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penelopesimpson

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  1. I am afraid that I too preferred Red Shoes. It had all the elements as Aileen has described and I would happily see it again. Am seeing Cinderella for the first time next week - any feedback?
  2. Me, too. I go to ROH most often because it is excellent and also because of its geographical location opposite Waterloo. I do make the effort to attend Sadlers Wells but it adds another hour each way to an already overlong journey and it has to be good for something to tempt me. If I lived in London I would go to more.....but I mostly content myself with the reviews on this board. I honestly don't enjoy the Colisseum as a venue and although I saw Akram Khan's Giselle in Bristol, I wish I had made it to London. I am spoilt because ROH is a fab venue that lifts my heart and it happens to contain my favourite ballet company. Riches, indeed.
  3. Whoever wrote that phrase, presumably a critic, is yet another person biting the hand that feeds him because he/she can't get beyond the image of champagne-quaffing, top-hatted aristos being the traditional ballet audience. I'm not going to pretend I don't drink champagne because I do - as much of it as I can afford and retain the ability to hoof it over Waterloo Bridge for my train. I also dress up because as a 'poor widow woman,' I relish the chance to wear something nice when I am going somewhere special. I am sure these are hanging offences and that I would be more acceptable with unwashed hair and a rucksack, but I am what I am and I'm proud of it. I'm also proud of spending my money on something beautiful and life enhancing rather than the latest electronic gadget. All that said, am I a ballet snob because I want it to be the best it can be? I am always up for something new and can forgive experimental programmes that may or may not work because that's the creative process (adored The Wind), hated Raven Girl. I found it harder to forgive Acosta's Carmen because Acosta had a poor track record for choreography and somebody should have spotted this was a stinker right from the get-go. Snob is such a strange word when applied to an activity. Is one an athletics 'snob' because you want Mo Farah to win, or a tennis snob if you want to see Andy Murray lift the Wimbledon cup? Over the past decade we have entered this peculiar world of top-hat bad, cloth cap good without any real qualification of what this actually means. The BBC regularly talk about the 'sharp-elbowed middle class' which translates as parents who want their children to get on. Anyway, I am getting off topic. If wanting the best ballet I can get is the definition of a snob, my nose is definitely in the air!
  4. As a former admirer of Sergei the ballet dancer, I find it entirely legitimate to criticise the careless way in which he treats his great talent,the more so when he involves himself in sub-par ballet work. However, of course it’s unacceptable to attend a performance and conduct yourself in such a way as to spoil the evening for others. I am surprised to hear this because most real fans are reduced to silent despair as I was at Sadlers Wells where I saw nothing to laugh about. As for aspirations, would anyone mock anybody for an wanting to be the best they can be at anything? Sergei gets mocked, if that is the word, because of his total immersion in himself and his need to be a star of nothing in particular.
  5. Oh my, I remember that night. I was with a friend who had only ever seen one ballet before and had never been to ROH. She went wandering while I kept a date with a glass of something in the bar, and then when she came back she kept saying the stars were leaving. I was dismisive and then the news started to spread through the Floral Hall like wildfire. I was beyond gutted. They were, and remain, my favourite couple and Icouldn’t believe this was the last time I would seethemdance. As you will know, the Curtain Calls went on forever and I kept expecting a management presence to acknowledge these two stars. I am a great supporter of KOH but I still think it was shabby treatment. Whatever bad blood there may or may not have been, KOH should have put the audience need to have their favourites recognised ahead of any other concern. Still rankles with me.
  6. I have no value comment to make because,after Narcissus, Sergei and I parted. Sorrowfully, on my part, but unnoticed by Mr. Polunin who was otherwuse engaged with himself and playing a passenger on a train. However, I have a friend who attended last night and said only ‘never again.’ I have emoted overlong on the trials and tribulations of life that for Sergei are the equivalent of washing your hair - perhaps with a gluten intolerance thrown in. What is so ironic is that Sergei is the one artist above all others who so desperately needs what he eschews - the discipline and rigour of a ballet company.
  7. I think you will find that it has very little to do with Colisseum management, and everything to do with the marketing of Polunin as a brand. Image rights are protected unless you want to pay for them. All the marketing for this event makes this clear with its heavy emphasis ondancer, director, creator, producer, etc.etc. I am only surprised Sergei wasn’t credited with the catering.
  8. Terrific thread: First time I saw Asymuratova at the beginning of my ballet journey. She and Faroukh Ruzimatov were just so magnificent and opened up a world of beauty for me Cojocaru and Kobborg in Mayerling took my breath away and I miss them Edward Watson in anything, even as The White Rabbit(!) but especially Mayerling The male pdd in Woolf Works with Watson and I think James Hay The music in Woolf Works which I can’t play in the car because I tear up Osipova and Watson in final Act of Mayerling when their intensity was terrifying Christine Opolais singing Butterfly three years ago, cried buckets Jonas Kaufmann debut as Othello. Those first moments when he strode on stage and his voice was exactly as I’d anticipated. I looked at my friend and then around the House which was spellbound and thought how lucky I was to be in such company. And then when he killed Desdemona the tears came. oh, and Rojo and Polunin in Marguerite and Armand. Her stillness, his, unusual, vulnerability
  9. Not guilty but surely someone must have gone? Should have added, there is a 'flash sale' of tickets available now online if anyone wants to go
  10. I understand that she has 'it,' I've just never found it. The role I liked her in best of all was last Season's Mayerling. She is clearly exquisite but never touches my heart strings.
  11. I find Vadim's costume indescribably awful. I appreciate it is part of the piece, etc. etc., but really - ghastly doesn't come close.
  12. Great description, Nina G. Hayward and Naghdi have it in spades, as does Cojocaru.
  13. Christmas television?

    I loved it, too, Beryl, but the reviews were mixed. Could happily see it again so will look forward to the tv. Last year they had Cavalleria which was wonderful.
  14. Well, this is strange. You book for Swan Lake but if you go on the wrong day you will get Bonnie Langford?
  15. Woolf Works for WWF

    This doesn't really justify a thread but I didn't know where else to put it! Has anyone else noticed that the new WWF tv ad uses the music from Woolf Works. It is very effective when used as the background for elephant poaching.
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