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Mary

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  1. Indeed. I was wondering what Mr Crisp thought of the new Swan Lake.
  2. Indeed, and having been thrilled by Mr Bracewell in the BRB The King Dances fairly recently I was so much looking forward to seeing him at RB. Missed him this weekend alas. I too would like to hear more about the performances....
  3. and who could blame you? I think a lot of people were focusing on Siegfried - of course. My companion missed the vision/spirit completely. The point is, Siegfried doesn't see her. If he were to, then the 'resolution' would fit the music, - for me. It isn't Giselle because in Giselle he has seen the spirit.
  4. Remiss of me not to say how good Alexander Campbell was, thanks for reminding me Lindsay. Very exposing indeed, as you say, and he was fully in control- as we have come to expect from him. Bravo. I must say though, that on a night when the costumes actually made me gasp, then grin like a madwoman with joy..I wasn't so keen on Benno's- the lilac one in act 1 I thought didn't quite go with the rest of the set and seemed a bit ...weedy? and then he seemed to have borrowed the suit from the Nutcracker in that scarlet tunic, which I found distracting. Probably just me.
  5. I agree Sim. Of course in the music it's an apotheosis. This new ending is a little too bleak. The rest of the production listens to the music and follows it, so well, up until that moment.
  6. Wasn't that a brilliant moment- the staging of all the big scenes was really excellent, -really using that huge stage, with the spiral staircase adding depth and drama...and the use of cygnets there worked so well, (so much better than evil gnomes) . But the tutus. They were just utterly ravishing. I wish some of the costume department could have come on stage to take a bow. I'd like to say- your work is absoutely marvellous, well done!
  7. It was good! Well done to all. Nunez and Muntagirov beyond praise. Poise. Elegance. Understatement. Deep emotion. Beautiful costumes..Odile's tutu especially. Ballroom set gorgeous..those flickering chandeliers.... very effective.. marvellous !
  8. Really enjoyed that, thank you once again Forum for alerting me! I admit I am still a bit confused though about how much of the choreography in this production will be Scarlett's. Obviously the Spanish dance which we just saw, and which I enjoyed, ( although I had to laugh at his repeated assertion that he wanted to 'avoid cliches' as it is entirely what you might expect. Poor Tierney Heap trying to manage that enormous skirt, beautiful but surely a bit much - how rotten for her to fall over, but no wonder.) He was clear that Ashton's Neapolitan dance stays- but perhaps we knew that. What a joy to see Nunez and Muntagirov rehearse- I think part of the new Act 4, with most wonderful Tchaikovsky reinstated- good call. Interesting to hear John Macfarlane talk about how ideas translate into real sets and costumes. They look lovely, though I wonder whether they are going to create a Forum bete noire: dark stages.... I am sure some of you will explain to me (and I suspect I am being dim) what the overall situation as regards choreographic content will be....Scarlett talked a lot about it but I didn't quite understand what he meant, e.g. 'that the heritage would be preserved but would 'carry his stamp and his integrity'- ??? It seems a bit contradictory. His love for the ballet certainly came over and made me warm to him.
  9. Mary

    Audience Behaviour

    Hmm yes- capping a dancer onto the stage -that's something I am ambivalent about. It can rather intrude on the performance and sometimes feels like an audience member 'showing off' that s/he knows the dancer ( think if you got it wrong!) On the other hand it is nice to do it for special occasions such as a visiting dancer, one who is about to retire, or certainly one who is coming back from injury...I have clapped for that reason out of sympathetic joy in seeing the dancer again and I shall feel 'like clapping on' Ed Watson and Steven McRae when they return, I know.
  10. Mary

    Audience Behaviour

    Yes- if it becomes normal to give standing ovations, as seems to be happening in the West End, the problem becomes- how to display the next level of appreciation? leaping onto the stage and embracing the dancers?😄
  11. Thanks very much for these reviews- sadly I don't feel surprised that these documentaries are lacklustre. Gone are the days of great TV arts documentaries by such as Tony Palmer. The best art documentaries these days seem to be by people like EOS ( Exhibition on Screen) which are distributed to cinemas then go to DVD ( e.g. recent films on Canaletto, Vermeer). It would be marvellous if they or similar could make some good in-depth ballet documentaries. After all, ballet requires the film treatment more than painting....
  12. I never thought it was meant to be funny, and given the context, don't think it shoud be played as comedy-: there should be a wry smile perhaps but laughter in this scene is not the right note. Lescaut is a very nasty piece of work: the audience should not be laughing warmly at his 'antics'.
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