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Richard LH

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  1. Interesting, as I thought that was all sold out when I looked first thing today - perhaps there was some sort of initial hold-back similar to bbb's explanation re. Swan Lake. If you thought the Amphi seats for the Spring Gala are expensive, how about £250 - £350 for the stalls?!
  2. The first night of Swan Lake (Nunez, Montagirov) at the RB is already sold out for everything below the Balcony. We have gone for Takada and McRae on the first Saturday - pretty excited already!
  3. RB Promotions for 2018/19?

    I'm definitely previous in terms of any announcement, but what I hoped was some discussion about people's hopes or expectations......
  4. Is it too soon to be discussing who has a good prospect of promotion in the Royal Ballet for next season? It seems these are usually announced about June or July but perhaps there is no harm in putting forward ideas a few months in advance. One thing I am not clear about - is there a cetain limit in the number of principals? I.e. 8 ladies, 8 gentlemen at present.
  5. Royal Ballet 2018/19 Season?

    With apologies, I was not aware of an embargo. I retract that request.
  6. Does anyone know when official details of the 2018/19 Season will be announced? And, pending that, does anyone have any idea (perhaps some advanced inside knowledge) of what is likely to be included?
  7. Various performance photos here...http://www.danceeurope.net/gallery/russian-ballet-icons-gala-2018 one "disappointing" review here https://www.thestage.co.uk/reviews/2018/russian-ballet-icons-review-london-coliseum/ but a "masterclass" review here ! https://www.standard.co.uk/go/london/arts/russian-ballet-icons-gala-2018-review-a-masterclass-in-showboats-and-seduction-a3775601.html and another favourable review http://www.britishtheatreguide.info/reviews/russian-ballet-london-coliseum-15598 Sorry I now realise these reviews are already listed on the Dance Links thread.
  8. Best Classical Choreography goes to AKRAM KHAN for ‘Akram Khan’s Giselle’ MARCELINO SAMBÉ as Colas in ‘La Fille mal gardée’ is the winner of the Dance Europe Award for Outstanding Male Performance (Classical) ALINA COJOCARU as Giselle in ‘Akram Khan’s Giselle’ wins Outstanding Female Performance (Classical) ZENAIDA YANOWSKY wins the Grishko Award for Best Female Dancer LIAM RIDDICK wins Dancing Times Award for Best Male Dancer Many congratulations to all the winners, and nominees.
  9. Beryl H I understand what you're saying about the music as it does not seem to have much in the way of memorable motifs (like the repeated themes in Giselle, for example); it seems more like a continuous descriptive backdrop to the plot. But I think it evokes the various changing moods very well, and at various points it is intrinsic to specific steps or movements performed by the dancers who timed these to perfection. In Act 2 the music is more traditionally in keeping with the folk style dances.
  10. Well ! Calvert, Hirano, Hayward, Hay, Morera and Clarke completely lived up to my hopes and expectations. I thought Hirano acted superbly - more self-contained than Watson's interpretation, but just as powerful in its own way. He was ably matched by Calvert and they had some heart-rending moments together. Morera is a lovely dancer and gave an intelligent and moving performance. Also young Sasha Dobrynin-Lait (great name !) acted wonderfully as the ill-fated young Prince Mamillius. The whole staging of this ballet is brilliant, all the drop down sheets, overlaid video, and movable statutes etc. working so smoothly and effectively. Plus the tree ! I was just blown away by Act 2, with the fantastic and colourful dancing by the corps, with Stix-Brunell and Ella very watchable (who knew shepherding could be so exciting)! For me, though, Hayward and Hay stole the show - dancing so seemingly effortlessly, and sensually at times, as the young lovers. Francesca Hayward, in particular, was just magical. Goodness know how she turns in outstanding lead performances in two completely different productions in the space of one week. I am no expert, but I really think we now have someone very special here.
  11. Casting workload questions

    Thanks Alison, that all makes a lot of sense.
  12. I was just wondering if anyone can help me about the factors that tend to influence the choice of the casting of principals, and what this means for their workload. I have noticed, for example, that Francesca Hayward is only doing 6 performances between February and June (2 each in Giselle, Winter's Tale, and Manon, including 1 only for schools) whereas Marianela Nunez has about 15 performances over this period. There may be specific reasons (suitability for a role being one !) and no doubt Francesca also has various other outside commitments (I know she has done a couple of short films), but otherwise, is it generally the case, for example, that the younger principals need to be nutured rather more, rather than being over-worked too early? On a slightly different point, the RB is very good at telling us cast principals in advance (and any changes thereto) - does the ENB do the same, and if so how long before the performance?
  13. WT sounds to be going down very well, by all accounts, and it has some great cast line-ups. It was diificult to choose which cast to go for ( Kaneko, Bonelli, Takada, Campbell and Heap sounds fantastic) but I'm looking forward very much to to seeing Calvert, Hirano, Hayward, Hay and Morera tonight !
  14. For me, it was accidental - I had only been able to get tickets for Saturday until a last minute return became available for Friday, which would have been my first choice. Accurate recollection of two back-to-back performances does cause me a bit of confusion, and I doubt I would do the same again through choice! Yes, there were some interesting differences to note (which other posters have described very well) but for me, the positive aspect of the double experience (being new to Giselle) was reinforcement of the similar elements - second time around, the musical themes (which repeat brilliantly throughout) were more familiar, and being able to anticipate some of the action helped me to get more into the emotion of the story on Saturday. Thinking back, common aspects of the two debuts are now giving me recurring goosebumps... Francesca and Yasmine beautifully skipping out of the cottage, to applause, into their new roles... Giselle throwing back her necklace when she learns the truth....time standing still, for the the whole company, with Giselle static, head in her hands...Berthe pushing Albrecht away as she cradles her dying daughter...Myrtha's first unwordly bourrée across the full width of the stage.....the Wilis' strange, progressive sequences of hopping arabesques back and forth... the Wilis huddling together and then parting to suddenly reveal Giselle raised up as a lonely veiled spirit...Albrecht unalbe to catch Giselle's spirit as she drifts past him...Myrtha and the Wilis cowed by Giselle, in front of Albrecht, in the form of a cross....the Wilis (26, I believe) all prostrate in honouring Myrtha...Giselle floating across the stage in Albrecht's arms...dropping flowers into his hands..... Giselle's final parting and descent into her grave.. Oh and just the way ballet dancers can move their arms so expressively, and emotively, with such slow control at times.... All just so poignant, so beautiful, and so fantastically danced and acted by the whole company.
  15. Another 5 star review .... https://www.theguardian.com/stage/2018/feb/12/giselle-review-francesca-hayward-ballerina-royal-opera-house-london-choreography Deserved praise in here as well for Mayara Magri's fantastic Myrtha.