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Lizbie1

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  1. Thanks for the explanation - I must say I'm surprised there would have been room for longer rows: it didn't seem that way to me!
  2. Apologies if I missed something obvious but I couldn't work out why Row AA was added: IIRC it was something to do with the discovery that some reconfiguration of the seating was needed, but as far as I could tell, the whole available width of the seating part of the Pit was employed, so I don't know where the "disappearing" seats would have been. Or were people originally due to sit side-on to a smaller stage?
  3. It looks like you're right http://www.antonytudor.org/ballets/echoing-of-trumpets.html
  4. I guess in part it's because his earlier works have effectively been orphaned by Rambert's move away from that sort of repertoire? The Royal Ballet companies already have more in their back catalogues than they can handle, it seems. Maybe ENB will one day consider staging something of his.
  5. I haven't seen any since Rambert danced Dark Elegies in 2005 - what has there been since then?
  6. Thank you - I was wondering where I'd got that idea from!
  7. So I wasn't imagining it!
  8. I'll be doing Osipova & Co for the Saturday matinee and Trocks in the evening - suits me perfectly!
  9. I may be mistaken but I seem to recall previous publicity saying it would be the full work. But then, it was also lodged in my head as the Lilac Garden, so I'm clearly not a reliable witness!
  10. Extra thought: it's doubly impressive when you consider she wasn't exactly a small dancer.
  11. Quite - thrilling speed! Does anyone now do them so quickly?
  12. The Proms 2018

    They do announce extraordinarily late, and I'm not sure that it's really justifiable these days unless the marketing people think it creates more buzz. Or perhaps they need to wait on new commissions to come good I'm not hugely committed to the Proms, so tend to see which artists are appearing and take it from there. My main thoughts are that Lise Davidsen should be well worth hearing in the Verdi Requiem, and that the line-up for Prom 11 is wasted on Mahler 8!
  13. But, as I've said above, there is more than one era in play here - it's not straightforward. We've recently become very squeamish about a lot of what passed without comment in the '70s: that era being adjacent to our own might mean that it is more difficult for many to hold their noses. I'm by no means in disagreement with the point being made, but no-one here (as far as I can remember) has suggested any form of censorship and I don't think we can mandate that people like what they see on stage.
  14. I guess it's just a difference of opinion, isn't it? Some people see the 18th century tale, others the 1970s filter which MacMillan applied, others (me included) see both. There are no right or wrong answers.
  15. Problems in Paris

    If this refers to the petition, I'd take it with a large pinch of salt: it sounds like an attempt by management to muddy the waters which it would be tricky for a POB dancer to refuse to sign.
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