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  1. Scheherezade

    Fan Letters To Dancers

    How lovely, Swanprincess. The mark of a truly generous nature.
  2. Just as worrying, if not more so, is the effect that that the behaviour of the BBC in the Cliff Richard matter may have upon the freedom of the press in the future. And sorry to sound dense but what is the Simon May debacle about?
  3. The Choe/Campbell 2 Pigeons pairing was fabulous last time round, so glad its being revived!
  4. Scheherezade

    Women In White?

    Mmm, but way too self-indulgent.
  5. Scheherezade

    Choral Ballets

    Mark Baldwin choreographed Handel's The Creation for Rambert. And didn't Mark Morris also use Handel's oratiorios?
  6. Scheherezade

    Proms 2018

    I loved the guitar concerto and was fascinated by Milos Karadaglic's recollections about his interaction with Talbot whilst the piece was being developed. Sadly, I just don't find Talbot a memorable ballet composer.
  7. Back to Don Q, I did find that the Acosta version improved on second viewing but continued to be let down by the insipid orchestration and the bleached-out sets (windmill/gypsy scene apart). I will be seeing it again, if only for Corrales, who should be dynamite as Basilio. Am hoping that he and Osipova can reproduce some of the Osipova/Vasiliev magic of those wonderful Bolshoi performances. My daughter and I were on a high for days and I fully agreed with Clement Crisp who, I think, remarked that anyone who was in the audience would remember the experience for the rest of their lives.
  8. Didn't Muntagirov do this last time round with the RB? Just sublime, if I recall correctly.
  9. But conflicting views for the more challenging works, with glowing reviews reserved only for some. Don't get me wrong, Richard LH, I am not an indiscriminate critic of the available potential - I feel that the company is in its best shape since the seventies - but perhaps (and I use that word deliberately) the difficulty in performing Ashton's works as they should be performed may dictate that the Linbury may provide a better forum until the required technique has been sharpened.
  10. Didn't K O'H state recently at the Barbican that Ashton's lesser performed works would possibly be revived in the new Linbury? Whether these works will include those mentioned on various wish lists or whether they are likely to be restricted to reconstructions of real curiosities taken from remastered videos - I seem to recall mention of the latter - is another matter. It would seem to indicate that there is unlikely to be an immediate revival of the bulk of Ashton's works on the main stage, perhaps because K O'H feels that the company as a whole cannot currently do these works justice, but it nevertheless represents promise for the future.
  11. Hard to disagree with any of the richly deserved plaudits already expressed in these posts but if I had to choose one stand-out moment from the last year it would have to be Francesca Hayward's ravishing debut in Giselle, a performance that was not only deeply moving and highly accomplished but, in addition, one that made me feel as though I was seeing the ballet for the first time, something that I can't recall having ever felt before with a work that I have seen so often. Truly extraordinary!
  12. Scheherezade

    First Operas

    I do hope that you enjoyed Don Giovanni, Timmie. Putting aside the production - and whilst I'm happy to do that, I've seen far worse - the music is, of course, sublime, the singing uniformly good and Mariusz Kwiezien brings that irresistible hint of danger to his Don. Hope you felt the same. Sorry, our posts crossed. Looking forward to reading your thoughts tomorrow.
  13. Me neither, I thought they were terrific. It was my first time too and I was also pleasantly surprised at the ending. Whether this was because, having read the comments on the forum and the reviews, I was prepared for the worst I can't say but I found that the overarching vision of the swan Odette looking down upon Siegfried cradling her human form really worked, ditto the triumph of the other swans over Von Rothbart in terms of the much needed catharsis. Nunez was wonderful, the soloists superb and as for Muntagirov - Vadream indeed! Is it possible to improve upon his breathtaking performance? I doubt it and, judging by the whoops and cheers both mid-performance and again at the end, the rest of the audience agreed. Plaudits too, uniformly, to the rest of the cast, the fabulous Koen Kessels and the orchestra. No more Swan Lakes until closing night with Takada and Bracewell. I can't wait.
  14. Scheherezade

    Performances in the U.S.A.

    I so agree with the other posters, Ivy Lin. It is a pleasure to read your blogs and I, for one, believe that the continuing success of classical ballet depends upon the reactions of the lay punter every bit as much as, if not more than, those of the seasoned critics and the technically astute. After all, it is they who make up the audiences. It is also illuminating to see at what points these views converge and diverge and, in the reviews shown on this post, interesting to see those of your reactions that are echoed by Alastair Macauley. What, by the way, did you feel with regard to the much-vaunted chemistry between Osipova and Hallberg?
  15. Scheherezade

    BBC Young Musician

    I've just got round to listening to the final and found the result very hard to call, although my inclination was towards the saxophonist.