Jump to content

Indigo

Members
  • Content count

    80
  • Joined

  • Last visited

Community Reputation

233 Excellent

About Indigo

Profile Information

  • Location:
    Wessex

Recent Profile Visitors

76 profile views
  1. Similar story at my local Odeon. Around three years ago, they were charging £15 for standard seats at ROH live opera & ballet screenings. Now they charge £20 for a standard seat. (This price rise of £5 also applies to Bolshoi & National Theatre Live screenings.) However, I know Odeon cinemas elsewhere currently charge £16.50 for the exact same ROH screening & £15 for NT Live. When I queried this with Odeon, I was advised prices may vary from area to area & the price increase at my local cinema was due to Odeon operating "dynamic pricing". I understand this to mean that each cinema adjusts ROH screening ticket prices according to demand & the perceived ability/willingness of their customers to pay. Personally, I've pretty much stopped going to these screenings at my local Odeon. I find the feeling that I'm being fleeced is a bit of a buzz-kill.
  2. I'm interested please, if ticket still available. Will send you a DM.
  3. Before this run, I’d only seen the RB’s Sleeping Beauty once - via the cinema relay in 2014. With all the debuts as well, I decided to treat myself to quite a few visits. My first SB visit this run was in early January with Sarah Lamb & Vadim Muntagirov. In common with others, I can find Sarah cold in certain roles, but not as Aurora – she was absolutely radiant. Despite this & some lovely performances from Vadim, Yasmine Naghdi, Francesca Hayward & others too, I was conscious of feeling bored from early in the Prologue & the feeling never really left me. Which has hardly happened to me before with the RB! I thought possibly it was a combination of the dancers being understandably tired after the long, demanding Christmas period; the flaws within the SB production itself & that perhaps SB just wasn’t for me. So I was rather wary of my next visit for the SB matinee & evening performances on 18th February. But what a difference! I was in the SCS again, yet experienced completely opposite feelings & certainly wasn’t bored. The debut of Yasmine & Matthew was astounding. During the Rose Adage, to my complete astonishment, I found tears pouring down my cheeks - it was just so inexplicably moving, pure & stunningly beautiful. I’m relieved to read that I wasn’t the only one who reacted in this way. I also saw their fabulous performance the following Saturday & thought Matthew brought even more depth to the character of Prince Florimund. I can add nothing more to what has already been said so well by other posters, about the quality of their dancing. I just hope to see much more of their partnership. I was also at the first performance of Natalia Osipova & Ryoichi Hirano. I like dancers to have the freedom (within reason) to make roles their own & bring their own interpretation to it, in the same way that actors do. I agree that Natalia’s interpretation of Aurora on that night will have divided opinion. The person stood next to me was in raptures after Act I & had clearly enjoyed it hugely. Sadly, Natalia’s Act I Aurora on the 25th Feb didn’t work for me. I felt rather bewildered, as I was very much reminded of her Odile, especially with the backward head tosses which came across to me as more triumphalism than youthfully joyous. In Act II, Natalia’s Aurora was wonderfully other-worldly during the Vision Scene – one of the best I’ve seen so far to convey that sense. I also really enjoyed her interpretation of the awakening scene, registering a little more confusion & shock than others. But especially her look once she’d had a chance to take in Prince Florimund, which said, “Well, Hello!” & gave more a sense of mutual attraction & love to the fairytale ending. On balance, though, my feeling about the overall performance is along the lines of Bridiem's in post #434 above. Ryoichi was a great partner & conveyed such joy at meeting the girl of his dreams in Aurora. Though as Bridiem says, it’ll be an interesting marriage! As this is turning into quite a long post, I’d better conclude. Lauren Cuthbertson & Reece Clarke were delightful. I greatly enjoyed his debut & look forward to seeing his talent develop. Others who have particularly caught my eye include Anna Rose O’Sullivan – such a fun, vivid presence on stage. Alex Campbell & Marcelino Sambe. Gina Storm-Jensen as a terrific Lilac Fairy, really projecting such benevolence & gentle authority out into the audience. Camille Bracher & Kevin Emerton made me laugh-out-loud as Puss-in-Boots & The White Cat. Nicol Edmonds as The French Prince looked amazingly like an old masters painting come to life, I thought. Incidentally, does anyone else hear the triangle at the start of one of Florestan’s sisters’ solos & half expect Alain from La Fille mal Gardee to appear as a guest at the wedding, wiggling his bottom? All the Carabosse’s I’ve seen have been deliciously evil. In fact, from my initial negative feelings during this run, I’m now quite a convert to the RB’s SB despite its flaws & on the whole have really enjoyed the February performances. Though I can certainly see what people mean about SB being a test of the entire company.
  4. The Random Thread

