bridiem

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  1. In fact the first airing of this is at 9am tomorrow - the evening airing is a repeat and lasts half an hour whereas the morning airing is 45 mins, so presumably better to catch the morning airing (or use iplayer later) if possible.
  2. A programme exploring the making of Flight Pattern with the Royal Ballet is going to be on Radio 4 on Tuesday evening (24 July) at 9.30pm - part of a series called Behind the Scenes.
  3. She's been paired with both of them, with great success in both cases I think. I'm delighted that she and Sambé are doing Giselle together, but I would very much like to see Campbell do Albrecht too, which is my only disappointment in the casting. He has an innate stage presence and dramatic intelligence that is very rare (reminds me of David Wall, and I can give no higher compliment).
  4. Well I suppose London being the capital city does have a certain national significance too... Though I suspect if she'd come from somewhere else that might also have been used as the angle. They just choose a peg to hang the story on and Londoner is as good as any.
  5. I think the point is that this is the London Evening Standard reporting, so they're going to take a London angle.
  6. Clearly Kevin O'Hare reads this Forum.
  7. That reminds me of the moment in R&J when Lady Capulet and Lady Montagu are obliged to be 'reconciled' to each other - the slow, grand curtsies down and then the contemptuous sweeping away of their gowns before they stalk up to the Prince of Verona. Brilliant.
  8. I think that publicity photos are often more stylised than the real thing, and these do show the beauty of the designs. Besides which I can't imagine that a version that was 'prettified' would be allowed to be staged.
  9. Great topic! I agree about that last image in Baiser de la fée - magnificent. Other possibles, some already mentioned: RN production of Giselle Act II when the Wilis run on, and turn rapidly one after the other to form a diagonal like a knife The final tableau of Dowell's production of Swan Lake - Odette and Siegfried gracefully recumbent after their travails, en route to paradise the second section of MacMillan's Concerto - like the heart of the sun the endings of so many Balanchine works! He was the master of the visually dazzling finale the lights going up on the ballroom scene in MacMillan's Romeo and Juliet the opening and closing scenes of Mayerling (in the cemetery) and the opening of the first act proper (crooked banner, sumptuous costumes, thrilling music, and a seemingly endless parade of dancers/characters Cinderella coming slowly down the steps to the ballroom in Ashton's Cinderella the wall in Akram Khan's Giselle the final tableau of The Firebird - a blaze of colour, power, light, music the last moments of The Song of the Earth - the slow walk into eternity Swan Lake swans, filling the stage with such beauty MacMillan's Requiem - the lone white Pie Jesu figure the final scene of Bintley's Sons of Horus - ancient Egypt on the move the second Pigeon moment (if it behaves) Bayadère Shades Wayne Eagling's Frankenstein: I have a memory of the orchestra gradually being elevated on an onstage platform, playing away manically; I may have been hallucinating, but it brought the house down
  10. I was at the evening performance on Thursday. I enjoyed Arcadia - it looked lovely and was upbeat and well made and well danced. I was far to the side of the auditorium though, and I'd like to see it again seated more centrally since I think some of the effects were a bit lost on me. And the ending seemed rather rushed. I also thought that it was like something David Bintley could have made; which in one way is good, but I hope that Ruth Brill has her own personal voice too (this is the only choreography I've seen by her). For me the highlight of the evening was Le Baiser de la fée; I hadn't seen it for a long time, and I thought it was terrific. Brilliant choreography and designs to beautiful, interesting music, and a haunting plot clearly related. I thought Joseph Caley was wonderful as The Young Man, both technically and dramatically, and Jenna Roberts was an excellent Fairy. I hadn't seen Pineapple Poll for many years, and although I can see it's a well-constructed work, and amusing, it was really too over-the-top for my liking (though perhaps I just wasn't in the right mood). This was also my first visit to Birmingham Hippodrome; what a beautiful theatre!
  11. Delighted for Beryl Grey, both for her personally and for the fact that someone from the ballet world has been given such a high honour. Mystified about the continued lack of a knighthood for David Bintley. Perhaps that would have been too much ballet in one list?!! Let's hope he's in the next one if so.
  12. I personally use it both ways. Even if I disagree with a post it may be interesting and/or thought-provoking.
  13. I hope not too. No matter how skilled, a younger person can never have the weight some of these roles require.