MAB

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About MAB

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  • Gender
    Female
  • Location:
    South London
  • Interests
    Dance, Opera & travel

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  1. The final moment of Vladimir Vasiliev's Romeo and Juliet when the conductor kneels and joins the lovers hands in death. When it was danced at the Barbican the conductor was Rostropovich and it took some effort on his part. It was the last time I ever saw him and just the memory brings me close to tears.
  2. Fabulous cast indeed, Lucy Crowe goes from strength to strength and stole the show as Ismene earning herself a deafening ovation at the end, and Bejun Mehta as Farnace brought tears to my eyes in his final aria of heartfelt remorse. I've always liked this very original production, but last night's audience found everything funny and frequently ruined the atmosphere with inappropriate laughter, there was also a great deal of heavy object dropping, whispering, coughing and fidgeting, the worse audience I've encountered in an age. Early Mozart is criminally neglected, I'd give a lot to hear Ascanio in Alba in a major house.
  3. Not a million miles away perhaps but very different historically. The company was founded by Alicia Markova and Anton Dolin, two former Diaghilev dancers that had had very international careers, from the outset the company drew its dancers from all over and it was decades before it established a school of its own. The first time I saw the than Festival Ballet Markova danced alongside Riabouchinska in Dolin's Pas de Quatre, but the English male star, John Gilpin, also danced in that programme. There was always what I have considered a healthy mix of British dancers and foreign guests, some imports, e.g. Peter Schaufuss, was the male star of the company for many years, eventually becoming director. No problem with dancers joining either permanently or for the run of a specific ballet but the company has talent at all levels and I don't think it is wrong to hope that a structure of career progression exists for them
  4. Two questions come to mind. Are they advertising to replace retiring corps members? If so, why can't vacancies be filled by ENB's school?
  5. Watching the F1 grand prix today I was reminded that Filipe Massa announced his retirement at the end of last season then changed his mind and is still whizzing round the track, I'm hoping something like that will be happening at ENB. It's nearly two months to the end of the season and if a week is a long tine in politics, a week in ballet is doubly so.
  6. I presume the unwanted speculation would be as to why so many are going rather than the numbers? Perhaps the O/P was being a little premature as the company doesn't finish its season until August but I daresay intentions will be posted on Facebook (some already have) and one young dancer in particular is making a very exciting move. The thought has just occurred to me that if a similar number were to be leaving the RB, 90% of the posters here would be having kittens, oh well,
  7. I was told by one of the aforementioned leavers that the member is 15, various reasonx for leaving I believe but worrying all the same. Two in particular are in my opinion a catastrophic loss.
  8. One more comment, an official (?) photographer with an incredibly noisy shutter was a huge distraction to those sitting in the rear stalls, I understand complaints were made to the staff.
  9. I imagine most people's Facebook friends are actually relatives, so news about a sick relation would resonate all round. If you don't like an image it takes a second to remove it from your timeline.
  10. You missed out the very efficient air conditioning, much appreciated on days as hot as last Sunday.
  11. Ryzhkina was indeed exquisite and such a privilege to see Mekuriev again. Anyuta never comes to London so a real treat to see the romantic pas de deux, I was lucky enough to see Maximova in the role in Moscow but Kretova is a more than worthy successor in the role. Even in such a star environment the little gypsy was a sweetheart, I think she won quite a few hearts on Sunday evening.
  12. Indeed, but I actually have a ballet loving pal in Nottingham and appreciate the O/P's dilemma.
  13. I'm sure 'coals to Newcastle' has a Russian equivalent.
  14. Choreography always sits best on a dancer close in stature to a role's creator, therefore my choice would be Osipova. Sadly I never saw the ballet in its entirety before the recent reconstruction, but the last act pas de deux was a favourite party piece of Fonteyn's, usually danced with Attilio Labis, Doreen Wells also favoured Sylvia at galas but would dance the pas de deux from earlier in the ballet, most memorably with Maris Liepa. The style in which these two ladies danced the role still stays in my mind. Russians, both dancers and audiences, experience love at first sight with Ashton's choreography, how I would love them to bring their Sylvias to London, I am heartened by the fact that as the Brits cool towards the master, Russian interest is being ignited. I would strongly prefer Bonelli over Clarke as Aminta as he has the charm and stage experience to bring much to what is a rather empty role technically, when he dances I'm uninterested in his age, I'm only aware of the positives he brings to everything he does.