graemew Posted November 4, 2018 Share Posted November 4, 2018 Last night's performance (Saturday 3rd): We thought McRae's solo was amazing. Haven't seen jumps like that for a while (reminded me of Carlos' early days) but then we didn't see Vadim earlier in the week. Enjoyed Takada - beautifully danced - but take on board the comments about "lack of connection". I was watching Yasmine as closely as I could in the final act (ref my later comment) and thought her facial expression was a little static although her dancing throughout was enjoyable. The Corp was truly remarkable - such precision. I feel both Babara and I enjoyed it, but not one we were still talking about by the time the train got to Chislehurst. We shall go to the Cinema Live to the see how the incomparable Marianella/Vadim compare! The scrim screen was a problem from the Ampitheatre. It took the edge of the clarity and my wife, who hadn't realised it was there, thought her glasses needed cleaning. In other ballets we have seen a similar screen in place as the curtains open and for it to be raised a minute or two later. I was always taken by the effect it had on reducing clarity. Sadly we sat with that effect through a large proportion of the ballet. 2 Link to comment Share on other sites More sharing options...
Shirley Posted November 4, 2018 Share Posted November 4, 2018 It looks like a combination of the two would work for now. The first casting I found on the calendar was for a performance of the Nutcracker on the 26/11/09. Having had a look at the database and selecting Manon (as a random production danced quite recently) the last date recorded on there was 26/11/11 so not sure how often the database gets updated. Link to comment Share on other sites More sharing options...
Bluebird Posted November 4, 2018 Share Posted November 4, 2018 9 minutes ago, JohnS said: I think the ROH has also been putting a fair bit of effort into updating its database of past performances. Where have you found this updated database? The Performance Database doesn't seem to have been updated since around 2012. Here, for example, is the listing for Mayerling where the last performances listed are those from 2009: http://rohcollections.org.uk/production.aspx?production=4585&row=0 Link to comment Share on other sites More sharing options...
penelopesimpson Posted November 4, 2018 Share Posted November 4, 2018 He was incredible. I first saw him in Corsaire and he strutted on to the stage like a King, but with a panthers silent movements. He always took his time, gave a haughty look around and decided okay, here we go, you wanted to see me dance.. He has a rare raw elegance if that makes any sense. Combined with Asylmuratova, I thought I had died and gone to heaven. It was those two who really jump started my love for dance. 1 Link to comment Share on other sites More sharing options...
bridiem Posted November 4, 2018 Share Posted November 4, 2018 2 hours ago, capybara said: I was so entranced by the Thursday's opener that I squeezed in an extra yesterday afternoon in order to see all the casts - at a matinee price!!!! In my view Lamb was everything a Nikiya should be - beautiful, lyrical, yielding, technically accomplished, clear in her emotions. Calvert was strong in interpretation and presence but didn't succeed in using the choreography as a vehicle for further expression of her character - the fouettes in Act 1 and the beseeching movements in Act 3 weren't yet sufficiently potent. But the reason I have held back from commenting is the relative weakness of Hirano who had no elevation, omitted steps, foreshortened the difficult sequences and seemed to give little back to his two partners. It was a seriously underpowered performance which gave me a sense that he might not be fully fit or sufficiently prepared for the role. Thanks for your very interesting comments about the performance, capybara. Please don't refrain from posting negative thoughts! As Mary said, the Forum is interesting precisely because of the range of views. I'm a huge admirer of Hirano, but I'd forgotten what a bravura role Solor is and I'm not sure I would think it a natural fit for him anyway. And of course he's had rather a lot on his plate recently... But I would still have loved to have seen this cast (unfortunately can't see them all!). 1 Link to comment Share on other sites More sharing options...
CheerwellMaker Posted November 4, 2018 Share Posted November 4, 2018 I thought Hirano improved in the final act. I didn't find his solos particularly memorable but he does seem like a secure partner. Calvert and Lamb were wonderful. 1 Link to comment Share on other sites More sharing options...
