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Blossom

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About Blossom

  • Birthday May 8

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  • Gender
    Female
  • Location:
    London
  • Interests
    Ballet for exercise as well as a spectator, cooking - especially gluten free food, history, politics

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  1. 😂 at polite but accurate assessment. Is it also fair to say music is equally not very good? Designs are well done though. I wonder if it would have been more successful if it had built out from a shorter initial choreographic attempt - thinking of an Anastasia style one act which is then expanded to a full ballet on the basis it is robust enough. Also on the music front, what about some good old fashioned arrangement of existing pieces which are more of a pleasure to listen to? Feel very much that way about Joby Talbot too!
  2. I assumed it Was Romany Pajdak recognition wise but didn’t actually hear who was replacing Isabella Gasparini. Sad not to see her- is she injured?
  3. This one might actually do well with a younger audience. I often share my rehearsal tickets with my family au pair - it’s a nice perk for her especially when I can’t use them. We both went today and although I really enjoyed seeing the names cast members, I am largely in agreement with previous newspaper and bcf reviews. Au pair enjoyed it immensely though - much preferred to both the winter triple bill and don q. Millennial appeal.
  4. There’s plenty of space to put a more mobile booking booth- more like a concierge’s desk. With the wonders of modern technology it surely doesn’t take a lot of machinery or space.
  5. Those of you more experienced with shows returning after their premiere, isn’t it likely that changes will have been made? Reading through some of the reviews from last time there are plenty of constructive suggestions. Only managing to go for the rehearsal myself- usually if I am not sure whether to go to a production I will go to the rehearsal and subsequently book but due to various family commitments that won’t be possible this time.
  6. Have they actually made any effort to sell this other than social media and pr/editorial placements? So much potential material to get people to engage but they just aren’t using the right messaging, when there is so much they can extract from all of the premiere info including Scarlett sticking closely to the book, the dramatic nature of the ballet and the RB’s skill of acting without using words, pushing their in house talent, talking about special effects etc... There is no cinema screening and it’s a really short run, were they simply expecting it to sell?
  7. I know that this is off topic or going back to the topic of the lighting in the cinema viewing, I decided to get the BluRay from 2014 and shocked at how badly the village scenes come across - the sky which is a vivid, sunshine blue when seen in the ROH looks much darker and dull. I think it affects the overall sharpness of the image too. It's such a shame. I suppose there's no hope of a new DVD ironing this out if this was an issue this time round given the comments above. Having said that, I do think this is a lovely, colourful production and to get back on topic, much prefer it's naturalness vs the Bolshoi version which I saw last time they visited. Circus tricks indeed - some seriou back bends going on which looked both completely unnatural and frankly dangerous for back health. The production is of course, huge, or possibly better described as vast, which I think detracts a little from the humanity of it - we are supposed to be in a little Spanish village after all. There's much more of a human quality to Acosta's version and always fascinated by the Royal Ballet's ability to act with every ounce of their bodies.
  8. Don Quixote was an absolute joy last night. Loved the clever sets, especially for the little Spanish town which moved in and out to make it feel like you were sometimes in the narrow streets and sometimes in the town square. Loved the expression of the sky in different scenes- the brilliant blue in the village and the setting sun in the evening spent dancing with the gypsy camp. The little details like the people watching from their balconies really made the set feel more alive. I think that the choreography and the introduction of cheers etc from the company on stage really added to making the production feel ‘real’. The guitar accompaniment to the gypsies dancing by the camp fire added to the atmosphere and I can see why Acosta and Yates inserted this. Costume wise, loved the vivid colours and the flamenco style frills worn by key ladies. The one character I really didn’t like the costumes for was Mercedes - definitely got a raw deal here with the colours and designs, switching from what I think was bright pink with black polka dots to a lurid orange in Act 3. Onto the dancing. Character roles were brilliantly done- so nice to have so many roles for so many of the character artists and such expressive mime which demonstrated the versatility, acting and comic ability of these dancers.Avis was understandably miffed that he and Whitehead were left off the cinema cast list but they were on the more extensive cast list in the theatre. Valentino Zucchetti was pure testosterone on stage and an incredibly believable matador. There was plenty more sheer masculinity from the remaining matadors. Takada and Campbell were a perfect pairing and really enjoyed their performances in terms of both their technical dexterity and acting ability. Campbell is already a favourite of mine and having seen a few performances from Takada she is also becoming a firm favourite. She has such natural grace and elegance and a strong actress too. Fumi Kaneko was a perfect queen of the Dryads- it is a difficult solo which can sometimes look a little heavy, but every extension on pointe looked positively lifted and her fluid port de bras lifted the steps even more. Delighted to see Anna Rose O’Sullivan as Cupid - such a sweet and pretty interpretation and got to thinking about how versatile she is in terms of classical vs contemporary. Bright future ahead. Finally, always delighted to see Yuhui Choe and Beatriz Stix Brunell and they were a perfect pairing. Would have loved to see a bit more from them dancing wise- felt too short and sweet! Agree previous comments that the prologue was a little long but liked the way Don Q was so woven into the story- after all, it’s supposed to be his story! Otherwise, enjoyed every joyous, sunshine/burning setting sun moment.
  9. Thanks for sharing Richard- will be at the ROH for this one so nice to see a cast sheet in advance! Thrilled to be seeing Beatriz Stix Brunell and Yuhui Choe as Kitri’s friends in particular.
  10. Just had an email to say William Bracewell is injured and will be replaced by Daniel Camargo on 23 and 27 Feb - shipped in from Dutch National Ballet. He replaced Cesar Corrales who was out for injury.
  11. Tomorrow's 2 pigeons/vixen is still failing to sell. Shame for the students. Stalls circle and stalls will be half empty. Will this be the first shock to their system?
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