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    Classical music, ballet (of course!),gardening, animal welfare, giving German/English lessons to refugees

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  1. Do try to make it. I love the original SL woven into Ludwig's story and ironical use of Petipa's choreography. E.g. when to the music/dance of the Black Swan in the 3rd act is used for a white swan to seduce the King,, but with good intentions behind it, plus myriads of references to the original bt in a different context. Next to the tormented Ludwig, I find Siegfried like an immature teenager.
  2. I've seen him in Giselle and Spartacus in Munich and found him as a dancer and artist totally overrated. But since the Zelensky takeover the Munich audience seem to cheer everything and everyone indiscriminately. I'll be attending Spartacus in April and hope fervently not to see him there. I won't know how to boo him and cheer for the rest. Just sorry that he's getting such a lot of attention and other dancers deserving more don't get it.
  3. I have to disagree on one small point. Alexei Popov, I thought, was dance-wise slightly disappointing, with some trouble in partnering and lifts, though he acted convincingly, displaying passion in the duel challenge. For me, the Lensky to top all is Friedemann Vogel in Stuttgart, though now having been given the Onegin role, will alas be scarcely called on to dance Lensky.
  4. Though it may be not of immediate interest to most members of the forum, I do want to share my views on Cranko’s Swan Lake, which I saw in Stuttgart in Dec. Saw 3 casts: On the opening evening Alicia Amatriain/Friedemann Vogel, both under par that evening, Ami Morita/Alex McGowan, making commendable debuts, , Elisa Badenes/David Moore, the best Odette/Odile of the 3 and David Moore convincing, though not an outstanding bravura dancer. An unusual version with a focus on Siegfried as a lonely soul. In the 1st act happier with the ordinary folk, but not being truly part of them, utterly devoid of contact with the court and with a nasty, domineering mother. The 3rd act was for me a hugh disappointment, lacking in charm, character, the waltz and dance of the prospective brides. The court consisted of non-participating extras standing idly on an upper balcony. The brides-to-be from 4 countries dived into the national dances without much ado, giving the activities the flavour of a meat parade. Also some staging inconsistencies, with the Queen Mother and Sigfried being seated at the back of the stage and the dances facing the audience. The Neapolitan princess had a less spectacular part than her partner, who was throwing out turns and spins ad infinitum. The Queen Mother here was a totally wooden figure. And the smallish stage does not lend itself well to the pyrotechnics required of Siegfried. That being said, the rapport between Odile and her father was prominent, interestingly emphasising her as his instrument. The limitations however were compensated for by a compellingly tragic 4th act, where he drowned and she continued her existence as swan/human. Unlke the ROH version, where a feisty Odette found the strength to kill herself, Odette here could not climb out of her despair and the choreography reflected this. The last pdd was heart-breakingly beautiful, with Odette collapsing over and over again, images of a ragdoll with the stuffing beaten out of her. But one last irritation: the strips of material brought on to simulate waves were so skimpy that the stage boards were barely covered. I’m thinking at this point of the Nureyev version with similar end, but where generous, billowing waves of material and, of late dry ice too, made a convincing watery grave. I suppose that Cranko back in 1963 had few resources, Stuttgart then being a small, almost unknown ensemble, with only a world-class success (Romeo and Juliet) to its books. But surely now, I would venture to guess, a refurbishing is called for.
  5. Yes, an intriging topic. I'm not a teary person, but there were memorable moments which brought a lump to my throat. Being non-U.K. -based my choices are quite different: Lucia Lacarra as Marguerite in "Lady of the Camellias", the whole of Neumeier's "Illusions - like Swan Lake", a stupendous re-make of "Swan Lake" by Neumeier, which touched me much deeper than the original, esp. the end when the king gives way to his fate accompanied by waves of Tchaikowsky's music - spine-tingling. Also Alicia Amatrian as Tatiana, Friedemann Vogel as Lensky and again in Bejart's "Bolero". I could go on ad nauseam, but will stop here.
  6. The German TV station ZDF has a copy of the performance by Marcia Haydee and Heinz Claus, filmed way back in the 70's (I think). I've contacted them and they sent me a copy for 45 Euros.. Also (as indicated in the many replies in the Forum) the performance by Alicia Amatrian and Friedemann Vogel was filmed and, as far as I know, the film company is looking for a sponsor to bear the cost of production of a dvd. Still looking.