MAB

Yes, I know, I'm becoming increasingly familiar with them.

10 hours ago, Geoff said:

though the interpolated miscarriage is still realistically bloody and extended). 
 

A reason why so many opera goers I know are refusing to go.  Opera directors!  Put them in Room 101.

There was no fight.  It was a mental health incident.  I was sitting close beneath the slips and a friend was sitting in the slips who saw what I could only hear.  Eventually the police sent for an ambulance.  Hopefully the man is receiving the care he so obviously needs.

A word of thanks to the ROH security staff who had to deal with a difficult situation and were subject to some dreadful verbal abuse. 

Thankfully these incidents are very rare and I hope those in the vicinity that were badly scared won't be put off from returning to ROH.

Of course the above discussion about New Orleans set me thinking.  Wasn't New Orleans Spanish not long before?  And wasn't it part of the Spanish Main?  So surely to be truly authentic shouldn't it be peopled with Jack Sparrow lookalikes and men with wooden legs and parrots on their shoulders?

12 minutes ago, Jane S said:

(Even further off topic - 1974 was a wonderful year for dance in London - the Royal Danish Ballet, the first London season of the Stuttgart Ballet, 6 weeks of the Bolshoi at the Coliseum, Dance Theatre of Harlem, the Bejart company... as well as all the home companies!)

I remember it well, I saw all those companies that year and in February I made my first of many trips to Russia.  I would give a lot to have a season like that again.  Trips abroad will eventually bankrupt me.

Giorgi Potskhishvili

If the director wanted a foreign star he could probably have secured Jacobo Tissi and/or David Motta Soares when they left Russia,.  He didn't.  With the RB's unique repertoire, dancers coming up the ranks would be a better fit for leading roles than those from different backgrounds.  I've no objection to an occasional guest, but it would have to be someone very special.

I would have no objection to a dancer from outside who has danced with the company previously  (e.g. Shklyarov) but at this point I would have the most strenuous objections to an outsider being parachuted in as it would block the progress of some very talented RB dancers.

Can this subject for discussion please be a separate thread?  This one should be solely about Alexander Campbell.

Yes.

2 hours ago, maryrosesatonapin said:

I have always thought that Acri has a lot more in him than we have the opportunity to see.

I'll second that.  Corsair at the RB has always been reserved for the likes of a Nureyev or an Acosta, never for those further down the ranks.  His partner, Marianna Tsembenhoi, really impressed a fellow old timer who like me can remember RB principals a few decades back whose attempts at fouettes were downright embarrassing.  These twp convinced me the future looks very bright.

A special mention for Marianela Nunez. She had danced an emotionally grueling three act ballet the night before and instead of putting her feet up the next day she happily contributed to the cause.  What a star!

AtaXia by Mcgregor was the one I found intolerable.  The pain in my  ears made it impossible to concentrate on the ballet.  A lot of people walked out and I was about to do so myself when it mercifully came to an end.  I don't think it was revived. 

19 minutes ago, bridiem said:

Seconded! He has so many qualities that have made him such a special dancer: purity of line, technical strength and cleanliness, musicality, dramatic skills, sincerity, unobtrusive and sensitive partnering, and a rare kind of showmanship that is theatrical without ever being showy. He approaches all his roles with such intelligence, and produces performances that are consistently interesting, beautiful and (when required!) moving. A very rare talent.

 

And in so many of his roles he had a warmth about him that radiated across the footlights, that's something that made him so special for me.

From the audience reaction to Creature the night I went, ENB would be mad to ditch creature.

Is it a thread to ask if there will be a flower throw?  Unfortunately I am having surgery on the 8th so cannot be there, but would love to contribute to the atmosphere of his farewell.

When I saw it Sadlers Wells was packed.  Far from a mistake in my book.

On the other hand that Raymonda sounded so outrageous I never bothered to go.

32 minutes ago, PeterS said:

all other things being equal, perhaps there is no widespread appetite for or support for a production of La Fille?

Would you care to further explain your opinion?  Are you in possession of a poll of Ukrainian ballet goers, or perhaps someone with ill intent has inspired you to make this post?

Indeed Fiona.  I note there was a complaint on the Ukraine Gala thread regarding high prices, also performances on Sundays.  I will reiterate that west end prices are just as high and can be higher and that Sunday is the best day for dancer availability.

Regarding comments about announced dancers not appearing, I will say that arranging these events is as difficult as herding cats.  People should bear in mind that dancers agree in good faith but may have to withdraw for a whole range of reasons beyond their control.  injuries, family illness, visa complications and withdrawal of permissions by company directors can all play a part.  A little understanding  would be in order.

Firstly I have no idea whether the Palladium has offered the theatre for free or not,  The timings for these events often have to do with availability of the venue and it has to coincide with the availability of the artists performing as well,  Dancers are usually free on Sundays wherever they hail from.  It is therefore the most convenient day of the week for them,  I believe the performance starts early at 6pm meaning the audience can depart an hour and a half earlier.

I have it on excellent authority that venues will suggest the seat prices and expect impresarios to fall in line with their 'recommended retail prices', I do not know if that is the case for tomorrow;s event or not, but it is worth bearing in mind.  Also worth bearing in mind is is the fact that top west end prices average out about £140, one west end musical charges over £300 for the best seats in the house.  If people can't afford that then those shows would close, but that doesn't seem to be the case.

As to the Palladium not hosting ballet, I've seen rather a lot there, much of it highly memorable,  Plisetskaya's Dying Swan, my first sight of Manuel Legris and going much further back, Maina Gielgud dancing while her uncle, Sir John, recited Shakespeare.  Hopefully tomorrow will leave me with similar indelible memories. 

2 minutes ago, Jan McNulty said:

Subsequently the company revived Nureyev's R&J, which had been performed before I was a ballet-watcher.  I'm sorry to say that I find that production really boring.

It has its admirers, but generally speaking I'm not one of them.

I've a horrible felling that this may be the beginning of the end for ENO.

1 minute ago, alison said:

They haven't done the Ashton since around 1991.

More's the pity.

The programme looks fine for an average season but massively disappointing for a 75th anniversary season.  Like others here my first thought was where's Etudes?  For me ENB suffers from the same problem as the RB, they both have a dazzling back catalogue of master works but choose not to perform them.  I would have hoped for a triple bill of some of those gems e.g. Suite en Blanc, Swan Song, perhaps Pat Dolin's Pas de Quatre, he was after all one of the company's co founders.

Nutcracker?  I've seen better and seen much worse, it does do good business though so I don't see the point in replacing it.  As the production seems to have its admirers, I suggest a trip to Budapest where the Eagling version is also performed. You'll Like Budapest, it has no fewer than three ballet venues AND they dance Etudes.

I went to the Curzon, Mayfair on Sunday afternoon.  A very good turnout and a surprise bonus at the end when Reece Clarke made a personal appearance.for an interview.  I've been to a few of these screenings over the years, but it's the first time I've been to one where a member of the cast turned up.

I also remember him in Don Q partnering Osipova at her London debut in the role.  And who remembers the Mikhailovsky's high camp Spartacus with him in the title role?  Seeing Denis Matvienko again must be worth the price of a ticket alone - at least it is for me.

I have two tickets available for the 9 pm performance  tonight  £20 each if anyone is interested