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Sophoife

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Everything posted by Sophoife

  1. Again we'll have to blame the auto-translate! 🙄
  2. Mr Kaplan is on the list as one of the "four artists...applying for the prize" and they are all designers - he's in the same section as John Macfarlane for the Scarlett Swan Lake.
  3. Ah, there's where Australia differs then. The first screening of each ballet or opera is at 1pm on a Sunday, the second at 10:30am on the following Wednesday (except for Nutcracker, which ran 1pm Saturday 22 December, 6pm Sunday 23 December, and 10:30am Monday 24 December). And certainly locally there are no Sunday dance classes, so the non-attendance remains a mystery to me.
  4. We were lucky enough to see this programme in the Melbourne season last year. Aurum blew me away, I still haven't gotten over it and am driving up to Sydney next week to see it again. I would order the bill F&S, CV to calm us down then Aurum for a sublime sendoff. Filigree and Shadow was more engaging the first time it was done, several years ago; I missed Vivienne Wong very much seeing it again. But I do like its energy. Constant Variants I remember from its premiere season too; it was when I first really took notice of Daniel Gaudiello. I like Stephen Baynes' work and the part-frames stuck in my memory.
  5. Sorry @Moomin was that referring to my comment at the end about average ages in my disjointed review? 😉 Obviously at those prices, yes it's exorbitant. My local area, just to explain, is country NSW, Australia, where adult prices for these Royal Ballet/Opera cinema showings are AUD$20, and children/seniors/students AUD$18. This compares favourably with André Rieu cinemacast concerts at AUD$42 with no concessions, and also with regular films which are AUD$18.50 adults, AUD$14.50 children, AUD$12.50 seniors and AUD$16.50 students. AUD$20 is roughly £10.90. Live tours (low-grade Russian companies, the Australian Ballet's regional tours) average around AUD$90-100 per adult, children 60% of those prices. Queensland Ballet's regional tours are about AUD$70 for adults, half that for children. So here, the live shows are way more expensive than cinemas and at least in the cinema we have world-class dancers, I just don't understand why ballet teachers in regional areas aren't encouraging their pupils to experience world-class dance, and worse, why they aren't enjoying it themselves!!! OK rant over...😊
  6. Here Miss Guérineau implies it's a one-season project, and here the interview repeats several times that it's a one-season sabbatical. Here Mr Bittencourt says he is joining Ballett Zürich for the season 18/19. As far as I am aware, POB dancers can take one year at a time as a sabbatical (cf. Mathilde Froustey), and can extend that year by year if mutually agreed, which means that external contracts would of course be for no longer than a year in the first instance. I suggest we conclude this discussion as it's really not all that relevant to the thread.
  7. If you look at both of their public Instagram posts, that is what they both (separately) said before the start of the 2018/19 season. Which is why I posted the comment 😉
  8. I do like the production, the musical arrangements, the live guitarists in the gypsy camp, the sets, costumes and all-round excellence of the company as a whole. And Rocinante. I'm not a great fan of Miss Takada as Kitri based on this film, but very much enjoyed the performances of Messrs Campbell, Zucchetti, Edmonds, Saunders and Mosley, also Mesdemoiselles O'Sullivan, Kaneko and Magri. And don't get me wrong, Miss Takada danced beautifully, I just didn't feel her as Kitri. The Campbell-Takada partnership was good despite my Kitri reservations. I did find myself wondering what Mr Campbell and Miss Magri would look like as a couple - compared with Miss Takada, Miss Magri is practically a giantess! Felt the usually-wonderful Mr Avis was not quite right as Lorenzo, and Mr Whitehead was an underwhelming Gamache. Kitri's Girlfriends in matching lilac seemed almost irrelevant. Gypsies Miss Mendizabal and Mr Mock were great! Loved the clever set for the town that gave different viewpoints, the presenters were a good team (Miss McNally brilliant, far more fluent at autocue reading than Dame D who does, I know, have a very good reason for not being so), and really liked the featurettes on the music and the set and costume designer. Did not like the director's penchant for showing only one half of a couple dancing together, or only one part of the stage, or not the complete stage in a wide shot (this one leading to Espada and Mercedes being spotlit in action yet off-screen downstage left, while the corps was dancing centre stage). Did feel however that there was so much set that at times the company looked cramped on stage. Wanted to smack the woman in front of me who declared loudly and more than once that the girl in the veil was clearly the Japanese girl dancing the lead "because everybody knows the Kitri is always the Dulcinea". Did personally wonder that as Miss Turk and Miss Takada not exactly identical twins, is woman in front stupid as well as blind? Still cannot understand why no ballet students or teachers in my area are not attending these showings. Youngest viewer present approx 45.
