Jump to content

Geoff

Members
  • Content count

    591
  • Joined

  • Last visited

Community Reputation

594 Excellent

Recent Profile Visitors

1,079 profile views
  1. Royal Opera - Macbeth

    As Netrebko has just done her first Tosca now (last night at the Met), here are some comments on that performance by way of comparison: http://slippedisc.com/2018/04/so-how-was-anna-netrebkos-first-tosca http://parterre.com/2018/04/22/quantum-leap/
  2. This is unlikely to be the reason for "The Black Swan" production being shot on a small stage. 1960s tv cameras did indeed use a limited number of lenses, but that would not apply to a 1952 film shot on 35mm. I suspect the reason is more likely to be a severely limited production budget (a smaller stage is usually cheaper than a larger one, and would also need less scenery to be built).
  3. Do you mean you feel the film might be speeded up, LinMM? Although this copy is in murky black and white, don't be misled: this is nothing like a handcranked silent film from the 1920s (where there often used to be issues with speed, now usually corrected in modern copies). A quick check with an electronic stopwatch against the film's in-vision time-code shows this to be an accurate recording (as I think it would have to be, given the 3D set up). They are dancing faster than we are sometimes used to these days, which happens to be something I really like!
  4. Incidentally, on the issue of 3D, Peter Brinson, in a lecture to the RSA in 1989, claimed "The Black Swan" (some 13 minutes in total, another listing shows) is the only stereoscopic ballet film to have been made in western Europe. Presumably someone somewhere has researched this subject.
  5. Perhaps I was too hasty in taking the Huntley Archives dating of "1940s" at face value. A search of British films reveals a production, enticingly "stereoscopic" (ie 3D), released in May 1952 under the name "The Black Swan". Starring Grey and Field it is the work of Peter Brinson. It is briefly discussed in Dance Research Journal (Spring issue, 1996): https://www.cambridge.org/core/services/aop-cambridge-core/content/view/S014976770001634X
  6. As a postscript to the recent discussion on 32 fouettés, here is a clip of Beryl Grey, probably while still a teenager, doing Black Swan/Odile with John Field (the reference in the Huntley archive says the film has sound but this poor quality YouTube sample is silent) More information would be welcome.
  7. My ticket for the Saturday matinee has also gone back to the box office.
  8. And - one more ticket for the Saturday matinee available from me as well! Row AA.
  9. Gutted. Booked a perfect ticket (Amphi, row D, £11) for this coming Thursday's matinee but now working. So will sell to good home. There are plenty of seats still for sale but none this good at this price. Eticket so easy to get it to you. If interested please PM as well as posting here.
  10. Royal Opera - Macbeth

    Just been reading through the online comments on the ROH site and was amused to find this one (particularly as "wobble" features in some criticisms of Netrebko):-
  11. Managing attachments?

    Ah, thank you John. I will try this when I am next at the desktop (most of what I do balletwise is by IPad).
  12. Managing attachments?

    So, on reflection, do you have any advice for the time I have a photo I would like to attach (I mean a picture I have taken myself, not something online with a URL)? Your new 1kb limit - thank you again! - is still not going to make that possible so how do people manage their endless curtain call snaps (for example)?
  13. Oh sorry aliceinwoolfland, finally sorted my attachment at the same time as you were writing. Admins please feel free to make sense of the multiple postings, apologies everyone.
×