JohnS Posted November 4, 2018 Share Posted November 4, 2018 1 hour ago, Shirley said: The first casting I found on the calendar was for a performance of the Nutcracker on the 26/11/09. Having had a look at the database and selecting Manon (as a random production danced quite recently) the last date recorded on there was 26/11/11 so not sure how often the database gets updated. 1 hour ago, Bluebird said: Where have you found this updated database? The Performance Database doesn't seem to have been updated since around 2012. Here, for example, is the listing for Mayerling where the last performances listed are those from 2009: http://rohcollections.org.uk/production.aspx?production=4585&row=0 Apologies - I thought I'd read that the database was being updated but I can't at present find the reference and clearly there's a lot missing. I'll ask the ROH and get back. Perhaps moderators might move the various posts about accessing past performances to a different thread - it's an important topic and might get lost in the Bayadere thread? Link to comment Share on other sites More sharing options...
Thalia Posted November 4, 2018 Share Posted November 4, 2018 24 minutes ago, bridiem said: I'm a huge admirer of Hirano, but I'd forgotten what a bravura role Solor is and I'm not sure I would think it a natural fit for him anyway. And of course he's had rather a lot on his plate recently... But I would still have loved to have seen this cast (unfortunately can't see them all!). I found Hirano’s dancing to be lovely yesterday, if rather restrained. For me, he seems quite reserved so I do often struggle to get a sense of characterisation from him. It’s almost as if there’s a shyness or modesty about him. I find I enjoy him more in abstract roles. The connection between Solor and Nikiya was stronger for me in the evening performance. It was great to see McRae back and going for it without any trepidation after only recently returning to the stage. Takada was particularly expressive in Act I although I feel that tailed off in Act 2. I thought Naghdi was fabulous as Gamzatti; a powerful yet nuanced interpretation from her. 6 Link to comment Share on other sites More sharing options...
Thalia Posted November 4, 2018 Share Posted November 4, 2018 I should add that Valentino Zucchetti was a total delight as the Bronze Idol in the afternoon. 2 Link to comment Share on other sites More sharing options...
capybara Posted November 4, 2018 Share Posted November 4, 2018 2 hours ago, penelopesimpson said: He was incredible. I first saw him in Corsaire and he strutted on to the stage like a King, but with a panthers silent movements. He always took his time, gave a haughty look around and decided okay, here we go, you wanted to see me dance.. He has a rare raw elegance if that makes any sense. Combined with Asylmuratova, I thought I had died and gone to heaven. It was those two who really jump started my love for dance. I guess that you are talking about Ruzimatov here? I think that other posts have intervened! I agree about his magnetism and the extra potency when he was with Asylmuratova (or Vishneva). However, his allure somehow morphed for me into a kind of self-absorption/self-regard which significantly lessened the believability of his characters on stage as time went on. Not so with Mukhamedov who has always been the servant of his art and will, hopefully, be reprising his role in ENB's Broken Wings this coming April. 2 Link to comment Share on other sites More sharing options...
zxDaveM Posted November 4, 2018 Share Posted November 4, 2018 6 hours ago, graemew said: I was watching Yasmine as closely as I could in the final act (ref my later comment) and thought her facial expression was a little static although her dancing throughout was enjoyable. The scrim screen was a problem from the Ampitheatre. It took the edge of the clarity and my wife, who hadn't realised it was there, thought her glasses needed cleaning. In other ballets we have seen a similar screen in place as the curtains open and for it to be raised a minute or two later. I was always taken by the effect it had on reducing clarity. Sadly we sat with that effect through a large proportion of the ballet. I read that expression more as icy cold, rigidly controlled, anger suppressed, entitlement expecting, ruthless at getting her way, rather than static. The scene 3 dancing in particular, was gorgeous too! I wonder how how long before someone offers a bounty on the scrim, to be rid of it. Perhaps we should have a whip round! Lol 5 Link to comment Share on other sites More sharing options...
penelopesimpson Posted November 4, 2018 Share Posted November 4, 2018 You are probably right. I only saw him twice and he mesmerised me. Link to comment Share on other sites More sharing options...