    [quote name="bridiem" post="181326" timestamp="1470905191" I am very appreciative of both 'reviews' and shorter posts on this forum. Me too. I really enjoy reading what members have to say on all sorts of topics on this forum. I like that there are a mixture of writing styles & outlooks, with freedom to express your views / thoughts / opinions (within forum rules!) as a brief or longer post, in a review style or otherwise. I can see why there are calls for threads to stick to the topic, such as the Bolshoi Swan Lake thread. Personally, generally speaking, I don't mind a few digressions, especially towards the end of a run when so much has already been said. Thinking back over the time I've been reading threads here, it's often felt as though digressions are playing a part in building a sense of community among us. So I like this random thread idea too
  5. Just wondering about ticket prices & out of genuine interest. From various things I've read, my impression is that the higher ticket prices for opera / ballet tend to reflect the true costs of running an opera house such as the ROH (complete with opera chorus & ballet companies, plus orchestra) & the considerable costs involved in staging productions. With Arts Council funding, sponsorship, donations / other fundraising enabling the number of more affordable ticket prices? That is an interesting question. Over recent years, some performances have sent me rushing to this forum to share my excitement & enjoyment, or to read other poster's thoughts. Other performances have been the type that really make me think, so I wouldn't want to write a review or post straight away - I need time to assemble my thoughts. I may gain a greater understanding or appreciation after a period of reflection, from acquiring further information, or considering other viewpoints. Though I think my emotional response at the time of the actual performance remains unchanged. Which links back to an earlier discussion point on a thread (can't remember which). I'm also finding that Smirnova's Odette / Odile stays in the memory. Though I think it helped that I'd seen two Bolshoi Swan Lakes on the Saturday & had formulated my opinion of the ballet itself before Monday evening. So I was able to focus on the dancers & their interpretation / performance & appreciate at the time just how good Smirnova & Lantratov were on Monday night. There are so many variables which can affect how a performance is viewed both during & after. But I'm finding that as I see more ballet, opera & theatre, I am aware of how my thoughts & critical appreciation (if that's the right word) are evolving.
  6. I was going to ask how Maillot's ballet adaptation addressed the more problematic elements of the play, but the four star reviews in The Guardian, Telegraph & Evening Standard have answered my question. This sounds like a Taming of the Shrew I'd enjoy seeing, also going by the enthusiastic & evocative reviews posted here (As there are a number ways to interpret this play, I'm very wary after seeing a production which got the balance completely wrong & came across as more of an endorsement of misogynistic & abusive behaviour ). If the Bolshoi do bring Maillot's Shrew back on their next tour, I'll be booking a seat...
  7. Enjoy! I didn't book for Shrew so hope to hear what people thought of the ballet / performances.
  8. Interesting you saw the lighting anomaly too, I had wondered if it was just me! My forum member radar obviously wasn't working very well, as I had no idea a member was sat nearby. It's been lovely to come across various members when I'm at the ROH (quite a few in the past couple of months by chance, but only two via the blue badges) so if you could recognise me again, do say hello if you spot me! Seconded about Muntagirov There were also various elements, such as Lantratov's tenderness & gentleness as Prince Siegfried towards his Odette, plus the way they gazed at each other, which reminded me of the fabulous recent performance of Giselle with Muntagirov & Nunez. I'm actually hoping to get an inexpensive return for Le Corsaire on 11th August, so I can enjoy Lantratov's dancing again. It'll help make the wait until I see Muntagirov dancing in Fille seem shorter too
  9. Well, I had intended to only see one performance on this Bolshoi tour - Don Q on opening night. But as I left feeling underwhelmed by that & thinking that I just wasn’t ‘getting’ the Bolshoi yet (in both senses), I found myself booked in for three Swan Lakes as well thanks to some returns. While it’s been wonderful to experience The Bolshoi live, which I’ve never done before (far better than at the few live cinema relays I’ve seen), I’ve been somewhat relieved to read about other people’s reactions. As I had been wondering whether it was just me that tended to find Bolshoi Ballet performances on the cold side. The matinee on 30th July with Nikulina / Skvortsov certainly fell into this category for me. To date, when watching a narrative ballet, I have never had the disconcerting sensation I did at certain times during this matinee, of watching a ballet being deconstructed into a series of performed steps. Normally, unless it’s a spectacular or showy series of moves, I don’t see the steps in isolation as the dancer uses their whole body to tell the story, show their character & convey emotion. But on the plus side, it did enable me to appreciate the building blocks of the choreography. Sadly, I didn’t feel this partnership had chemistry or engaged me emotionally at all, despite viewing from a good SCS place. I did wonder whether Skvortsov was perhaps having an ‘off’ day, as I’d previously enjoyed his performances in cinema relays. The evening of the 30th July with Krysanova / Chudin, I found much more enjoyable. They’re both terrific dancers too but I had more sense of character (especially Odette / Odile) & cared more about their fate, but frustratingly I still didn’t connect in the way I often do with the RB. This time I was sat in the front row of the Stalls Circle, very close to the stage & was able to pick up a lot of detail. The ensemble were all good & I particularly enjoyed Tsvirko’s portrayal of The Evil Genius. He is the only person I’ve seen dance this role who hasn’t made me want to substitute in Gary Avis. He had that same capacity to convey the sense that they aren’t just waving their arms about, but connecting to & physically moving energy (like you see in correctly demonstrated Tai Chi), so you can believe in Von Rothbart’s / Evil Genius’ magical powers. Monday’s performance with Smirnova / Lantratov was different again & this time, I felt really engaged: Hurrah! I was sat in the front row of the Stalls Circle again, very close to the stage & agree with Coated’s comments about this pairing. They brought lovely detail which made me believe Odette & Siegfried loved each other. Other things I think may have made the difference for me is that Lantratov appeared very relaxed much of the time (except during some partnering spins), to be enjoying dancing & especially being comfortable acting, giving Prince Siegfried more range & development of character within the limitations of the ballet. Smirnova also gave me somewhat of that impression, especially in her portrayal of the sultry Odile. Which was quite a surprising contrast to how her Kitri came across to me on opening night. Maybe she could relax more on Monday, with far less pressure on her (btw, I agree with others that her insouciant tambourine shake during a one-handed lift in Don Q was fab ). I felt she was really trying to bring out the multiple layers in her interactions with other characters as Odile. I loved her Odette, which when she first appeared had the strongest sense of a wild swan I’ve seen – I got quite a jolt by the evocation. I see a lot of swans on the rivers where I live & she really conveyed the essence of their movement. Some other general thoughts: I must say thank you to the poster on the Don Q thread who remarked that to a certain extent, Lantratov’s dancing style was similar to the RB’s Muntagirov. I booked on that basis & wasn’t disappointed! I found the lighting in Act II had a strange red tinge, so that when the dancers moved at speed, the edges of their white costumes appeared to trail a red, phosphorent glow. Reading comments about the Bolshoi’s habit of stopping for quite prolonged applause, I wonder if they do it because that’s what’s expected of them when performing in their home theatre? I did get the sense that Smirnova & Lantratov consciously did less of this on Monday night. Unless I’ve grown inured! I really admired all the corps swans. Though I was sorry to only see them from various angles in the stalls circle; I would have liked a full overview of the stage from the amphi to appreciate the patterns fully. By the third Swan Lake, I’d just about got the hang of which was which national dance. So my suggestion for improvements to the national dances, purely for the benefit of anyone like me, is during the initial introductions, for them to walk on carrying banners with the name of the country they’re representing, as they do in the Olympics! The Fool could be a much more interesting, more complex role in this more psychological Swan Lake, rather than a potential irritant, however beautifully danced. I felt Lopatin’s delivery / interpretation on Monday evening was more subtle than of those I saw dance the role on Saturday. From the way Lopatin‘s Fool interacted with Prince Siegfried, I thought there was more of a medieval / Shakespearean interpretation of a Fool – one who is licensed to speak unpalatable truths to power, rather than just a comically capering jester. But I’m not sure how well that would have come across if you were sat too far away to see the facial expressions & nuanced hand gestures clearly. Personally, in a narrative ballet, I am far more concerned about whether or not the lead dancers & other key characters can act / convey a character, than I am about how sensationally technically skilled they are, or about whether they make a few minor errors. I agree with others that this production of Swan Lake isn’t one of the best around & doesn’t adequately explore / portray the potential of the psychological storyline dimension, but with the right cast, I would happily see the Bolshoi dance this again when they next visit. [Edited: Missed a sentence out]
  10. Audience Behaviour

