I Revealed All) is very much to her taste. From Albury I have to either drive to Canberra or to Melbourne - I will drive to Sydney for live ballet but not for a film. Also I don't know where you are getting Friday screenings, Village (Victoria and Tasmania) are only offering Saturday, Sunday and Wednesday mornings, as are Event (NSW not Vic). Palace used to have Friday screenings for some films. Sharmill was the Australian distributor for POB, RB, La Scala, the Met and Bolshoi but no longer. You will be pleased to discover that Bolshoi are showing at Dendy cinemas, and as you say Palace still have ONP and La Scala plus Opera di Roma.
  5. Today
  6. ENBlover

    Upcoming DVD/Blu-ray Releases

    Does anybody know if there are any plan to release Akram Khan's Giselle?
  7. Yesterday
  8. Glad you did post your thoughts, Lenore! Really interesting. Yes, the synopsis indicates that the other swans are freed. (And I think that your question does rather indicate that this is not as clear as it should be from the choreography/in this production.)
  9. I suspect both Like you, I've seen a lot of pairings over the years, but it's relatively rare for one to move me deeply. I *was* starting to think - until Monday - that I too mustsimply have a disconnect with the ballet, or at least RB versions of it, and that it wasn't just because I disliked the Dowell version. I don't think the character of Siegfried is necessarily flat - at least, it shouldn't be - but it does depend hugely on the dancer whether I get drawn into his predicament or just appreciate some beautiful dancing. I do have particularly fond memories of at least one performance - Tamara Rojo and Patrick Armand in a matinee performance of ENB's "in the round" version at the Albert Hall - where despite the barn-like feel to the venue they totally caught me up in their plight and I was quite devastated at the end, but it's rare for something like that to happen.
  10. Vonrothbart

    RBS Junior Associates 2018

    One thing for certain regarding RBS, it's absolutely not the be all and end all school. Like has been said on this forum many times before, there's more than one road leading to Rome
  11. I’ve been finding this thread fascinating to read. I have one question about the production (I didn’t buy a programme so it may have been explained): does Odette’s sacrifice at the end break the spell for the rest of the swans? I saw 2 casts: Yasmine Naghdi/Nehemiah Kish (back in May) & Natalia Osipova/Matthew Ball (the matinee performance last week). I don’t typically write my thoughts as I enjoy reading others more, but here I am. I have to confess, I’ve seen multiple Swan Lake couples over the years & have never been moved by Odette/Siegfried, regardless of the dancers (even counting clips I’ve watched online). I’ve never been able to work out if I just have a disconnect to the story or if I just haven’t seen the right performance. I’m also not particularly fussy about choreography, but there were quite a few things I really enjoyed in Scarlett’s production; the costumes & sets for one thing, but also the prologue, the inclusion of Rothbart into the royal court (interesting dynamics), the entirety of act 3 & most of Act 4. I still haven’t fully made up my mind about the ending but I’m inclined to say I actually quite liked it. I’m still mulling things over weeks after seeing my first show. I know I said I don’t find Swan Lake emotional, but I do always tear up at that final piece of music, without fail. There’s just something about it (the entrance music for Myrthe in Giselle has the same effect on me). On another music related note, I dislike how slowly the pas de deux in act 2 has been taken this time around, something I think has already been noted, so perhaps I’m not alone. This always sets my teeth on edge (just another personal issue!). I saw a clip of the act 2 pas de deux from the cinema screening & despite beautiful dancing I just can’t move past the tempo. My only other general note was just to add my agreement with regards to Benno/Siegfried & the amount of dancing for the former (& lack of dancing for the latter). I do wonder if the character of Siegfried is the reason I’ve never been emotionally invested in this Ballet. He’s a rather flat character. This version made no attempt to flesh him out. So, my thoughts on the couples I saw: Naghdi was utterly beautiful. Unfortunately I missed her final act as the heat in the auditorium made me feel terribly unwell, but I’m glad I managed to see her act 2 & 3. I do find a taller dancer works best for me as Odette/Odile & Naghdi had exquisite lines. I found her Odette particularly vulnerable. If you’d told me this was her debut run as O/O I wouldn’t have believed you. I don’t want to add to the criticism of Kish but I found his dancing disappointing. That said, he partnered Naghdi well. I was very impressed with Matthew in the matinee performance. He partnered Natalia extremely well and still gave as much characterisation to the role as I felt possible. I found his dancing very lyrical. I couldn’t help but recall his Lensky during one of his brief solos. I’m probably in the minority here, as after reading previous reviews before the performance I had some reservations, but I didn’t find Natalia overpowered Matthew in the pas de deux. I do think her interpretation of the role is a bit wilder than others (& thus not to everyone’s taste), & I always love how she gives everything on stage, but I also think she’s softened in this role compared to the DVD performance. Matthew (Ball) completely held his own. It’s unfortunate Natalia slipped on her entrance (looked painful) & I thought act 3 started tentatively due to this, which was understandable. I also thought the pique turns started off looking less impressive but the speed she got up to ultimately made up for this, & I didn’t miss the fouettés. Despite having said all that, I don’t think Natalia’s O/O has the same emotion as her Giselle (where, funnily enough, I tend to prefer shorter dancers...). I think her Odette is too human like. Overall it was a very enjoyable performance(s) & I’m glad the choreography exceeded my expectations. Interesting to read a DVD will be released, presumably of the Nuñez/Muntagirov cast (I spent a good 5 minutes wondering why it would be released so far away before I remembered 2019 was next year...!). I’m impressed & very happy the ROH release so many DVDs. (Apologies for any grammatical errors above. I typed this up on my phone & haven’t read it through as I’m too tired!)
  12. Vonrothbart

