Jump to content


  • Content count

  • Joined

  • Last visited

Community Reputation

1,741 Excellent

About bridiem

Profile Information

  • Gender
  • Location:

Recent Profile Visitors

344 profile views
  1. I think that Sambé is wonderful but I have no idea why he would be chosen ahead of Campbell to partner Hayward in Giselle. Both partnerships have been proved to be very effective; but Campbell is really reaching (or at) the prime of his life as a dancer and both needs and deserves to do the major roles now, whereas Sambé is at a much earlier stage of his career. Ideally I would want both of them to do Albrecht; but to overlook Campbell is just mystifying.
  2. Thanks for the great photos, John. They have allowed me to see details I couldn't see last night because it was so dark on stage. (I know it was meant to be dark; but there's dark and there's not being able to see.) I did also find the first part rather repetitive and without the thrilling variety of imagery I associate with Shechter. However, the work was still fascinating, moving and absorbing. Many images of death, fear, chaos and bewilderment; but also love, hope, faith, even elements of peace. Beautiful section where snow falls gently while the orchestra plays The Merry Widow, and the dancers watch, listen and wonder. Many Munch-like Screams, over and over; but also tenderness and energy and the sense that no-one is alone. The last minutes brought strongly to mind that 'What will remain of us is love'. We may be surrounded by ever-moving threats, but still the music plays, the dancers dance, and a couple embraces. A man kneels, I think in prayer; and although we are hemmed in, we wait together for what we know the future will bring. A dark work (literally...); but powerful, profound and brilliantly performed.
  3. Seymour was indeed unique (though like ninamargaret I didn't see her in Baiser). But all great dancers are unique, and if a work is good enough it can be enriched by subsequent interpreters no matter how long ago it was created or how rarely it has been danced. I have very positive memories of the revival of Baiser, perhaps because it featured Fiona Chadwick (also unique) so I'm very glad it's being revived.
  4. The corps are incredibly important; but they're likely to be moreoreless the same people every time so it's the soloists and principals that make performances different. But I too have booked for one cast and got another and often been delighted by it.
  5. I hope you're right Janet, i.e. that it shows confidence in the dancers; I was responding to what Two Pigeons said about the thinking behind not casting early, i.e. that it runs the danger of highlighting some dancers over others. The ideal would be to highlight ALL the dancers; but I don't think that late casting necessarily achieves that.
  6. I can't help feeling that it shows a lack of confidence in your dancers if you don't name the cast/s much in advance because you think that people will only book for a few 'star' dancers. A lot of non-regular ballet-goers won't book by cast anyway since they won't be familiar with the names, so it's really only the regulars who are 'penalised' by not knowing who's going to be dancing. (No matter how good the dancers are, if you book 2 or 3 performances and get the same cast each time, that's going to be pretty frustrating.) But I always thought that this was done for both logistical and artistic reasons, i.e. wanting as much freedom as possible to decide casts nearer the time depending on any injuries or on how dancers are developing etc. So I'm not sure where the truth lies.
  7. I agree with this, but it's also usually possible to have some sort of idea even on paper about the thinking behind a bill. With this one, I still find it quite mystifying. Perhaps the proof of the pudding will be in the seeing (so to speak). i.e. it'll be interesting to see how they do work together in practice and whether or not that clarifies the thinking.
  8. I'm sure that he knew what he was doing too, and I don't doubt his motivation or his intention. What I doubt, all too often, is the end product. BUT, if I happened to bump into him, I too would thank him for Woolf Works!
  9. That's so funny, GailR (though number 2 is pretty awful). But at least she remembers it!
  10. That presupposes that because something is in demand it is therefore good. I wouldn't agree with that.
  11. That's interesting, because the first time I ever went to the RFH, for a classical music concert when I was about 9 or 10, I found it absolutely thrilling as a venue and incredibly atmospheric before the music even began. I still do, though I agree it's not ideal for ballet. But perhaps if I'd being going to a ballet performance I'd have had a different kind of expectation and would have reacted differently to the venue - who knows.
  12. The first time I remember going to ballet with my eldest niece she must have been about 8 and it was Romeo and Juliet at the ROH. She concentrated well and when the great applause and cheering started at the end she was thrilled because it allowed her to stand up and clap and holler with complete abandon...
  13. Yes, and that is more than I pay for most of my real 'live' tickets at the ROH. It seems that these tickets are simply priced according to local situations and what the cinemas think they can get away with (as with most commercial products). Are they being charged a huge amount for the 'licence' (or whatever) to show the screenings? From the point of view of the ROH the screenings should be regarded as 'outreach', going some way towards justifying the level of public funding received by an organisation based in London, but of course they're working with commercial partners. It would be interesting to know how the finances of all this are worked out and whether or not the ROH has any say in ticket prices.
  14. No, the RB used the Apollo Hammersmith - under the flyover. The Lyric is on King St. Sorry - just realised this has already been clarified!
  15. Polunin has great talent as a dancer and is becoming well known outside ballet circles, which is why he attracts audiences (at the moment). That doesn't mean that the programme at Sadler's Wells was a 'success' in artistic terms. I thought it was dismal, as did many reviewers and many posters on this forum.