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About Lenore

  • Birthday 07/04/94

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  1. Thank you for the answer. I wonder why they removed the context?
  2. I think the lack of risks was something I missed on the opening night performance. It just seemed to be missing something, and I thought the dancing was too ‘pretty’ and perhaps a bit too perfect… I definitely left underwhelmed, but am hoping Swan Lake will be better tomorrow. I do agree with others that it was probably a mistake for the Mariinsky to bring Don Q so soon after the Bolshoi, or to bring it at all really. Viktoria Tereshkina and Kimin Kim didn’t have the same chemistry Alexandrova/Lantratov had, although I suppose that's to be expected (I missed that much feted Osipova/Vasiliev Don Q unfortunately), and seemed to be more focussed on the steps rather than the characters. Tereshkina had an almost permanent grin on her face, but it seemed to be mostly directed out towards the audience rather than towards Kim. My biggest bug bear of the evening were the multiple curtain calls and stopping mid-act for applause. The curtain call between scenes in act 3 confused a few people, who weren’t sure if it was all over or if there was another interval. I understand this is fairly typical with Russian companies, but I don’t remember the Bolshoi being this bad last year? I may be misremembering of course. After the first act, which nearly bored me to tears, I began to feel like the applause was being milked. Talking of applause… I don’t think I’ve ever heard people scream (& I mean literally), and make so much noise before after a variation on stage. Maybe I’ve just managed to miss those types of performances before (& maybe it was just a group of people near where I was sitting?), but it really surprised me. I think the loudest screams came after Kim’s act 3 solo & Tereshkina’s fouettes. Both were technically outstanding, but I have to admit the reaction somewhat surprised me: it was good, but not that good (in my opinion, of course!). I’m glad others mentioned the La Bayadere/carpet dance part. It really confused me. I almost found it amusing, thinking to myself ‘silly, doesn’t she know Bayadere isn’t until August?’. I’ve never seen a Don Q where this happens… is it included on the DVD with Novikova/Sarafanov in the lead roles? If so, I must have conveniently erased it from memory. Did anyone else find it really noticeable that Tereshkina had donned white tights in the scene before the Dryads, whereas before she had been bare legged (I guess it made the change into her Dulcinea costume easier)? And, one last thought, I found Don Q to be quite insipid. I’ve seen Don Q’s before who have genuinely made me feel sorry for them, but this one elicited no feelings at all. Some positives: I thought the lighting was nice and bright in act I. I also quite liked the warm/yellow lighting in the Dryad scene. It felt very autumnal (perhaps not the effect they were aiming for though). I also loved the costumes – ok, perhaps not all of them (skipping over act I entirely here) – but the entire Dryad section & a lot of the tutus/dresses in Act 3 were beautiful. The dancing was technically superb. In act 2, Ekaterina Chebykina was a strong Queen of the Dryads (I felt at ease watching her do those Italian fouettes), as was Tamara Gimadieva as Cupid. Kim had good height to his jumps & didn’t budge an inch on those single handed lifts. Tereshkina was equally strong – I especially liked her variation in the Dryad scene – and I’m looking forward to seeing her in La Bayadere (along with the corps in the Shades scene). Overall, a somewhat lacklustre start for me, but I’m hoping it can only get better. I admit to feeling somewhat fatigued over the choice of guesting companies… I’d love to see a different company next time (RDB, NYCB… I can dream, right?). Then again, I may feel better after Swan Lake tomorrow. We shall see.
  3. Disappointed this morning to have logged onto the ROH website, refreshed at 9AM on the dot, only to see the grey 'Sold Out' for all performances of Jeux & Sea of Troubles. Refreshed several times to no avail... only to log off 5 minutes later & realise there were tickets available. I just couldn't see them when I was logged in. Really strange. Sat in in the queue for 8 minutes & luckily managed to get a ticket for Jeux so am feeling slightly successful now. Sea of Troubles was still sold out, but at 9:30am a few tickets appeared for the 27th, so was lucky enough to nab one of those as well. Afterwards i I logged in & out & yes, could only buy tickets when logged out first. Logged in everything was showing as sold out. Seems to be okay now though.
  4. Ticket returned to box office now
  5. Still available - will be trying to return this week if it hasn't sold by Friday.
  6. It is. Have replied to your PM
  7. I was lucky enough to nab this ticket when booking opened... unfortunately I'm no longer able to go! Ticket for sale is Balcony Left, B1 - standing place. Cost is £20. It's for the 2PM matinee on the 2nd July. Cast includes Kaufmann. Any questions let me know.
