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Bruce Wall

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  1. Natalia Osipova -- her own projects

    It was 2011. Here is a review.
  2. Natalia Osipova -- her own projects

    I doubt that it would be the full Leaves are Fading as that is a larger Company piece. I bought a number of tickets to this on the strength of your suggestion of Lilac Garden - which is very much a chamber piece and thus would have been doable. Lilac Garden (which premiered in the Notting Hill's Mercury Theatre in 1936) is something I was truly looking forward to. I will certainly go to this programme ... but not as much as I thought I would originally.
  3. Kim it appears got his visa to dance in this evening's gala. (Indeed he is dancing the DQ PDD ... with none other than Tiler Peck ... That WOULD be something to see) Wonder if Osipova has yet got all her ducks in a row for the ABT Giselle she is scheduled to dance with Hallberg next month? From his Instagram account it appears Hallberg is still in Australia .. even though ABT is currently in rehearsal. Although he says he is 'getting ready to fly' Hope he is recovering. Looking forward to the potential of seeing him with Ospiova in Lilac Garden in Sept.
  4. Should be noted that Tissi (formerly with La Scala) is an ITALIAN citizen. A bit of a slap in the face for the mass of American Italians I would imagine.
  5. Most interesting that the new Sylvia is to be done without an interval ... As listed on the seasonal schedule
  6. I awoke this morning with the detail of Osipova and Shklyarov's triumph last night in my mind's ear. It was as if a time bomb had detonated over night as some sort of international conspiracy celebrating theatrical ardor. It was as if it's poison had been dropped from some zooming flight above. Had I dreamed such? NO. They made their dancing - and I mean this as a compliment - look almost accidental, so intricate and toned was the detail of the total spontaneity of their drama. Unceasingly it was shot through with the most vigorous gossamer. It persuaded with the cogency of the aim of their most robust ball of atomic fire. In effect it was - no, they were - gargantuan. Their puissance was gutsy in its lusty punch. Such combined construct could make any Shard appear paltry. In lesser hands MacMillan's ballet oft reveals its connecting dots. Here the skeleton (for they were one) was not only fleshed; its eyes seared with moulton tears and the echos of their all too humane laughter - that vital element that allows any couple to sustain - seemed - no, WAS - perennial. It resounded. We cared because they did. TOTALLY. We too could obsess in the haunt of their air. It almost didn't matter who danced in the background of their last scene's vision. This dyad brought their unified soul front and centre. That this was only Shklyarov's second take at Des Grieux was nothing short of profound. . At the final curtain - again drenched - he didn't look exhausted - as he had so entirely on the first occasion - but rather fulfilled. The delighted insolence of his inner child's attainment - that coming of age as t'were; that reaching of a rung he had long aspired to snatch - beamed through in that irrepressible smile. it irradiated fervency with a obligingly tender wink. His was - he made us know - a private victory. It just happened here to be shared with a very fortunate British public. We thank Kevin O'Hare for this privilege ... and, I suspect, Osipova as it could never have breathed without her. Shklyarov clearly indicated this with the deep seated bow of his heart. I thank him from the bottom of my own. His triumph was ours. His was a gift of the most significant order. It transcended even the ennobling mount of this Des Grieux's magnanimous loom. It was - in a word - exalted.
  7. Agree - both principals embodied thrill in their focused zeal - Sambe much improved in terms of detail from his last round with Lescaut in this cast's outing - and Naghdi remains transcendent as the Mistress. As Sim suggests - another fine round.
  8. I would love to see the wonderful Mr. Campbell as Des Grieux and this is the only chance I now have which I'm able to do so. If anyone has a SCS or Amphi Standing (T, W or even U) I would be most appreciative. Much, much thanks.
  9. Fairly close, yes. It did slightly over-run last night - but then it was the opening and all that there has to be contended with.
  10. As reported on the cast sheet 2 hours and 11 minutes - not to put too fine a point on it.
