Bruce Wall

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About Bruce Wall

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    Bruce Wall

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  1. I so wish we knew ... so we could pay them all a respectful 'good bye' with our mind's eye while we are all enjoying the R&J. That's hard to do after the fact. As has been said, of course, a few have been identified on social media or Company announcements.
  2. I have two ROH Amphitheatre standing room tickets (singles) should anyone like to have them. They each cost £10 each and are both full - indeed excellent - views. 1. SWAN LAKE, Tuesday 1st August, 7.30 pm, No. T45 2. DON QUIXOTE, Saturday MATINEE, 5th August, 2.00 pm, T45 As these are e-tickets they can be electronically transferred. Please PM if interested. Thank you.
  3. Wasn't the Australian Ballet the last major company to appear in London in July of 2016 (ouside of the Hochhauser/Russian seasons as you noted of course)? This year the Coliseum wasn't available to major foreign dance companies (should any still wish to rent the extremely expensive venue which seemingly does no marketing on behalf of visiting companies) because of Bat Out of Hell. They have already announced a production of Kiss Me Kate for summer 2018 so I think it highly unlikely that a ballet company would be visiting at that address during this period. Without the foreign companies dropping into London (in any significant way) of course it does allow for greater focus on the fine national ones. I just think all those year end BEST lists should be now best listed as 'Best in the UK' .... which is oh, so meaningful in and of itself. Of course, Aileen ... if the mountain won't come to Mohammed ... There's more than one way to get a meaningful ballet fix ... and to enrich your balletic viewing with an overall broader view ... (Plus the fact that none of us lives more than once, huh ... and you've got to do something with that spare cash given that interest rates are still at the lowest ebb they have been at for a VERY long time! (And at a certain age you have to ask yourself: Saving for what exactly?) Don't want the government skimming it off the top in face of another crisis, huh. That has, of course, happened elsewhere; Cypress, etc.)
  4. The banner says: WEBSITE ALERT: PURCHASES ARE CURRENTLY UNAVAILABLE WHILST WE RESOLVE A TECHNICAL ISSUE, PLEASE FOLLOW US ON TWITTER FOR UPDATES.
  5. Got on and got a ticket to SEA OF TROUBLES ... There were 17 tickets for 26.10 when I left ...
  6. ROH website seems to have gone lame for a bit just now. I've tried on two different computers - both of which are otherwise working well ... and you get the regal background and very little else .... for a very long time ... . Don't know if anyone else has noticed this.
  7. I went in first thing this morning for Sea of Troubles (knowing it would be the most problematic) ... and it was - at 9.00 am SOLD OUT ... i.e., no tickets for the poor. (Hope they film it as it is so short.) Feel this may well be the way with the 'new' Lindbury when it re-opens as the standing places are reduced to six and everything else is at a higher premium. Did manage to get a ticket to Jeux .... and otherwise got all that I was after for both the ballet and opera in a fairly smooth transaction ... so, overall, a good outing. Thanks ROH.
  8. Would love this ticket for a friend. Will send you a PM.
  9. Ditto ... Also I would have loved to have seen James Hay have a go with Takada after his ravishing Florimund opposite her in Sleeping Beauty this past season. T'was a performance of elegant size and detail. Perhaps with KIsh now back he will lose some of his previous opportunities. Not for too long I hope. We shall see.
  10. Ooops ... Was going to send you a request for 25/7 for a friend who's coming in from Salzburg ... but then realised I got the date wrong. So sorry.
