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Lenore

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About Lenore

  • Birthday 07/04/94

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    Bristol

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  1. Bizarre how much it varies around the country! Agree that it's likely due to the various chains rather than the ROH. For comparison, I have 2 nearest cinemas that show RB performances: an Odeon & a Showcase cinema. The Odeon charges £13.50 for an adult & the Showcase charges £15.45 (bigger screen & comfier seats). I checked prices for the upcoming Alice as well as Manon/Swan Lake next year & the prices were all the same. No idea if encore showings vary in price.
  2. I was lucky enough to see two casts: the one with Ekaterina Kondaurova/Evgeny Ivanchenko and the other with Ekaterina Osmolkina/Ernest Latypov as the leads. Realise I'm a little late to post but figured I might as well before I chickened out entirely. I do prefer this version to the Grigorovich Swan Lake that the Bolshoi brought last year. In comparison, the Mariinsky version seems less visually gloomy. I can’t say I’ve ever been a big fan of the happy ending though – I find it a bit of a let down after that tension has built up just before it – but enjoyed it nonetheless. I always forget how much I love the music for Swan Lake and am quite glad I decided to go (even if I did grossly overestimate my standing abilities during that first act). It’s funny how certain phrases of music can make you feel emotional & that final section of strings does it for me, irrespective of what is happening on stage. I’ll start with my impressions of the first cast. Ivanchenko was a strong partner but ultimately I found him quite bland. I didn’t feel much, if any, rapport between him and Kondaurova, so felt the performance fell slightly flat. Kondaurova is a really lovely dancer. She has beautiful, long lines & is a very strong technician, making everything appear effortless. I enjoyed the juxtaposition of her commanding, sensual Odile against her more vulnerable Odette, although did find she kept an aura of coolness/regality about both characters. I enjoyed the overall performance much more on Saturday afternoon, with the second cast I saw. I do tend to prefer shorter dancers anyway, but one of my main reasons for enjoying it much more was that the entire cast seemed much more involved with the story. Osmolkina was a much warmer, gentler Odette. She gave a really understated, emotional account of the role, so much so that I’m struggling to do it justice here. She had natural chemistry with Latypov. Her Odile, in contract, was wicked and sensual. One of my unexpected highlights of the matinee was Latypov, a dancer I’m unfamiliar with. I tend to write off Siegfried as a bit useless, with little to work with character-wise. However, after last Saturday I completely changed my mind. Latypov looks really young, but his dancing was technically proficient and he had no obvious issues with the partnering. Some of his landings weren’t the softest, but it’s only a minor criticism. What I really liked was how he stayed in character, even during the curtain calls – the look he gave Osmolkina during one of the act I, scene II curtain call was one of awe. During the first act in the castle my eyes kept being drawn to him, even at the side of the stage, as he stayed entirely in character. I genuinely felt his anguish at having betrayed Odette in the second act… I really enjoyed the subtle nuances he brought to what I assumed was a limited role. The pas de trois and big swans were performed excellently on both occasions. Dancers who stood out for me were Nadezhda Batoeva, Renata Shakirova in the pas de trois and as the big swans, and also Filipp Stepin the the pas de trois. I quite like having a dancing Rothbart but still haven’t made up my mind whether I prefer it to the usual character role version. I think a bit of the character, and subsequent story, was lost in this version. He seemed less evil and less involved. I also found that his black costume blended in with the dark background a few times. Of course, I don’t think I could talk about Swan Lake and not mention the corps. They were perfectly in sync and danced elegantly for both performances. The squeaky pointe shoes were really loud in the evening performance but were much quieter for the matinee the next day. The dancing for both performances was really pure; nothing flashy or over the top. I enjoyed both performances for different reasons. I’m still slightly annoyed that the matinee ran over the 5PM estimated finish time (the final act started 10 minutes late, grr)… I was so absorbed I really had to drag myself away in order to run for my train.
  3. Thank you for the answer. I wonder why they removed the context?
  4. 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.
  5. 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.
  6. Ticket returned to box office now
  7. Still available - will be trying to return this week if it hasn't sold by Friday.
  8. It is. Have replied to your PM
  9. 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.
  10. 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.
  11. 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).
  12. Room 101

    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
  13. 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.
  14. Any takers on the SCS ticket? If not I'll be returning it soon.
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