  8. Yes, that moment in act 3 was electric. You could have heard a pin drop... even now, a few days afterwards, I still get goosebumps thinking of that moment & the entire final act. I only saw the 1 cast unfortunately (due to dates); the first & final performance of the Ed Watson/Natalia Osipova cast. Others have already expressed their views wonderfully & so I don't think I have anything else to add (she says, continuing to type). I would have loved to have seen the other casts, including Akane's debut, & Federico's Rudolf... Till next time I guess. The final performance on the 11th May felt much more stronger than the first (on the 28th April). I'm not sure if that's down to me, & how I was feeling on the night, or something else. Compared with opening night the final performance was much smoother, perhaps more assured, and ultimately felt much more emotional. I was much more involved with the characters. The entire Ballet flew by. I do really like Mayerling. It was one of the first ballet's I saw (on DVD, with Mukhamedov/Durante) & it still remains one of my favourites. Ed & Natalia's partnership was something special. No words really. Just glad to have witnessed it (their act 2 & 3 pas de deux will remain etched in my memory for a long time, I'm sure). The entire cast were on fine form throughout; Francesca's fearless performance as Stephanie (could easily see her as Mary in the future), Alexander's impeccable Bratfisch, Marianela's charming Mitzi Casper, Zenaida bringing so much character to the role of the Empress so that I viewed her (the character) with new eyes... as well as everyone else on stage. Sarah Lamb was just perfect as Larisch & hopefully she recovers soon. Olivia gave a great performance after undoubtedly short notice... Sad it's over, but looking forward to the upcoming mixed bill.
  9. Allegra Kent had 3 children in a relatively short space of time all in her 20's. Although she had already been promoted to Principal before that, when she was 19. That's the only example I can really think of & it's probably a rare case. Also, mostly going by memory here (her autobiography was an interesting read, but it's been a while since I read it!), but I believe Balanchines interest in her waned the more children she had, leading to less & then eventually no new role creations (although she did continue to dance with the company as a principal until her forced retirement in the 1980's).
  10. Throwing the trains, particularly GWR, in here (although I'm sure they've been added before!). Regrettably had to return my matinee Mayerling ticket as I needed to be home earlier. Got on the 13:30 train at Paddington. Now, 5, nearly 6, hours delayed am still on the same train & have yet to reach my destination looking unlikely that I'll make my last connecting train at 22:11 as well. Should have arrived around 3pm. We were thrown off at Didcot Parkway & told to get a coach to Swindon. Told by the guy at the coach station to 'go back to platform 1, there's a train in 40 mins'. That train then sat there for nearly 2 hours, in which time we were advised there'd be no replacement bus services & that their 'official' advise was to not travel (bit late for that). We were then told that we could catch the train to Oxford & then change to get the Birmingham - Bristol train. Then they announced 15 minutes later that actually, that wouldn't be a good idea, as by the time you reached Birmingham there'd be no connection to Bristol Brilliant. I have so many issues with GWR trains being delayed during my morning rush hour journey, but funnily enough, never longer than the 1 hour compensation cut off. Guess the silver lining here is that a 5/6 hour delay should get me my ticket cost back. Annoyingly though, I could have seen the matinee & got home not much later than I'm going to... grr
  11. I’ve been mulling over the new season since it was announced. I don’t think I ever get excited until casting is released, but having said that, I’m definitely disappointed at the repetition and dates/timings of certain performances – there’s a lot I haven’t seen before but looking at when they’re on, it looks like I’ll have to miss a lot of them… I haven’t seen either Alice or the Winter’s Tale live before so will may end up seeing 1 performance of them both (in particular the Winter’s Tale which I skipped last time and, unless I’m misremembering, was received really well on here). I am happy to see Manon and Giselle even if they’re back so soon. I’m getting carried away imagining the different casts I’d like to watch, but I’ll wait and see... Sylvia is another ballet I haven’t seen before, although I remember the DVD vaguely and enjoyed it, so am pleased to see it’ll be performed next season. I would probably say these are the main ones I’m interested in. The Nutcracker, weirdly, is still something I’ve never seen. I suppose it’s a good opportunity for younger dancers and pairings to debut, and I would have liked to have seen Lauren/Reece last time, but I’m not particularly fussed on it. If I don’t see it I won’t be too annoyed. I’m also not fussed on the Bernstein tribute triple bill or the modern triple bill and will probably give both of those a miss. The other triple bill for next year is disappointing for me – so many repeats (why when there’s so much to choose from!?). I may end up going if the casting is good – and it would have to be really good – but at the moment I’m thinking I might give that a miss as well. I’m surprised at the repetition of Elite Syncopations in particular, mostly due to personal taste (M&A could potentially give some interesting pairings besides the 3 this season but it is still possible fatigue could have set in by then). The MacMillan celebration looks really interesting and features a lot of works I’ve never seen, but the dates they’re being performed on are so frustrating. So many mid-week evening shows! it's just not possible for me to take 2 days off work to see 1 performance and it’s just not possible to get back on the same day: the last train back from London might be 10:45PM for me, but my last connecting train 1hr 35 mins away is at 10:20PM! (Grumble). Only one performance is on a Friday evening which will probably be the only one I will see. Nothing on the weekends and no matinees: definitely the biggest disappointment of the new season for me. Oh well. That only leaves the new Swan Lake which I have my reservations about, but will definitely be seeing. Who knows, it may become a firm favourite. Of my own wishlist, I would definitely like to see La Bayadere and Cinderella performed by the RB, as others have mentioned. Perhaps some more/any Balanchine as well (unless NYCB happen to tour to the UK… unlikely). And I wouldn’t have been too annoyed to see Onegin again despite it last being performed not too long ago. There’s simply too much I’d like to see that I can’t list them all. Maybe the season afterwards will be more interesting.
