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Bruce Wall

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About Bruce Wall

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    Bruce Wall

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  1. Just wanted to note that this afternoon's matinee (in front of an audience far smaller than it by right deserved) was entirely (or at least from my perspective) blissfully ripe. I'm so pleased I made allowances to work in order to attend. Corrales' debut in Le Jeune Homme et la Morte was charisma personified. (Were we expecting anything less????) Testosterone flared AUDIBLY in his nostrils as he seethed over, around and above that table - in a fashion not unlike the evocative orbits of smoke he had so delicately traced in the air but minutes before in that dangerous dangle from his bed. Corrales' was a circus of heart over head and ALL was in avid pursuit of Jia Zhang's insolently imperative black glove. Their rapt audience bellowed bravos lustily; at a volume far beyond their own diminished magnitude.. The La Sylphide which followed soared with gossamer assurance in the enchanted hands - or more appropriately - winged feet - of Takahasi and Tamayo. (I so hope this lad and his jet propelled leap gets a return invite to guest with ENB). New to me were William Beagley's Gurn - artfully demure in his determination - and, MOST vividly - Laura Hussey's Madge; here a figure strangely fortified by her own dissolution. (I overheard people comparing her to Monica Mason. A most apt association I thought.) T'was an afternoon rich in delight.
  2. Interesting that Naghdi and Ball are not paired ... but perhaps wise to give each debut artist a partner who has some experience in their respective roles. Osipova/Ball could prove to interesting indeed. He can be such a fine actor - and she will, I think, very much feed off of that.
  3. A question: "first night" gifts

