Jump to content

fashionista

Members
  • Content count

    51
  • Joined

  • Last visited

Community Reputation

97 Excellent

Recent Profile Visitors

301 profile views
  1. ROH to introduce e-ticketing

    I have a mobile, no printer, and call me "old fashioned" much prefer to have the old style tickets!! I sometimes send e tickets to work email and print off there, but I dont really want an A4 piece of paper as my ticket!!! There can be problems when showing ticket booking on phone as on a couple of occasions have been at venues, where there is no reception and one is unable to show the booking on phone! Progress is not always for the better !!!!
  2. Fascinating interview dear Amelia - thanks so much for sharing. Amanda
  3. I believe that both the design for costumes and settings are an integral part of all ballet productions. I remember from my childhood ballet days reading the following:- Dance + Art + Music = Ballet This is a quote from my first ballet book which was included in a brilliant introduction by Dame Beryl Grey. This "equation" has stayed with me ever since and I do believe it is totally true - one needs all these components to work in synergy to produce a truly satisfying end product. Mr Diaghilev definitely got the ingredients beautifully balanced when he commissioned works for his company - one only has to think of ballets such as The Firebird, Petrushka, L'Apres Midi d'un Faune, Parade, etc etc, which all used an innovative collaboration between choreographer, designer and composer. I must disagree with those who think that some older ballets, such as those by Ashton, would be improved by new designs - this would be going against the original concept of the ballet as a whole as seen by the choreographer who would have worked closely with his designer in formulating the total concept of the ballet. One only has to think of the revised designs (and when I mention designs, I am covering both costumes and sets) for Ashton's Rhapsody and Les Rendezvous, to see how the "new" concepts did not work. One may think the original designs "old fashioned" but they form an integral part of Ashton's vision when he created the ballet. Likewise, new design attempts for MacMillan's Danses Concertantes have also proved unsuccessful - the spiky/jazzy style of choreography for this ballet working in tandem with Stravinksy's equally spiky/jazzy score, were reflected in Georgiadis' original designs - further revisions did not work. I do not think designs for the ballet are just "decoration", they form an integral part of this totally visual art form. However, some choreographers, notably Balanchine, decided not to use designs but to present his dancers in practice clothes on a bare stage - here, his concept was to focus entirely on the choreography and music, with obviously lighting playing a large and important factor in enhancing the choreography. This also emphasises that it is the choreographer's decision when creating works as to the inclusion or otherwise of design, and if included, what is required to complement the choreography.
  4. RB vs ENB Programming

    Lizbie1, am totally on your wavelength. Saw Winter's Tale first time around, and was very disappointed - particularly the 2nd act which I felt was just "padding". Given that many of my ballet friends did rather take to it, I have given it a second and even a third chance, and I have now concluded, not again! As such, I have not booked up for the forthcoming run - you are not alone.
  5. Thanks Ian, much appreciated. I am sorry if I raised this today but I dont always have the time or opportunity to log in on a daily basis and sometimes miss postings.
  6. Thanks Alison but unfortunately, again, it does not allow you to view the full article. Not sure why The Times are making it a prerequisite to subscribe if one wants to read one article. Hopefully, someone else has copy of complete article which they can share on Forum - hope so! Amanda
  7. I notice on Dance Links that an article on Marianela Nunez was published in The Times on 20 January 2018. However, if one does not subscribe on line to The Times it is impossible to read the full article. I have tried to subscribe a number of times, but for some reason, my attempts have failed. Please, if anyone, does have the full article, can you kindly share on the Forum. With many thanks. Amanda
  8. Although the emphasis may be on the principal dancers, I think it is the whole company that "carry" the show. A principal may be able to mask an error, but the corps cannot and must be homogeneous - can you imagine a dancer putting a foot wrong in , for example, the entrance of the Shades in Bayadere? - catastrophe!!! Everyone is important and contributes to every show, from the newest member of the corps to the most senior principal. Even if a principals's performance was superlative, it the rest of the cast danced below par, this would mar the show. If anything, the corps have a pretty rough ride in that they are on for all shows which is not reflected in their remuneration. I think it is invidious to make comparisons - all are important.
  9. Hi Sim, having read the article in the House magazine, I think it will be the sad tragic ending as Scarlett is quoted as saying that the music dictates this - phew!!! I think we can also be sure that it is the one dancer who will perform both Odette and Odile - another phew!!!!
  10. I'll come to those triples!!!!
  11. Reading everyone's thoughts and conjectures most interesting and also worrying. Re "worrying factor", I refer to the conjecture that Odette/Odile may be taken by two dancers - I sincerely hope not!!!!! Good though that we will have short style classic tutus. Agree, that Ashton finale is superb but unlikely to be kept with Scarlett revising the ballet. Another Ashton gem is the beautiful and exacting Pas de Quatre which was interpolated in the Third Act (and performed by the RBS this summer). Again, highly unlikely to be revived for reasons stated above. I also do rather like the BRB's version when the character dances in Act 3 are taken by the various nationals' princess, ie Italian, Hungarian, Polish. It provides more opportunities for up and coming soloists in the company. Again, doubtful but one can only dream and speculate and hope we are pleasantly surprised !!!!
  12. It would be great if she was given this opportunity even now in her career - perhaps her "swan song" in principal role (excuse the pun!)
  13. My wish list as follows (and reflecting some of the choices already posted):- Onegin La Bayadere The Sleeping Beauty (an essential for mastering and nurturing pure classic technique - needs to be rehearsed and performed to the highest standards!!) Revival of Madame's ballets - Checkmate or The Rake's Progress Cinderella - only if the Ugly Sisters' roles could be revamped and with really good sets and costumes - currently they are dreary and old fashioned Diaghilev Homage - The Firebird, Petrushka (wonderful dramatic role for central male - Ed Watson please!!!), Les Biches to name a few Robbins Centenary - Dances At A Gathering, Afternoon of a Faun, The Concert Ashton - Agree with JMHopton's Xmas double bill of Les Patineurs/The Two Pigeons (could also be billed with Raymonda Act III) - please give The Nutcracker a "rest"'; also Enigma Variations and Symphonic Variations MacMillan - Anastasia (has its flaws but wonderful music and great role for central female), Requiem, My Brother, My Sisters, La Fin du Jour I would also wish for principal casting to be available at the same time as dates for each booking period is announced - always has been until last couple of seasons - the company knows what talent they have and who they wish to cast!!! It makes it so much easier to book for those dancers you really do want to see/debuts etc (yes, I know there is always the risk of a dancer being injured). My feeling is that this is simply a "wish list" and probably none of the above are scheduled for next season but no harm in dreaming!!!
×