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  1. I actually got the giggles reading it, it goes into such detail about timelines!
  2. I've often got the impression that the NY arts scene even more self-important than it is important! The parochial tone of much coverage doesn't help: Balanchine is, as you say, held up as self-evidently the towering genius of ballet (even if he is - and there are other choreographers I, as a mere enthusiast, would rather watch - not all roads lead to him) and no singer can be held to be a star without a successful Met appearance. I could never understand the reverence in which James Levine, before his fall from grace, was held in the US, given that he didn't register much in Europe. That was when the penny dropped: if it didn't happen in New York, it was largely irrelevant anyway.
  3. Fishing around on the Coliseum website I've just seen that Ivan Putrov has put together a programme called Against the Stream, featuring (I think!) works by Balanchine, Robbins, Ashton, MacMillan, Lifar and Yacobson amid others, and performed by dancers including Matthew Ball, Mathieu Ganio and Putrov himself. It's on Sunday 7th April next year. There's a bit more here: https://londoncoliseum.org/whats-on/against-the-stream/. Public booking opens tomorrow at noon. Apologies if this has already been noted, but a not-exhaustive search didn't turn anything up.
  4. Tickets now sold, thanks to Ruth!
  5. Great! Thanks for your agency!
  6. I used to love the RFH but I don't find the Southbank at all welcoming now! It seems to have degenerated into a food hall/lowbrow exhibition space (Moomins? ABBA?). Leave a solo piano recital and your ears and mood are immediately assaulted by unsympathetic music playing in the foyers. Which would be fine if it weren't for the £18m annual public subsidy it receives (which is presumably the reason it continues to present concerts) on top of God knows how much in one-off grants for repairs, improvements, etc.
  7. Just spotted that programme vouchers are now £8 rather than £7. Price inflation strikes again!
  8. Lower Slips, A-99; £76 for the cycle. It's in e-ticket format so I don't need to get it in the post, but I'll return it to the box office if no-one wants it by Saturday morning. Please DM if interested. Dates are: Das Rheingold, Monday 24 September 2018, 7.30pm Die Walküre, Wednesday 26 September 2018, 4.30pm Siegfried, Saturday 29 September 2018, 3pm Götterdämmerung, Monday 1 October 2018, 4pm
  9. Does anyone know anything (other than the "official" version at https://www.kennethmacmillan.com/playground/) about MacMillan's Playground, which is being revived by Yorke Dance Project in May? https://www.roh.org.uk/productions/yorke-dance-project-20th-anniversary-celebrations
  10. Lizbie1

    Audience Behaviour

    Thank you - that does indeed make sense of things.
  11. Lizbie1

    Audience Behaviour

    You see, without any more information about her situation (and if you have some to explain your reaction, please share it), my automatic reaction would be to feel very sorry for her and do what I could to assist discreetly. And I am probably the furthest thing from what you might call a virtue signaller without actually being a "vice signaller".
  12. Very interested to learn this: I was a big fan of this company when I was in Moscow and I loved this production (if it's the same one!), which had a rare sweetness. I hope that their absorption into the Bolshoi brings them greater recogbition and stability and won't be at the expense of their distinctive "ensemble" style.
  13. One of the main things that struck me was that it seemed to have more in common with mime than dance. I gather that it portrays a relationship over some time; there was a long passage in the middle where Osipova repeatedly "hit" her partner with her shoulders (I found that, together with the "slap", very problematic, tediousness aside), then presumably they patched up their differences and there was some standard issue contemporary pdd stuff. Honestly though, I'm hard pressed to remember much about it, apart from a general feeling from the off that it wasn't really of performable standard. Harsh words, I know 😕
  14. I thought the Assaf piece was, frankly, poor (uninspired doesn't cover it IMO) and was baffled by the enthusiastic applause it received. But I see it has several fans here! Maybe if I watched more contemporary dance I'd think more highly of it?