Scheherezade

5 hours ago, Two Pigeons said:

 

Some of the vintage drama is unbelievably good.  I particularly enjoyed the two Noel Coward plays, The Vortex and A Song at Twilight with Deborah Kerr and Paul Schofield.  Fabulous diction and decent lighting.

Shifting sideways a little, A Song at Twilight is scheduled for July at Richmond’s fabulous Orange Tree Theatre (very possibly my favourite theatre at the moment - Trevor Nunn’s Uncle Vanya will be running somewhat earlier in March and April), along with Noel Coward’s Suite in Three Keys. 

3 hours ago, Sim said:

And has sex before marriage....surely a no-no for a good Catholic back in the day?!

Ah, but the irresistible lure of sin has always been a big part of Catholicism - the bigger the no no the greater the appeal. 

9 minutes ago, LinMM said:

I’d forgotten this! 
However there is an article dated March 2023 which says they are considering doing a U turn regarding BBC 4 as it is comparative low cost and has undoubted popularity with the public……But can’t see any news after that date. 
 

Let's hope you're right on the u-turn.

An annoying split stage throughout that totally diminishes the tension and, if you're sitting or standing to one side of the auditorium, makes it very difficult to see what's going on in the other half of the stage. Iirc, Lucia's madness is put down to a miscarriage, but at least it retains the Victorian Gothic so despite its flaws its not the worst I've seen at the ROH..

It’s a wonderful idea but one that, sadly, I can’t see ever taking off in London. The ROH and other theatres won’t run with it unless the cost is met by someone else and neither TfL nor the mayor is likely to forgo a single penny in potential income. 

33 minutes ago, capybara said:

My wishes (which apply mainly to the RB) are:

- that (most casts) get three performances in a narrative or classical run in order to be able to develop their roles, reward their efforts and provide more flexibility for their audiences; (if an up-and-coming First Soloist has to wait a little longer for a debut, so be it);

- that the RB in particular demonstrates to the outside world (and I mean world) that it has BIG STARS whose artistry is at least on a level with international artists whom people seem to be more ready to laud; (this might mean diminishing the publicity currently afforded (eg) Nunez and Osipova but it’s high time that the reservoir of top talent the RB has in the 30 - 35 age range is celebrated and promoted)

- that ‘new agendas’ are not so dominant as to deprive future audiences of historic jewels or skew the overall shape of a season etc.; in this connection that ‘residencies’ (choreographers etc) are re-thought to open up creative opportunities

 

In setting down the above, I recognise the challenge each represents, but they must be met if the Company is to continue to thrive.

7 minutes ago, balletyas said:

I second all three!  

Me too, Balletyas. I so agree with all your wishes, Capybara. 

1 hour ago, alison said:

But I loved Bracewell's Act I solo - always a tricky one to pull off effectively, but he managed it.  Act III was on another level entirely, though.

Wasn’t it just! And it was the physical and emotional heft of Act III that we took away. 

I’m with JohnS on this. Ausrine Stundyte, who has previously sung this role with Pappano, impressed me too, and having heard of Nina Stemme’s problems at both the general rehearsal and first night, I was relieved to have her for the whole of the performance that I attended. And aesthetically pleasing too, no visual horrors either, so one to see, I’d say.

So much has already been posted about Saturday’s wonderful triple debuts that it really is difficult to find anything to add, but I have to say that much as I enjoyed Act 1, for me the emotional connection between Naghdi and Bracewell moved into another gear with the Act 2 pdd and reached a breathtaking, heartrending climax in what can only be described as a truly unforgettable Act 3. 
 

The controlled lyricism in Bracewell’s dancing allied with the unforced dramatic integrity that we have come to expect from him formed the lynchpin of this performance and made the tragedy of Manon’s downfall all the more poignant, as Yasmine’s Manon moved seamlessly from the avaricious hedonism of shallow self interest to a moving and untimely recognition of the beauty and value of enduring true love.

The emotional intensity and pitch-perfect partnering - those Act 3 aerial spins in particular- had me catching my breath more than once. Whose heart could not break for the cruel fate that met this Manon and this Des Grieux? Mine is still more than a little splintered. 
 

A shout-out too for Anna Rose O’Sullivan’s spirited, minxy mistress and Luca Acri’s Lescaut, another complex, shifting and ultimately tragic victim of the venal society of haves and have-nots in which this cautionary tale is set.

There are those who have said that the gaoler’s scene is hard to watch. Yes it is, but life in those times for convicted prostitutes in the penal colonies was hard and to paper over this would be disingenuous and would also dilute the impact of the rest of Act 3 and of the ultimate tragedy that befell Manon. And I have to say that sleazy as Gary Avis’ gaoler was, memories of David Drew’s gaoler back in the ‘70s are imprinted in my memory as far more uncomfortable to watch.