    Such gifts are usually given on the 'PRESS NIGHT'. If it is a commercial production (and often they don't publicly note these) ... then they will most like have a Press Night curtain that commences at 7pm for deadlines. (Although nowadays that is not always the case.) Certainly if there are six previews ... then the press night would officially be on the Seventh ..... (the Seventh ... sounds familiar doesn't it ... Hope this is of some assistance.
  4. I dropped in on Wed, Thurs and Friday Evening performances and Tamayo danced James in all of them as he obviously did the Saturday matinee - so, yes, four consecutive outings. That's going some. Thought his dancing was excellent in each - and his focus varied subtly for each of his Sylphs. If I had to chose one out of that latter number as my personal best I think I'd plum for Kanehara. She glistened ... as much as listened ... throughout. Thought Kloborg too a most telling Madge; the very personification of a alcoholic. The redolent stench of spirits spat from her eyes and gave understandable licence to this character's overt selfishness. Rojo ruled searingly in Song and Robison as Saturday night's Messenger telegraphed through vivid indication the great things that are to come for us in his regard during his ENB tenure.
  5. Sadly this death hath has been reported. I don't know if many here were aware of this extraordinary artist. I was blessed to have seen a goodly number of her performances with NYCB back in the day and was always enchanted to be in the presence of her extraordinary mind and musicality. Some of you might enjoy the wit of this as well:
  6. Just a quick question: The prices on the first, say, 10 seats of Upper Slips AA or BB - Have they ever before been at a different tariff than the other seats in the Upper Slips?? Given what they are [Due to leg length I really can't sit there without coming away feeling as if I need to see a chiropractor] they appear to be quite pricey now. I know one person who sits there religiously at a vast number of ROH performances - both ballet and opera. I wonder now if they will attend with anything like the same frequency. This is - I think - a considerable climb in rates. I may, of course, be wrong. Grateful for your kind advice. Much thanks.
  7. James Hay is - at least in my lights - a VERY special talent ... who I believe deserves to be cherished. I am somewhat surprised that he didn't get this assignment especially after the triumph of Hay's Forimund opposite Takada's Aurora in last season's Sleeping Beauty. (This is to take nothing away from Ella of course. A very worthy dancer indeed.) That said too, I just read in a snippet from a London Times article wherein Takada identifies Ella as 'her boyfriend' so this may well make for a very special relationship in this production of Giselle. (To quote exactly: "She has a boyfriend in the company — first artist Benjamin Ella — and hangs out with the other Japanese dancers every so often “because we miss speaking Japanese”.)
  8. These all fit perfectly .... and you can even dash to Paris for the Robbins Festival with ENB, NYCB, PNB and MCB which runs 25th through 30th June. A Fantastic Month ... and perfectly swayed for the avid balletomane.
  9. See you there, Sheila. No question. Happy New Year
  10. No Hayward, Capybara? I would be surprised and saddened if that were the case.
  11. Much thanks, Katherine, for your clarification of Mr. Woetzel's current role in the Lincoln Centre hierarchy. I quote the exact reference I referred to from the NYT. I'm sorry I didn't in my original statement. I was - as ever now - given job pressure - in a rush. This is the reason I post so very rarely today. In any event, it follows: - Mr. Peck is considered a candidate to succeed Mr. Martins, as is Ms. Whelan and the French choreographer Benjamin Millepied.
  12. The NYT reports that J. Peck (as opposed to T Peck - no relation); W. Whelan and B. Millepied are in the running for the succession of the NYCB Ballet Master in Chief role. I would be surprised if A. Ratmansky, P. Boal and D. Woetzel are not also in the mix. All, of course, have close associations with NYCB - even though only one is current. I would imagine that Ratmansky may well not be available given the stealth of his ABT role (and surely he will be a key contender to succeed there when K. MacKenzie steps down) plus the fact I'm told he already has a decade's worth of commitments for new productions with world ballet companies in the pipeline. That said the magnificent Peter Boal and truly awesome Damien Woetzel - surely one of if not THE finest balletic dancer of his generation - would be prime candidates. Both were long standing and much respected NYCB principals and appeared throughout the world on major stages and both have run or (in Boal's case is currently running) major dance outfits. In Woetzel's case he, of course, created a notable one after his retirement as a dancer and is currently Chairman of Lincoln Centre, the umbrella organisation which oversees all constituents including NYCB. It will be fascinating to see where the cards ultimately turn. Certainly all of those mentioned would be close, the one with the other. (I wonder too if someone like Jean-Pierre Frohlich might not be a dark horse.)
  13. I would love to see some of our very special crop of RB talents just now in more Balanchine and certainly more Robbins. (In G Major anyone?? And with these men why not Fancy Free??? Anyone not having seen the latter can taste it here. If that were to be placed in the Autumn of the 2018/19 season it could still honour BOTH the Bernstein and Robbins anniversaries.) I would especially love for them to revive Bard Balanchine's Liebeslieder Walzer because there would I know be such vivid couplings available. It would I sense be especially haunting just now. (I realise that many here will never have ever seen this work so I will insert but a small clip with only a sliver from the second movement for your greater edification/enjoyment: https://www.nytimes.com/video/arts/dance/100000003972748/excerpt-liebeslieder-walzer.html I too would love to see Flight Pattern again ... and fully expect that it will be revived. Again I would love to see at least one of the major Peck works that now populate world stages but have yet to be seen here. (Perhaps RODEO or Everywhere we Go which was such a hit in Paris?) They are always such wonderful company pieces and always rooted in ballet. I also would love to see more Ashton, just pieces more substantial than M&A please. (Ashton was I think wise to ask that it not be performed again. He was certainly right in my estimation to want to promote his much more substantial canon.) I, myself, am not troubled - in any respect as it happens - by that stunning sunburst known as La Fille Mal Gardee. For me it is always a heartwarming gift in terms its balletic ebullience and down home heart. I agree with the suggestion of having an Ashton Festival much akin to the co-operative MacMillan one. His canon is just so rich ... and all five companies would I should think hugely benefit from such an undertaking. I've only now come back from having seen The Nutcracker again. I would like to put a word in for the gleeful bundle of dance mirth that is James Hay. He always gives 100% in terms of his dramatic arc and his feet (among the best in the Company) are as fleet as his instinct. For me his Florimund in SB was one of - if not THE - defining RB performance highlight in 2017 just past – perhaps because I certainly didn’t expect the largess of his keen majesty. It was among the best performances of this role I have EVER seen ANYWHERE. I would so love to see him have a stab at Albrecht or certainly Seigfried. I think both he and we deserve it somehow. Certainly I want to thank him for the vigorous thrill I ALWAYS feel after watching him perform - even when I am not a huge fan of the entirety of the dance piece being rendered. The zealous detail of his white rabbit jumps to mind ... and who could forget that goat in Ashton's bountiful Sylvia or his very Elite Syncopation. I am very much looking forward to watching the progress of the magnificent Corrales at the RB no question – but so hope that his entry does not in any way interfere with the vivid tracks already established by, say, Hay and Sambe. We have an embarrassment of riches to look forward to no question: No question whatsoever.
  14. All sorted. Much thanks to ALL.
  15. I have a ticket - but a friend has flown in and wanted to see it. Looking for 1 (one only) standing place (either SCS or Amphi) for the 2.00 pm MATINEE on 1st January 2018. If anyone has one going spare I'd be grateful to learn of it. A Private Message (PM) would be best as I woud get email notification that way. Much thanks ... and Happy New Year. Bruce Wall.
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