  11. I doubt there will be sufficient comment to start a new strand in the Performances Seen BcoF thread - so i thought I would just comment here. Can I just say what a truly excellent gala this was this evening. There is NO question but that it was. This young producer, Tom Attard-Manche (and how sorely these are needed) oversaw a programme which was wonderfully diversified and exceptionally executed by a thrilling team of dazzling young dancers to a mix of live and recorded music. There was just so much to admire - so much more than I have time to itemise just now. POB's Ambre Chiarcosso and Paul Marque were breathtaking in the dazzling piece by Benjamin Millipied, one which keenly reminded me of the Robbins' work which introduced the then SAB student to NYCB - (a work sadly still yet to be seen in London); the ever thrilling Valentino Zucchetti - what a class act this young man is - outdid himself with the world premiere of his tantalising new PDD to a vivid score by Ilan Eshkeri brilliantly rendered by the fine young musicians, especially the lead violinist; the two dancers from DNB (Melissa Chapski and James Stout) who were tellingly eloquent in both of their pieces (Van Manen and Meisner); Northern Ballet's Matthew Koon literally flew with extraordinary and graceful articulation in the solo created on him 'Looking to the Sky'; thought both dancers - Loïck Pireaux (Ballet di Roma) and - again - POB's Chiarcosso - were insightful in the Grand Pas Classique and the final Black Swan PDD was simply world class reminding all and sundry just why Joseph Aumeer should even now be amongst the heady band of zealously brilliant youths now dancing with our our own beloved RB. He looked so modestly moved by the overwhelming response at the curtain call. It was touching in the extreme. I SO very much look forward to Ballet United's future output. Many, MANY congratulations to ALL involved - but MOST of all to Mr. Attard-Manche for a difficult job magnificently accomplished.
  12. Thanks so Janet. I do so hope that if The Red Shoes is revived here - which I'm sure it will be ... that Sara Mearns might guest (as she is at City Centre in NY for understandable commercial reasons vis a vis the local ballet audience) for ONLY a few performances so that UK audiences might have a chance see this wonderful artist dance - short of the brief spots she was shown in with NYCB in 2008 which is most likely the only time that Company will appear (most certainly on London soil) during her active/celebrated dancing career.
  13. Perhaps she will do M&A again ... given that Bolle is also listed again. ... Surprised at Salenko again ... especially in light of a new RB female principal and other promotions, say, A. Rose O'Sullivan.
  14. Thanks for this, Oberon. Interesting to see that Emilio Pavan is joining Munich - especially as he had been featured in ENB's Emerging Dancer programme. I hadn't heard that before. Not for this Forum strand of course, but does ENB publish an annual 'leaver/joiner' listing? There have been so many rumours ... and the rest of us just sit in the dark wondering what is what thereabouts. As it is I am aware of announcement of three exciting ENB principal joiners but little else. A yes or no will suffice .. knowing this issue is of concern elsewhere not specifically here.
  15. On the whole I enjoyed this afternoon's RBS Summer Performance 2017. (Must be brief as i have more work to do than I know how to actually finish.) The two dancers who especially stood out for me were Sae Maeda - such luscious ballon - so pleased she is joining as an RB/Aud Jepsen Young Dancer - and - most gloriously Harrison Lee - yet another talented Australian - who - at least to my eyes - seemed to have the entire package already sorted at this the end of his second year. He would seem a ripe candidate next year to go straight into the RB as an 'Artist' should an opening show itself. (Plus he won't be troubled by any impending Brexit dilemmas.) Certainly his placement and musicality bewitched in MacMillian's ever haunting Concerto. (You can see his winning PdL classical entry here: Liked the wit of Archie Sherman in the Tango section of Bruhn's Here We Come. I hadn't seen it since it was premiered by the National Ballet School of Canada in 1978. I remember a young David Nixon, OBE (now Northern Ballet's AD) in the ensemble which I recall - given the vagaries of an aging memory - (I was 21 and in the last of year of my PhD at the time) - being stylistically more of a concerted whole than it occasionally was this afternoon - but then the balletic (and entire) world were in a very different place back then. Certainly I remember watching a rehearsal for it where the legendary Erik Bruhn was very much playing the drill sergeant to everyone's delight. Magic. (As I recall the lads weren't in sailor suits ... but that suited the RB outing well I thought.)