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Paul Arrowsmith

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  1. And for those of you with access to the Arte TV iplayer a recording from 2017 (with Haydee as the nurse and Madesn as the friar) is currently avialable.
  2. And acquired by Marie Rambert for her company when de Valois did not want it for Sadler's Wells.
  3. Circles? You just have to look at Ashton's choreography - Sleeping Beauty waltz, Cinderella, Daphnis among more - to appreciate how magical circles can be.
  4. A big question - and probably it has already been answered by a doctoral thesis. But initial response would be to say that - good - design tells the viewer where to look but more fundamentally is a visual embodiment of the ballet's meaning. Stage designs are as much victim to the vagaries of fashion as any other visual art so what once may have appeared 'right' can later appear 'wrong.' By which token, it is perfectly possible to redesign ballets successfully - and discover things in/about them that their choreographers may not have originally imagined. That's a part of keeping ballet alive.
  5. Paul Arrowsmith

    Robbins festival in Paris

    I imagine there was a second cast too - but I don't recall who. Think Opus 19 was in something of an unwieldy mixed bill (again, don't recall with what. La Valse?) which may have had an impact.
  6. When the BBC archive was searched for material for the 2016 documentary about Peter Wright, The Ballet Master, only the second and third acts were found.
  7. I agree much with much of what you say Angela, particularly in relation to use of a classical language interestingly put. I would differ only from you when say 'light years ahead.' I think just different.
  8. Paul Arrowsmith

    The Royal Opera House in 1953

    If you delve into contemporary news reports, the audience was kept waiting outside the ROH as the workers inside had not finished preparing the foyers. There will still carpenters walking around with their tools when the audience was admitted, making adjustments to the front of house decor. And Gloriana was a live relay on the radio too. A modicum of pressure!
  9. Paul Arrowsmith

    Kaufmann's soprano goes awol mid-Tosca in Vienna

    As Scarpia says in the previous act, 'Tosca, finalmente mia!' Lucky this Cavaradossi did not get knifed too for keeping his lady waiting!!
  10. Paul Arrowsmith

    Alessandra Ferri

    It was the Royal. June 1984 at the Palace theatre.
  11. Paul Arrowsmith

    Anyone ever seen Puccini's Le Villi?

    Yes - in Zurich, nearly 20 years ago in a double-bill with Pagliacci. No memory of the cast or conductor - just lost of wilis interrupting proceedings in an aggressively contemporary way.
  12. Paul Arrowsmith

    Books about Ballet

    Perhaps I can comment. Peter Wright is well advanced with his memoires (I am working with him to prepare them for publication). The book is scheduled to be published in 2016 by Oberon Books to celebrate Peter's 90th birthday.
  13. I remember when I interviewed Christopher Wheeldon for The Dancing Times in 2012 I asked him how long a shadow Ashton's version of the ballet cast. Then Wheeldon's production was yet to be seen in Amsterdam, where it replaced Ashton's. Although Wheeldon appreciated and understood Ashton as a choreographer he told me that he did not consider Cinderella to be top drawer Ashton, so there was no particular pressure in creating a new version. He said (see Dancing Times January 2013) he was more interested in understanding how the prince and Cinderella find themselves in the situtations in which they both find themselves
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