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Richard LH

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  1. Not really; they flirt, tease and show off in public, but (discounting of course the viewing audience) their love making at the beginning of Act 2 is private, and quite moving and tender at times - particularly so with Takada and Campbell, I thought. For example there is a brief moment when everything seemed to stop, just after she affects to be cross about his stolen kiss, and they look at each other each other lovingly before she falls into his arms and he lays her down. And later Campbell steals more than one kiss from her outstretched arm when she points for him to fetch her shawl. Lovely characterisation from the pair, and I was yet again blown away in particular by Takada's wonderful technique and control. Beautiful how time seems to stand still as she slows down an arm or leg movement; dazzling how she combines this with seemingly effortless high leaps, high kicks, and lengthy, fast turns. A triumphal virtuoso performance, and extremely well received in the theatre. So pleased for her!
  2. I don't know about that rehearsal Jenny but as well as Avis playing Lorenzo, I think there were one or two differences from your list of ladies/men groups when the Takada/Campbell cast played on Saturday. Anyway this is the main cast list for tonight, as now displayed on the ROH website. I don't think they will publish any more details about the groups, so that will be an observational test. On Saturday Lara Turk was the lucky tavern girl who becomes Gamache's final bride choice, as well as Dulcinea. Cast DON QUIXOTE CHRISTOPHER SAUNDERS SANCHO PANZA PHILIP MOSLEY LORENZO GARY AVIS KITRI AKANE TAKADA BASILIO ALEXANDER CAMPBELL GAMACHE THOMAS WHITEHEAD ESPADA VALENTINO ZUCCHETTI MERCEDES MAYARA MAGRI KITRI’S FRIENDS YUHUI CHOE, BEATRIZ STIX-BRUNELL TWO MATADORS NICOL EDMONDS, BENJAMIN ELLA GYPSY COUPLE ITZIAR MENDIZABAL, TOMAS MOCK THE QUEEN OF THE DRYADS FUMI KANEKO AMOUR ANNA ROSE O’SULLIVAN DULCINEA LARA TURK FANDANGO COUPLE GINA STORM-JENSEN, NICOL EDMONDS TOWNSPEOPLE, MATADORS, ARTISTS OF THE ROYAL BALLET, GYPSIES, DRYADS STUDENTS AND JUNIOR ASSOCIATES OF THE ROYAL BALLET SCHOOL
  3. A review of Saturday's performance with the Takada/Campbell cast. http://seenandheard-international.com/2019/02/carlos-acostas-don-quixote-returns-to-the-royal-ballet-and-is-vibrant-and-enthusiastically-danced/
  4. Yes I know Xandra, sorry I didn't post this in response to your request...instead I was going to respond to that by linking to the Guardian pics of Yasmine and Marcelino, but Bluebird got there first!
  5. Back to Don Quixote, here is a link to the Live Cinema cast list for tomorrow night.... http://static.roh.org.uk/showings/don-quixote-live-2019/en.pdf?_ga=2.162395900.1172474542.1550503105-1008816553.1550503105
  6. The last four were in the Friday cast. Was anyone else there last night?
  7. Yes, the role does demand a fair bit of fairly strenuous technical and fast dancing, along with the pantomime skills ( I was really feeling for Yudes' foot after the countless times Don Q seemingly stamps it with his "lance"!) Welcome to the party, Floss !
  8. Really, really enjoyed Don Q last night: you would think there would be a risk of ennui or let-down after such a brilliant opening only the night before, but for me this ballet only improves on viewing. When I first saw the disc version, to use the current parlance of the young folk "I was like “ isn't it over yet"?” (especially during Act 1), but seeing it live, the time seems to fly by and "I was like “is it over already”?" You wouldn’t expect Takada and Nunez to play Kitri in quite the same way, and they don’t - and that is one of the reasons that seeing different casts can be so rewarding. Nunez is all expressive joy, exhilarating throughout, indeed perhaps enjoying and sharing her love of dancing back and forth with her rapturous audience even more than with her partner. Takada employs rather more subtlety and is naturally more nuanced and more contained within her ballet character - the young girl finding herself literally pulled various ways in the midst of a comical love-fest. She is the Queen of balance and grace, in my view - not only in the technical, physical sense (she has such breathtaking control, for example, when on pointe on one leg, and in her fouettés!) but also in her lovely characterisation. In this she is so well assisted in her rapport with Alexander Campbell- what he may lack by way of the uber-dazzling leaping skills displayed by Muntagirov, he more than makes up for in his partnership technique and his acting. In the first Act, you feel he could hold Akane up in the air with one hand for ever, whilst by the opening of the second Act PDD they have become a wholly believable, tender loving couple. And all the while there is such wonderful support from the rest of the main cast and the corps! Although no standing ovations, or extra-prolonged curtain calls, this time, Akane and Alexander deserved, and received (by normal standards), a great response from the Saturday night audience, at least from everyone who stayed to the end, rather having to rush out for trains etc. a tad prematurely. Bring on Tuesday, along with the live streaming!
  9. And on the basis of tonight's amazing performance from the former, that looks like a good call!
  10. Further cast info. for tonight.... Don Q. Saunders Sancho Panza....Yudes Lorenzo....Avis Gamache....Whitehead Kitri's friends...Choe, Stix-Brunell 2 Matadors...Edmonds, Ella Gypsy couple...Mendizabal, Mock Queen of Dryads....Kaneko Amour....O'Sullivan Dulcinea...Turk Fandango Couple.....Storm-Jensen, Edmonds
  11. She doesn't exactly say she was ill during the performance itself...but fever or not, she was certainly on fire!
  12. Just a word on the staging, and the titular character. I found this ballet so much more colourful, bright and cleverly designed seen "live" than seen on the disc. Beautiful costumes, and (mobile) scenery...the tired old horse appears slightly rough round the edges, but that rather adds to its poignancy. Indeed the poignancy of Don Q's romantic, chivalrous, yet deluded quest, adds rather a subtle layer to the ballet above and beyond the otherwise "thin/silly" plot. And for me Christopher Saunders perfectly captures the spirit of the character....every gesture and expression conveying meaning, including plenty of suitably yearning, moving "far away looks", capybara! Credit to Saunders also for pushing David Yudes to the fore at the curtain call, at his own expense.
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