    Any cuckoos out there? ... and other BirdWatch news

    Still not heard a cuckoo in these parts, very unusual.
  13. Jan McNulty

    Any cuckoos out there? ... and other BirdWatch news

    Not really bird watch but my mad dog Chip loves swimming in the local Marine Lake. This evening a couple of terns must have thought he looked like supper at dove at him before they realised he was a dog and flew off smartly!
  14. Thanks for that link Janet - I was interested to hear that Chase DID dance in the SB run with ENB. I love him to bits and had the privilege of seeing him a few times with The Trocks and also in rehearsal where luckily I videoed him rehearsing his DonQ fouettees which were really quite something!
  15. Fair point, but I suppose it all depends on what exactly was her problem. "Foot injury" seems to me to imply something rather more serious than the sort of condition that must plague ballerinas all the time.
  16. Quintus

    Any cuckoos out there? ... and other BirdWatch news

    We haven't seen any so far - just the pair of them appearing morning and evening. Fingers crossed for The Partridge Family revival though!
  17. Some of the choreography for the corps in that act is rather, let's say, unusual, too.
  18. David

    Upcoming DVD/Blu-ray Releases

    Have just seen that The Little Mermaid with the Czech National Ballet is listed for release on 6th July 2018 on the Euroarts label. According to the blurb: “This new ballet production of Czech National Ballet, based on the famous fairytale by Hans Christian Andersen is, delivered by the National Theatre Orchestra, choreographed by Jan Kodet and directed by the acclaimed SKUTR tandem (Martin Kukučka and Lukáš Trpišovský) - who won numerous awards, including the Grand Prix and the Audience Prize at the FIST international festival in Belgrade – with a new composition by Czech contemporary composer Zbyněk Matějů.”. I don't know how this compares with other versions and I haven't been able to find any reviews so would be grateful for any comments/advice.
  19. After your frequent reminders I always try to put the full names in a post at least once... And I try to remind other people too.
  20. Couldn't resist looking at that- I found it highly amusing- maybe as I couldn't get your mention of a hostess trolley out of my head. Funny how trying to be literal with a swan swimming doesn't work. I may have grumbled a bit about Scarlett's ending but it's so much better than that in my opinion. Actually I liked the blue sheet but not Nureyev bobbing up and down for so long.
  21. The_Red_Shoes

    Intermediate Foundation as an adult

    Hello SJBallet. It's lovely to hear from yet another adult exam syllabus student. There's quite a few of us now. Thanks for your good wishes, and fingers crossed for your results. .
  22. I was thinking that the Queen (or the Princess as she is called in both the 1877 and 1895 librettos) is a ruling monarch who has lost her consort. That would mean that her son would not become king until her death. The uneasy relationship between the widowed Queen Victoria and her son Edward springs to mind. So far as Hamlet is concerned, at that time, kings of Denmark were elected. Claudius is a usurper, who has, as Hamlet says in Act V of the play, “popped in between the election and my hopes”. Tom Stoppard probably did his A Level Eng Lit slightly longer ago than me.
  23. Fiz

    Thank you!

    Thank you to Bruce Marriott for creating the original site and this one and to those who are keeping this one running. It is helping me stay sane in a mad world at the moment.
  24. Almost every ballerina dancing Odette/Odile or any other role, would have various niggling injuries... Sometimes substituting another step or doing the same enchaînement on the other side/foot is sensible. Niggling injuries do not prevent dancers from performing, not do they necessarily make for performances that are of lesser standard then normal. Indeed sometimes they are greater artistically, as the dancer, perhaps feeling less then adequate technically, concentrates more on interpretation. In such ways too, do dancers often develop their artistry...
  25. Canary

    What after junior associate auditions??

    Just an idea as I don’t know what the journey would be like but you could ring KS Dance in Warrington and see if there is a boys programme running, their Strength and Conditioning coach works on site and coaches boys see Science in dance on Facebook and theballetstrengthpro on instagram
  26. Takada too, as I recall....I loved the nuanced, vulnerable emotions she expressed as Odette.
  27. I'm still feeling a bit guilty for leaving early yesterday as it seems disrespectful to the dancers who were all giving their all and especially as it was a pretty good performance of Swan Lake anyway .....Normally I'd have to be ill to leave a performance early like that ...but foot pain and poorish sight lines (more unusual for SCS) got the better of me ...certainly won't be so stupid again. Can anyone who did see the last act yesterday say anything about it?
  28. Having Seen through a glass darkly at the cinema and begun to find my way around the production on Monday (when not being dazzled by Naghdi), it was good to enjoy last night from my preferred seating in the Balcony Stalls with a perspective on the staging and greater mental freedom to attend to performance. In reference to Shade’s comment, I thought that the conducting of Valery Osyanikov was, in general,a little faster and more fluent than what I heard last week,but I appreciate different dancers will have different requirements. I’m not a big fan of over slow in Adagio I must confesss... So, some incidentals.... We all see things differently I guess. It didn’t amuse me then, and it doesn’t amuse me now.
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