  9. I think both Miss Guérineau and Mr Bittencourt only took a one-year sabbatical from POB. Certainly she has a young child and a husband who stayed in Paris.
  10. ...and the statue of the dead boy prince is, as I certainly expected the first time I saw the ballet, the actual boy prince, as Hermione's "statue" is actual Hermione. That white thing with its creepy staring open eyes...ugh! 😉
  11. Tzu-Chao Chou could absolutely nail it - I've seen him do a cut-down touring version of Australian Ballet's Nureyev production and wow...
  12. I can't stand the former and wish I'd seen the latter. Interestingly enough, I've only ever seen anyone do the former in Don Q, not any other ballet. And it wasn't Mr Vasiliev! 😉
  13. Well, it was a Sydney Easter Saturday with an auditorium not quite three-quarters full, and I guess Mr Stiefel felt those who were there needed some encouragement...and Mr Vasiliev was playing up at a dress rehearsal, I did see the performance "proper" and he didn't do it. Too many tricks do make a circus, but Miss Osipova's blazingly fast turn sequences live long in the memory.
  14. Those one-handed lifts...! About 12 years ago Ethan Stiefel guested with Australian Ballet as Basilio, partnering Rachel Rawlins (whom some may remember from her stint with the Royal Ballet). The first lift was long. The second was longer, and his free hand was flapping at the audience, encouraging them to clap more! At the dress rehearsal in 2013, Ivan Vasiliev not only held Natalia Osipova up for an eternity, he rose into arabesque on demi-pointe while doing so. She started laughing and the entire company on stage applauded him (as did we!). The conductor then plaintively asked if the orchestra could please continue from where they'd had to stop. We've got the cinemacast on Sunday to which I am looking forward, will be only my second view of this production (Acosta/Nuñez recording from the première season), and it's Alex Campbell (yay).
  15. Ah but Jan did he hold a carpark lift door for you? @jmb😉
  16. Yevseyeva's name always brings to mind the Queen of Dying Swans, Mademoiselle Ida Nevasayneva...
  17. I can confirm it, having used a measuring tape on him once, much to his amusement. His frequent comment after that was "...but I'm taller than Baryshnikov!" 🤣
  18. Tricky isn't it? I mean Nureyev was 5'8", and Baryshnikov is only 5'5"...but then again ballerinas have only been "allowed" to be "tall" relatively recently... A friend of mine, Cuban Yosvani Ramos, is 5'8" and says that in the last ten years or so he has frequently been told he is too short for a potential partner, whereas in his teens and twenties (he's 40 in June) his height wasn't considered a disadvantage. I note that at Australian Ballet, the currently-featured men range in height from 5'7" to 6'4".
  19. Well, sorry for Mr McRae but maybe, just maybe, instead of Supersub Hirano, this time it will be Supersub Campbell? 🤞
  20. New strictness for Aus Ballet as of this season of Cinderella: they are locking out anyone not seated by 7:28pm (or 6:28 or 1:28) and starting dead on the half hour. Latecomers are then admitted "at a suitable time" which if you ask me is MORE disturbing!!
  21. Was the Rothbart role a decent size, and how was the lovely Mr Wright please? Miss him in Australia...
  22. Australian Ballet's Spartacus is in cinemas in the UK and Ireland on Wednesday 8 May...as usual, you guys get it before we do (it hasn't been announced here). https://www.cinemalive.com/event/spartacus
  23. Generally the only company class in public at The Australian Ballet is on stage at an unusual time (for the dancers) and is followed by a stage rehearsal, usually of a solo or pas de deux. These take place about half a dozen times a year, and cost about $30 per person. The class is seeded with at least two principals and as many senior artists as can be persuaded, and there's always some fun showy-offy stuff at the end. The ballet master is miked up and will take brief questions at natural breaks in the class. Very interesting. No questions allowed during the following rehearsal of course, but some afterwards. Otherwise there's a couple of studio classes a year available for patrons (here meaning big bucks donors) to watch, in very limited numbers I understand. Or there's World Ballet Day, and even then they are careful to ensure dancers have a choice of attending the broadcast class or one in a different studio.
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