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Geoff

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  1. For those who haven't seen today's Guardian, here is their review (today's paper): https://www.theguardian.com/stage/2018/nov/13/la-bayadere-review-ratmansky-staatsoper-unter-den-linden-berlin
  2. As someone whose career oddly straddles both academia and showbusiness, might I add a point of clarification, as I think the word ‘dangerous’ is being misunderstood? When the word is used in a scholarly way - as I believe jmb is using it - it does not have quite the same flavour as in everyday use (such as ‘playing with knives is dangerous’). So just as, say, the word ‘attitude’ means something specific and different when used in a ballet context, so do words like ‘dangerous’ change when used in the academy. One can probably safely replace ‘dangerous’ with ‘problematic’, as that gets to almost the same place. Hope that helps smooth out what to me seems to be a linguistic misunderstanding.
  3. Yes, that now definitely wakes the snake up and makes it dizzy and cross! On a serious note, I am so pleased to see that this wonderful artist, who I remember from ten years ago as primarily a supreme technician, has matured into a dancer of great expression. Hope we see more of her in Britain soon.
  4. You can say that again! Thankfully (though this probably belongs in another thread) we have some recordings to remind ourselves of the two of them together.
  5. Geoff

    Tony Pappano (not) to leave the ROH in 2020?

    Yet the brass are still the laziest section of any orchestra in Britain. Is it too much to hope that the delightful Pappano - who is rightly adored by singers and audiences alike - might use his new security as an opportunity finally to tackle the institutional weaknesses of the ROH band and form them into a dependably world-class operation. Of course they can sound wonderful on occasion (the recent Verdi Requiem, for example) but far too often there is dodgy civilservant-like routine playing (and worse).
  6. Geoff

    Vaganova Academy Graduates 2018

    Here is a recent interview with Maria Khoreva with some good pictures: www.bontena.com/contents/2018/09/Interview-with-Ballerina-Maria-Khoreva-18090403
  7. And not just Guillem/Bussell: the truly wonderful Viviana Durante was set against Bussell from way back, even as early, some believe, as the time of that documentary about the two of them as teenagers in White Lodge. There are those who believe the RB actively encouraged (encourages?) this sort of thing, as it sells tickets and generates publicity. How good it is for the art or individual dancers’ careers is a different matter.
  8. And not only ordinary fans. By chance my seat was next to a member of the current ENB company. He estimated at least twenty of the company had come to see their former colleague!
  9. Geoff

    That ROH hearing loss case

    If it's the brass players, they are probably getting a beer. What the official reason is, who knows.
  10. Geoff

    Audience Behaviour

    Not for the first time, Richard LH, you have twisted the meaning of what I wrote. I will be generous and assume you are not mischievous but just have a slim grasp of grammar. I'll leave it to others to fill in the rest, if they can be bothered.
  11. I have a striking example from another part of show business. A friend got leading roles in major Hollywood films throughout her teens but had little stage experience. So she joined the RSC - and spent the first two years of her time there doing no more than putting chairs on the stage.
  12. Geoff

    Audience Behaviour

    Some people are horrible. We need to be careful, though. I witnessed a similarly unpleasant incident in the ROH amphitheatre last season - only it was the other way around, as it were. I'll summarise as briefly as I can. A persistent sweet-wrapper rustler (throughout the whole first act) ignored all attempts by various people in neighbouring seats to shush her. So a man sitting behind tapped her on the shoulder. In the interval this really kicked off: the woman was screaming "assault" (that word again); her son said he would call the police; while the excellent staff tried to mediate, while clearly sympathising with the tapper rather than the tapped. The ROH are doing everything they can to "open up": this inevitably brings people into the house who are at the other end of the spectrum of experience from the sit-quiet-and-behave regulars. I don't know what best to advise - nor do I know the current legal definition of assault - but fear we are in a difficult world.
  13. Missing those side Stalls Circle seats that are (usually) no longer available? It turns out the story is not yet over: https://www.thestage.co.uk/news/2018/royal-opera-house-granted-permission-appeal-musicians-hearing-loss/
  14. Geoff

    Verdi's Requiem 23rd October, ROH

    A review: https://www.theartsdesk.com/classical-music-opera/verdis-requiem-royal-opera-pappano-review-all-heaven-allows In passing I note that the usually awful brass section just showed that they can do fine when they want to. Is it because they practice more before such an event; stay sober; try harder; or (whisper it who dares) substitute players are brought in on special occasions?
  15. Maybe, jmhopton, if you get a substantive reply you might share the gist with the rest of us? I for one would be very interested.
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