    I've noticed that taking photos at curtain calls seems fairly common at the ROH. As I wanted to take some myself, I recently asked an ROH Front of House Manager whether or not it was OK to take photographs then. They told me that while photography was strictly forbidden during the performance, the ROH accepts curtain call photography. Perhaps they found the ban was just impossible to enforce at the curtain calls!
  11. BalletcoForum Badges

    I'm also at the ROH for both performances on the 11th! Hope to spot some blue badges this time or be spotted.
  12. BalletcoForum Badges

    Thanks, Duck. You're probably right that it will take time for members to get their badges. Also to get used to looking out for a blue badge while wandering around the ROH! I'll try wearing mine again when I'm next at the ROH later in May. Perhaps I should also sport one of those giant foam hands so that I can conspicuously draw people's attention to my badge!
  13. BalletcoForum Badges

    I've got both the £1.10 & £1.99 badges from Amazon (as per links in this thread) to get different shades of blue - so I can choose which one stands out best against what I'm wearing that day. The main difference is that the £1.10 badge has more of a metal rim at the edge & is just slightly larger. I have now tried wearing both these badges on different nights at the ROH & so far no-one has spotted me!!! In fact, the same thing happened last Friday night as I reported before: I got chatting to the person sat next to me & only discovered through conversation that they were a member of BalletcoForum! They just didn't spot the round, blue enamel badge which I wore near my collarbone on the right hand side, this time against a white background Has anyone spotted a forum member via the blue badges or been spotted whilst wearing one?
  14. Royal Ballet 2016/17 season

    Same here now! Thanks, capybara. Don't know whether the webpage has been altered since I looked or if I just missed it! [Edited to add earlier discussion in this thread indicates there was a casting typo with Morera & Zuchetti, so I can count after all. Phew!]
  15. Royal Ballet 2016/17 season

    Vadim Muntagirov is scheduled for 3 x Fille & 3 x Nutcracker. But nothing in Anastasia or the McGregor mixed bill. Unless I'm missing something. Does anyone know if he's involved with other projects elsewhere next Autumn? [Edited to add that should read 4 x Fille as capybara points out below]
×