  11. No time to write a detailed review but agree with Rob R that the ENB Company looked in very good strength. If there is discord it was not evident in the harmonious thrust of their concerted team work. Agree too that the pared down/revamped Fantastic Beings is now a thing of joy. Standout stellar work therein was evidenced by the effervescent Daniel McCormick - a great asset no question as he also unquestionably was in Forsythe's 'malestrom' of a toying balletic delight, PLAYLIST (TRACK 1,2) [and, hey, love the title] alongside the ever fascinating Hernandez, Takahashi and Saruhashi. All glistened in the Barton. In Forsythe's Approximate Sonata 2016 it was the latter half that really stood out for me - in this clever conversation on the advance of the PPD. So lovely to see Dronina and Hernandez further extol the glory of their DNB harmonies - and Precious Adams was ... well, ... [much as you would expect] precious in the arms of Robison. This man is a star - there is no question of that ... in the 4th Sonata ... much as he miraculously was in Playlist. His radiance I suspect can only really be witnessed from the skies; Certainly I held my breath in amazement during his Coda special in Track 2. His gifts are ones certainly to be cherished and Rojo doesn't have to worry about the loss of the wonderful Corrales. His stunning equal (albeit of a different hue of course) has already majestically rolled up on the ENB shore. As to The Cage; this was - by some distance - not the strongest rendering of the Robbins I've seen - and I had seen a goodly many overseen by the master choreographer himself. Who could ever forget the unique Whelan Novice's bite. This needed more sting somehow. Still the ENB ladies on the whole did the '#MeTOO' generation proud - and Cao as the Queen (in what I once heard the choreographer himself refer to as 'the wilis revenge!') even more so. I am confident the Robbins will sharpen as the run progresses. Throughout you could see the 20th Century influence of Robbins (in this the year of his own centenary) and most markedly the 21st hallmark (much as Forsythe referenced in a recent interview) of Peck. The influence of the latter was certainly germane in both the Barton and new Forsythe. You could hear definite echos of Peck's voice in their writing. (And how WONDERFUL to have Forsythe back in the arms of the balletic idiom he had abandoned for so long. Would that the POB academy for balletic choreographers he was to head went the way of all sad things with Millipied's departure. Everyone's loss I fear.) Sadly references to so much of the Robbins rep and realistically, ALL of the now burgeoning Peck balletic canon - pieces of which are now housed in the vast majority of the world's major ballet companies - sadly, won't be evident to any British balletomanes who haven't really had the good fortune to travel. I must confess I let out a private sigh when Diana White (a former NYCB soloist) came out to take a bow for having set The Cage. She was one of those generations of NYCB dancers entirely lost to British audiences. I only reference that given the fact that the same, say, would not have been true of her UK equals in either LFB/ENB or the RB in, say, New York during equivalent periods - given that was the locale in which for some time I, myself, saw them. Still how lucky we are that TODAY we have these artists (Barton, Forsythe) who are striving to further dance through an ongoing push of the balletic vocabulary. For that and much more I'm sure many will want to sing their praise and MOST CERTAINLY bless Ms. Rojo for this propulsion on behalf of us all. I can't wait to again taste Broken Wings and most expectantly more Quagebeur!!! Brindamos por ti!!!
  12. Osipova, Corrales, Nunez in La Bayadere. How delicious ... and for the Cinema cameras TOO!!! Plus Nunez, Muntagirov, Osipova!! There IS a god!! Only wish they would announce the principals for SinC ... if only just for the first two movements. Ah, well, it's the Royal Ballet ... and nowadays that's good enough for me! Love the casting for The Unknown Soldier.
  13. It is a fine season - and the narrative in its presentation I thought exemplary: https://www.sarasotaballet.org/sarasota-ballet-announces-2018-2019-season I, myself, would love to see Samsova's Paquita, amongst the many - especially the plethora of fascinating Ashton works and the other anniversary celebrations in 2019 for Fonteyn and Balanchine. Would that they might visit the UK. They are appearing for a week in August 2018 at the intimate Joyce Theater in NYC's Chelsea with a programme mixing Ashton and de Valois with Balanchine, Bintley, Wheeldon and Bourne and seat prices starting at $10.00 (£7). Surely something like that could be a perfect Sadler's Wells or Edinburgh Festival fit.
  14. Royal Ballet 2018/19 Season

    I remember Kevin Jackson being wonderful with the stunning Amber Scott in Ratmansky's Cinderella when The Australian Ballet visited here a few years back. Well worth the peek I'd say. He was also glorious as Florimund in the Australian Ballet's Sleeping Beauty recently on Sky. A fair trade for our very own magnificent Mr. Campbell I'd say (as long as it was for not too long that is as Campbell is very much needed back [at his artistic] home!)