  12. Any takers on the SCS ticket? If not I'll be returning it soon.
  13. Don't know if this has always been the case & I've simply missed it, but there are names showing on the ROH website for Don Q, Swan Lake & Anna Karenina (only the 2 leads mentioned). Nothing for La Bayadere & the contrasts mixed bill though.
  14. I've just got back after seeing the matinee & have some thoughts. Curiously, for a show entitled 'Project Polunin' there was very little dancing for Polunin himself. That struck me as rather peculiar. And I'm still struggling to see why the middle piece was included at all. I unfortunately never saw Sergei when he was still at the RB (he left just before I started going more frequently), so I'm unable to comment on how his technique has changed (although I don't doubt the general consensus that it has worsened; after all, he hasn't really been focussing on dancing for the past few years). I will say that his dancing was very clean (in particular his turns) but felt his jumps lacked elevation. At times I found my eyes straying whilst he was on stage, particularly to Natalia, who struck me as significantly stronger, both technically and emotionally (with a limited character to bring life to in both pieces). In fact, I probably wouldn't hesitate to say that, for me, she was the saving grace of the entire thing. I had actually seen the first piece (Icarus: it's available on one of the 'Great Stars of the Russian Ballet' DVDs with Vasiliev and Maximova if anyone is interested). However, the difference in sets rendered it practically unrecognisable as the same piece. I wasn't sure if I was enjoying at first, but it definitely grew on me. I wasn't a particular fan of the music (Sergei Slonimsky) but liked the dancing - I am a big fan of Spartacus & am wondering, judging by previous comments, if that was linked to my enjoyment of it. I did think Sergei fell at one point (can someone confirm I didn't imagine it?) but it was cleverly disguised. The partnering seemed smooth enough, no doubt having benefitted from more rehearsal time. I didn't think the curtain call was too long. I've seen worse anyway. And I abhor curtain calls which overstay their welcome. During the curtain calls I rather optimistically thought the rest wouldn't actually be as bad as the reviews might have suggested. How wrong I was! To sum up the second piece (Tea or Coffee) in one word: dire. Absolute drivel. I don't think I've ever disliked a piece this much actually. And just when I thought (hoped) it was over it kept going. It started with the exchange of words/phrases in different languages. I did understand some words but missed what was so funny to some people. Anyone know what might have been so hilarious? I did wonder if it was the movements on stage rather than the actual words that people were laughing at... After that followed some floor writhing, some arguing, & then the lights went out. When they came back on, someone was lying on the floor (dead?). This happened several times. But then they got up near the end, so not sure if I missed something (I definitely closed my eyes at one point). It dragged. This is definitely a contender for worst piece I've ever seen. It also put me in a more pessimistic mood for the final piece (with some optimism still clinging on though - I do always try to keep an open mind). This seemed wildly out of place for a show entitled Project Polunin. Perhaps it's for the best he didn't include himself in it. The last piece was Narcissus and Echo. This was the piece that cemented the thought that his technique probably wasn't as good as it once was. Low jumps (in particular the leaps off stage were disappointing) but to his credit everything was very clean. That being said, for half of the piece he was sat on the planet not doing much, & then at the end appeared to just be running around a lot. I still can't get over just how little he did in a show with his name in the title. I was instantly dazzled by Sergei's crotch when he came on stage. Who knew it would be that sparkly in person? Certainly not me. In fact, the person sitting next to me got the giggles. I don't think she was expecting the costumes to look the way they did. She also left before the end... Also, another curiosity on the underwear front (or should that be y front?): the dancer with the red cape appeared to just be wearing a jock strap? Without binoculars I couldn't confirm this. All joking aside, I liked that there was a live orchestra. The music itself was okay but a little repetitive after a while. I won't be rushing out to buy the CD but it did go with the feel of the piece. I don't know what else to say. I didn't like it. Lots of frolicking from the Nymphs and not much dancing at all towards the end. There was some lovely dancing from Natalia although that tinsel costume was awful. Not as bad as Sergei's though. I did idly wonder if his costumes had been purposely chosen to show off his many tattoos. One of the other male dancers was very good (not sure who it was looking at the program), although they all danced well. I just didn't think Sergei stood out when dancing with them. I don't want to be too harsh, & I'm definitely willing to blame the terrible choreography to a point, but I didn't think his dancing was anything special. Also, what was with those star cushions? For a split second I thought they were sea creatures (jellyfish). But then they laid down & used them as pillows. Certain things in retrospect seem so bizarre (the set, the video footage which included a close up of an eye... I could go on). I am interested to see what Sergei's next projects might be. I understand he has a few acting gigs coming up so do wonder if he intends to step away from dancing altogether? Of course one of the problems with Sergei is that his reputation precedes him (the constant comparisons to Nureyev don't help). I came away rather disappointed. Luckily my seat was not too expensive.
  15. Ah, I see. Typical. I had issues with the last package booking as well. Hoping there won't be issues when general booking opens on the 28th (but am not entirely hopeful).