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About Sophoife

  • Birthday February 15

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  1. The reason this Google translate link came up with garbage is simple: it thinks it's being asked to translate from Russian. If you change the link to read "de" instead of "ru" In this part translate.google.com&sl=ru It will translate properly. The hack someone suggested of changing Russian to German in the drop-down didn't work for me on mobile so I examined the url 😀
  2. @capybara if you message Mark Monahan on twitter he will ensure the article is corrected.
  3. Sophoife

    PNB's Jonathan Porretta is Retiring

    After having thoroughly enjoyed Where Snowflakes Dance and Swear, I've retained an interest in PNB and enjoyed what I've seen of their work on the internets...
  4. Sophoife

    PNB's Jonathan Porretta is Retiring

    I think the link you're looking for is this one. 😉
  5. Sophoife

    Simply Adult Ballet

    Well, Grade 8 is the highest Graded level. And would we really expect the Mail to know about and/or understand the Vocational Grades? 😉
  6. Let's not forget either that he is scheduled to dance Jean de Brienne in Munich with the Bayerisches Staatsballett next weekend, and Spartacus with the same company in March. Zelensky was, if I remember correctly, one of Polunin's mentors/supporters after he first left the Royal Ballet. Does he share Polunin's publicly-expressed views or will he cancel these contracts?
  7. Actually that's The Australian Ballet. 1994 recording, David McAllister and Fiona Tonkin (current AD and ballet mistress) as Colas and Lise. Lanchbery arrangement, Ashton choreography, Lancaster sets and costumes. Not done by company since 2004.
  8. ...at 51, I made my first appearance on the stage of the Palais Garnier... ... incidentally Matthew Morrison is best known outside New York for having starred in Glee, but he has worked extensively on Broadway, and has a Tony nomination under his belt. So he has "industry credibility".
  9. Graeme Murphy's reimagining Nutcracker: the Story of Clara is the one you need to see, then, Fonty...
  10. Graeme Murphy's reimagining of it as the dying dreams and memories of an elderly Ballets Russes dancer, living in exile in Australia, does have grey-overcoated Bolshevik mice/rats etc... The second act is her memories of touring life with the Ballets Russes...the Chinese dance becomes a stage full of t'ai chi practitioners entrancing the glamorous visitor in her rickshaw.
  11. Second and third all the above comments. Thoroughly enjoy keeping up with the UK and European ballet worlds through this forum and Dansomanie - and on BcF I don't have to rearrange my brain in order to read! Huge thanks to the mods as I know from my own experience how hard it can be at times. Also thanks to all lovely members with whom I have and hope to continue to interact and share enjoyment and memories.
  12. I was so blown away by Aurum (which Sydney sees in 2019) that I couldn't squeeze these two in, but I will heartily second your nomination of both. For me, Miss Stojmenov was the most true of this generation of TAB principals - her acting was never forced, her emotions always genuine and communicated beyond the footlights. Mr Hallberg was a wonderfully generous partner in that one-off Giselle. And Mr Campbell as Cinderella's Prince reminded us of what we have been missing since Daniel Gaudiello retired so precipitately and prematurely. Miss Stojmenov and her husband, former soloist Marc Cassidy, are moving to her home town of Perth where they will teach future generations. Side note: at one stage in his teens, Mr Campbell was taught by Mr Cassidy.
  13. Merry Christmas to all... In no particular order: Alice Topp's Aurum, commissioned and performed by The Australian Ballet, with stunning performances by the entire cast (to be seen at the Joyce Theatre in New York in March 2019). I saw two casts and each was brilliant in its own way so I'm giving each cast a gong. The joint débuts of Callum Linnane and Dimity Azoury as Albrecht and Giselle, chosen and coached by Maina Gielgud. Incredibly emotional. The Royal Ballet in the cinemacast of La Bayadère - the entire company. Kirsty Martin's artistry in her return to the stage after seven years as Hanna in The Merry Widow for The Australian Ballet.
  14. I keep seeing this. In Melbourne this year, as usual, at the State Theatre in the Victorian Arts Centre there were ticket checks at the points of entry into the auditorium but not otherwise and no bag checks. By contrast I was in Sydney last week and access to the Joan Sutherland Theatre at the Sydney Opera House has changed radically in 12 months: now there are lines of people being shuffled through physical bag checks and being "wanded". The zip on the bag I was using is dodgy so I said to the man "I'll open that please, if I break it that's fine, if you do I'll be annoyed," and he heaved an enormous sigh and told me he was required to open the bag, not me, but he let me do it. I had to ask permission to go through the barrier to drop some flowers at stage door. Yet there were squads of non-theatregoers wandering around the same area from the stairs on the waterside and no security on that side! Stupid. We then had to show our tickets before even going up the stairs to the actual foyer, and again at the next barrier, and again at the actual theatre door. Surely there has to be some happy medium?! Oh, and those patrons trekking down to the one rather useless lift which only takes one to box office level not even to foyer level - no security checks.
  15. Having just returned from the first Australian cinemacast of this production, I can find very little to say that hasn't already been said. Miss Fumi Kaneko's Rose Fairy was a delight, Miss Anna Rose O'Sullivan was a pleasure to watch and remarkably similar in feature to Miss Elizabeth McGorian as her mother, Mr Marcelino Sambé seemed full of joy and love and bounce, and the utter perfection of Miss Marianela Nuñez and Mr Vadim Muntagirov in the grand pas de deux was only "wrong" in one respect: I've always seen the Sugar Plum Fairy as being serene, and Miss Nuñez simply radiated joy. The transformation scene is not as impressive as the Birmingham Royal/Australian Ballets' version partly because it's at the back of the stage I think. And also because "our" tree is truly enormous by the end. Those creepy angels are still creepy, and White Lodge pupils' delight notwithstanding, there are far too many children on stage in the battle scene. I think they're largely there to make the tree look bigger in comparison. The blonde and/or frosted wigs in act II are an abomination and should be done away with forthwith. I also find the Flowers' tutus too similar to the Mirlitons' and would welcome some deeper colour perhaps in one or the other. I've saved the best for last: no-one swirls a cloak like Mr Gary Avis, and even though I dislike/find irritating the Hans-Peter storyline, the moment where he clasped his restored nephew to his manly bosom at the very end did in fact bring a tear to my eye. If I go again tomorrow, will I get to see another cast with which to contrast? 😉