Vanartus Posted November 4, 2018 Share Posted November 4, 2018 Just back from first night of Ratmansky La Bayadère Berliner Staatsballett - stunning! More on News from Germany pages...in the meantime I look forward to Corrales’ debut tomorrow...whoosh! 3 Link to comment Share on other sites More sharing options...
Lizbie1 Posted November 4, 2018 Share Posted November 4, 2018 Can anyone tell me how true to the 2h 50mins advertised it's running? Link to comment Share on other sites More sharing options...
JennyTaylor Posted November 4, 2018 Share Posted November 4, 2018 2 minutes ago, Lizbie1 said: Can anyone tell me how true to the 2h 50mins advertised it's running? It runs over - 3 hours is more accurate, but depends if you leave before the curtain calls 2 Link to comment Share on other sites More sharing options...
capybara Posted November 4, 2018 Share Posted November 4, 2018 9 minutes ago, JennyTaylor said: It runs over - 3 hours is more accurate, but depends if you leave before the curtain calls Leaving before the curtain calls? Shame on you, Jenny! It doesn't help that the shows start late and the intervals run over. 1 Link to comment Share on other sites More sharing options...
alison Posted November 4, 2018 Share Posted November 4, 2018 I don't remember that being a problem in previous runs? Link to comment Share on other sites More sharing options...
Lizbie1 Posted November 4, 2018 Share Posted November 4, 2018 7 minutes ago, capybara said: It doesn't help that the shows start late and the intervals run over. This is one of my pet hates about ROH! We hear a lot about trying to attract new audiences: well, how about showing some understanding that not everyone lives on the Piccadilly line and they have trains to catch? Or do people outside London not count? Or indeed people who have to get to work by 9 the next morning? (Sorry to bang on again about this again, but I have to get it off my chest every so often!) 8 Link to comment Share on other sites More sharing options...
alison Posted November 4, 2018 Share Posted November 4, 2018 That reminds me: I hope the Piccadilly line was working okay by the time everyone was going home. I wouldn't wish its earlier incarnation on anyone. Link to comment Share on other sites More sharing options...
JennyTaylor Posted November 4, 2018 Share Posted November 4, 2018 Just to make it clear - I don't leave before the curtain calls, but many people do - very irritating if you want to enjoy the curtain calls. But, having a train to catch myself I do understand especially if a performance finishes at 10:30. Last night I ran to Waterloo - I'm sure it's good for me really. 6 Link to comment Share on other sites More sharing options...
Rob S Posted November 4, 2018 Share Posted November 4, 2018 40 minutes ago, Lizbie1 said: This is one of my pet hates about ROH! We hear a lot about trying to attract new audiences: well, how about showing some understanding that not everyone lives on the Piccadilly line and they have trains to catch? Or do people outside London not count? Or indeed people who have to get to work by 9 the next morning? (Sorry to bang on again about this again, but I have to get it off my chest every so often!) A couple of weeks ago I went to the Kacey Musgraves concert in Bristol, at the time of booking it said 7pm, I expected she'd be on at 8, when I collected the ticket at the ticket office that night I was told she'd be on at 9...when I got in to the auditorium there were posters on the wall saying the show was 2.5 hours with a half hour interval....my last train home was 10.35 and I had to allow 20 minutes to get to the station....she came on at 9.10....on a Tuesday. That doesn't show much understanding 4 Link to comment Share on other sites More sharing options...
graemew Posted November 4, 2018 Share Posted November 4, 2018 On Saturday evening we were leaving the Ampitheatre at just after 9.50 and after using facilities and getting coats we were at Charing Cross by 10.15 If you need to leave during the curtain calls then try to get a seat at the end of a row although with the increasing (and annoying) habit of everyone at the front of the ampitheatre standing up to applaud, it probably doesn't matter anyway! Link to comment Share on other sites More sharing options...
Sharon Posted November 4, 2018 Share Posted November 4, 2018 2 hours ago, Vanartus said: Just back from first night of Ratmansky La Bayadère Berliner Staatsballett - stunning! More on News from Germany pages...in the meantime I look forward to Corrales’ debut tomorrow...whoosh! Me too - can't wait! 2 Link to comment Share on other sites More sharing options...
