Jump to content

Ann Williams

Members
  • Content Count

    275
  • Joined

  • Last visited

Community Reputation

270 Excellent

Recent Profile Visitors

849 profile views
  1. RuthE, I'm both pleased and disappointed! Pleased that I can't get rained on now, but disappointed that the possibility of seeing birds swooping over the stage or landing on it is a thing of the past (hopefully the summer flora scents can still find their way into the al fresco 'auditoirum'). What I'm sure I'll never be disappointed in is the sight of experrly-trained young dancers showing what they can do, particularly with familiar pieces. And BBB, thanks for the info that Bennet Gartside had been Laura's partner I really do wish that I'd kept the programme for that performance; it would be fascinating to see if any of the other students had become 'names'.
  2. '...Very fond memories of RBS performances here, very atmospheric....' Yes indeed, so have I. Performances always seemed to be on warm evenings with the scents of early-flowering shrubs still lingering and birds swooping across across the stage - occasionally a pigeon would actually land on it for a leisurely crumb-hunt, riveting the audience's collective gaze..On those magical evenings the students' dancing always seemed wonderful to us; imperfections, if any, were either not noticed or simply ignored. It was on one of those HP evenings that I saw Laura Morera give what I think must have been her first public performance; she danced a pas-de-deux from -- appropriately - 'Two Pigeons' (maddeningly, I can't remember with whom, nor can I find the programme). It was perfectly evident then that Laura was going to be an RB star, and I've followed her career warm iinterest ever since.
  3. '...I like Ore! He is cool, .....And I think it's perfectly fine to have a ballet novice presenting as you get the feeling he is learning along with the rest of the audience .. more experienced ballet fans may not find his interviews very enlightening but I presume the program is aimed at a broader audience....' Absolutely agree with you, Sunrise!
  4. About that unfortunate costume malfunction, I'd been wondering about the possibility of disguising it for the purpose of any proposed commercial DVD release. Does anyone know if the hiked skirt could be 'airbrushed' out? I was one of the (apparent) few who actually enjoyed Itziar's Myrtha; despite 'wobbles' etc, I loved her ever-present fierce, angry expression so that you could never forget what she was there for - she just made an unforgettable impression, on me anyway, and I hope she won't be put off my some of the comments here - I'm sure they weren't meant to.
  5. '...>Mitzi’s dance with the Hungarian Officers – something to make you want to clap your hands, not just watch and wait for the next thing.<...' Yes indeed - that dance in particular (to the 'Mephisto Waltz' music) is a work of real genius - I could watch it over and over again. I do hope though that if Wheeldon happens to read this thread, he will remember that he can produce works of genius himself and - with luck - has plenty of time to do so.
  6. 'Serenade' in particular seems to have come straight from Balanchine's heart (choreographed as it was in 1928 (?) when he was still in his twenties, I used to think that the difference between Balanchine and Ashton - who were and still are my two great ballet passions - was that the former's genius glittered and the latter's genius glowed, meaning that A's work was imbued with warmth whereas B's work dazzled by its technical brilliance, but now I see that each choreographer's work has sufficient warmth and brilliance to satisfy all: True, B. never produced any comedy to match A's 'Fille', and true A. never produced anything to match the groundbreaking invention of of B's 'Apollo', but - between them - they gave us everything.
  7. like most posters here, I too had no idea that he was ill so the news of his death was all the more shocking. I spent most of yesterday glued to the TV, in tears watching all the extraordinary tributes to the man.. It is these more than anything else that reveal the true breadth of Bowie's genius; something about him brought out words that were dignified, intelligent, affectionate and unmistakeably heart-felt, no matter what the age or education of the speaker. They were unforgettable, and deserve a a documentary of their own. A unique, never-to-be=forgotten artist; we were priviledged to have him..
  8. Does anyone have even a hint yet as to whether it's going to be Bonelli or Golding for tomorrow's streaming? (I'm praying for Bonelli myself...).
  9. Wow! I stand corrected. And actually, I think I remember Mukhamedov doing it - at least, I remember worrying that he'd never be abler to shift his bulk ove that little gate...
  10. '... The gay sub-text is quite clear as is the similarity to the ballet of the Prodigal Son by Balanchine. Ashton used the scenario he did for convenience and because it wouldn't cause any ructions with the Board …’ (The above quote is taken from Douglas Allens' posting of 26 Nov.). Douglas, what are you talking about? Most of us dewy-eyed innocents here just go to ballet performances to see the dancing, not to discover any 'sub-texts' (gay or whatever). We can hardly avoid knowing that Ashton was gay because we're reminded so frequently in everything written about him, but perhaps you knew him personally and he actually told you about these sub-texts himself? Also, about the Balanchine's 'Prodigal' 'sub-text' - that's really stretching it, isn't it, since it’s such a familiar scenario? We can see that the young man's chastened return to his innocent sweetheart can be likened to the Prodigal's similar return to his loving father and we can see that his meetings with some rough types are similar (though not quite as naughty, of course) as the Prodigal's in the underworld, but again, perhaps Sir Fred confided in you, Douglas? (BTW, I love ‘Prodigal’, as strange as it is; it’s full of the most dazzlingly inventive choreography –has there ever been such a realistic yet dancerly fight scene as that between the two ‘Grotesques’?. Not sure if the Royal have ever done ‘Prodigal’ , but if so, this could surely be one for revival.
  11. Yes, Irmgard, I think I must be thinking 0f Maria Bjornson - how silly of me. Did you also privately email me with this clarification? I received an emai confirming this information late last night with a name I didn't recognise - if that was from you, thank you doubly! I'd like to add that Yolanda Sonnabend's death deprives us of an extraordinarily gifted designer - my favourite design in all theatre - drama, opera, musicals and ballet - is Sonnabend's designs for 'Bayadere'. Once the curtain goes up on her imaginary old India, I'm lost in a dreamworld of exotica and almost resent waking up in the here and now. Perhaps that's what great design is all about.
  12. I'm confused - I thought Yolande Sonnabend had died some years ago, Certainly a very highly-regarded female theatre designer had died, and I think she too had designed some of MacMillan's ballets. The only thing I can remember from the various obituaries at the time was that she had apparently died 'at a time of great personal happiness in her life', which struck me as very sad. Can anyone remember who this other designer was, or am simply going a bit ga-ga ('twouldn't surprise me,,,).?
×
×
  • Create New...