Richard LH Posted November 5, 2018 Share Posted November 5, 2018 I sounds silly, but at the Dress Rehearsal, before she had even danced anything Nunez had captivated me just in her first entrance as Nikiya, in her veil: it was wonderfully timed and strangely moving. The wonder and admiration of the High Brahmin (Avis) did not require acting! I have yet to see a public performance (tomorrow evening will be the first) but I was wondering if the Nikiyas are getting applause from the audiences at this first entrance? 1 Link to comment Share on other sites More sharing options...
bridiem Posted November 5, 2018 Share Posted November 5, 2018 2 minutes ago, Richard LH said: I sounds silly, but at the Dress Rehearsal, before she had even danced anything Nunez had captivated me just in her first entrance as Nikiya, in her veil: it was wonderfully timed and strangely moving. The wonder and admiration of the High Brahmin (Avis) did not require acting! I have yet to see a public performance (tomorrow evening will be the first) but I was wondering if the Nikiyas are getting applause from the audiences at this first entrance? All 3 lead characters got applause at their entry on the first night. Link to comment Share on other sites More sharing options...
Richard LH Posted November 5, 2018 Share Posted November 5, 2018 Thanks Bridiem.Can anyone confirm whether this has also been the case for other casts? Link to comment Share on other sites More sharing options...
capybara Posted November 5, 2018 Share Posted November 5, 2018 11 minutes ago, Richard LH said: Thanks Bridiem.Can anyone confirm whether this has also been the case for other casts? No, it (the arrival applause) hasn't happened each time so far, unfortunately. Solor's entrance in this version is insufficiently distinctive (a vertical leap from the wings) and his turban disguise creates uncertainty. Nikiya enters wearing a veil. Sometimes those 'in the know' applaud her when she appears in the doorway; on other occasions, there is applause when she is unveiled centre stage. Occasionally, there is no audience reaction at all. Then, of course, Gamzatti walks on from the side, also veiled, and, again, confusion reins unless people are very familiar with the ballet or are awaiting the artist concerned. 2 Link to comment Share on other sites More sharing options...
alison Posted November 5, 2018 Share Posted November 5, 2018 48 minutes ago, capybara said: No, it (the arrival applause) hasn't happened each time so far, unfortunately. I guess that depends on whether you are a fan of "arrival applause" or not 4 Link to comment Share on other sites More sharing options...
Richard LH Posted November 5, 2018 Share Posted November 5, 2018 6 minutes ago, alison said: I guess that depends on whether you are a fan of "arrival applause" or not I suppose it depends on the context and whether it interferes with the narrative. People want to express their pleasure at the entrance of a favourite, but it can be distracting and also embarrasing if it is a bit patchy, or (as appears to be the case here) done for some but not for others. How much worse, though, I found the applause sought by the cast (and happily given by the audience) when recently watching a recording of the Bolshoi's 2013 performance of La B. They have full curtain calls after Act 1, including for Zakharova as Nikiya despite having just "died", and in advance of her re-appearance in Act 2. I couldn't believe it ! Is this typical for the Bolshoi, and Russian ballet in general? Link to comment Share on other sites More sharing options...
alison Posted November 5, 2018 Share Posted November 5, 2018 Yes. It always annoys me intensely after the second act of Romeo & Juliet, with the murdered Mercutio and Tybalt appearing to take bows. 5 Link to comment Share on other sites More sharing options...
Richard LH Posted November 5, 2018 Share Posted November 5, 2018 Crazy! Are they that desperate that they can't wait until the end of the performance to receive their due applause ?! Link to comment Share on other sites More sharing options...
JennyTaylor Posted November 5, 2018 Share Posted November 5, 2018 No applause at all for the entrance of all 3 principals on Saturday evening. Link to comment Share on other sites More sharing options...
capybara Posted November 5, 2018 Share Posted November 5, 2018 7 minutes ago, JennyTaylor said: No applause at all for the entrance of all 3 principals on Saturday evening. Nor at the matinee on Saturday - I think for the reasons I mentioned above. Link to comment Share on other sites More sharing options...
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