But coming back to the present, what wonderful performances from the entire cast for those of us lucky enough to be in the audience last night and how very glad I am that I was there for the stunning debuts from Yasmine, Will and Anna Rose. 

So many terrific casts to see in this run and if they come even close to the truly moving performance we were lucky enough to experience at today’s general rehearsal we are in for some real treats. 

1 hour ago, Sim said:

Looking forward to it as I don't have tickets for this cast.

Me too. Very pleased as I haven’t booked for this cast so was hoping it would be them. 

I found last night’s naturalistic Act 1 portrayal of Giselle and Albrecht particularly moving, something that, for me, rarely comes across in the more histrionic RB mad scene. Khaniukova was the absolute embodiment of a fragile, innocent (and very young) girl in thrall to an all-consuming first love and, when coupled with the charm of Arrietta’s attentive and concerned Albrecht, the horror that ensued at the end of the act was all the more heartbreaking. 
 

As regards the lighting, I am in the camp that found it satisfyingly atmospheric. I didn’t have problems seeing what was going on, despite being in the balcony, although I was in the front row so perhaps that made a difference. Oh, and I’m happy to report that the bells sounded loud and clear from where I was sitting this time round. 
 

I agree with the plaudits for Emily Suzuki, Ivana Bueno and Francesca Velicu, all of whom are realising the promise shown over the previous few seasons and I also applaud the clarity of Henry Dowden’s dramatic skills as Hilarion. 
 

I do get the first night comments about being less moved overall, and perhaps this is due to the very strong dramatic impact of the RB Act 2 as opposed to the more understated romanticism of the Skeaping Giselle. 
 

Whilst always happy to see Khaniukova, I was, like others, disappointed not to see Frola, particularly since Arrieta, whilst always technically accomplished, has previously disappointed me on the dramatic front, but I have to say that last night I found his Albrecht very convincing.

On a more mundane level, I was also perplexed by the laughter from some parts of the audience at the start of Act 2. Otherwise, there was the odd whiff of popcorn near the start of Act 1 and some sustained and ear-splitting whoops from immediately behind me during the curtain calls but nothing of particular concern. 

9 minutes ago, Sim said:

When it comes to marketing, the ROH could take a leaf out of Shen Yun's book:  every single time I open social media, no matter what it is, there is Shen Yun.  YouTube, Facebook, Instagram, news sites all over the world...plus the distribution of flyers every time I leave the ROH at the moment...to be honest it's driving me nuts, but they are clearly getting the 'we are here' or 'we are coming' message across!!

Yes, and however many times you may disregard the marketing push, there comes a point where almost anyone will decide that perhaps they will give it a try. 

6 minutes ago, Sim said:

Yes, although he still manages to get in his usual dig at the Royal Ballet!  

As a matter of interest, why is he so anti-RB?

A lot of pensioners nevertheless have no private pensions, or very small private pensions, live outside the Greater London parameters and are not therefore eligible for free bus or train travel into central London, with all their assets tied up in their home and, consequently, hardly any disposable income. I have a number of arts-loving friends of many decades standing in this position who have been entirely priced out. 

38 minutes ago, Sim said:

Let's hope this is true and not just electioneering.  I have long since stopped believing politicians of every leaning, so please excuse my scepticism!

Agreed. And I am the world’s greatest sceptic but thought the report worth mentioning nonetheless. 

Following Suffolk Council’s plan to axe its entire arts and culture budget, and Middlesbrough Council‘s bankruptcy warning, Shadow Culture Secretary Thangam Debbonaire has described recent arts funding cuts as cultural vandalism and pledged that a Labour government will prioritise arts funding and work to identify new funding sources for arts and culture. 

I’m in the balcony row A with my daughter tonight. It’s the lack of leg room that I find hardest but have never had any real problems with the rail, nor any need to shift around. Perhaps it’s a height thing. My daughter and I are 5’3” and under. I will agree that row B is absolutely dreadful. Couldn’t see a thing and will definitely never sit there again under any circumstances but found row C manageable. Am looking forward to tonight and hoping for more emotional engagement than last night seems to have delivered. Hopefully the performance will have settled in after opening night. 

3 minutes ago, alison said:

It would cover too many of their audience.  That's what I was told many moons ago.

But could generate more income as people in the state pension bracket are increasingly being priced out. 

9 minutes ago, Lynette H said:

Arielle Smith is creating a new Carmen for San Francisco Ballet, to premiere this spring. 

 

https://www.sfballet.org/discover/backstage/inside-carmen-with-choreographer-arielle-smith/

 

Do have a look at Jolly Folly - it's a hoot. 

 

 

It is indeed. Uplifting, refreshing, totally feel-good. Everything, in fact, that the current RB commissions are not.

Friday for me too. And fingers similarly crossed for no unexpected, Nutcracker-style cast changes.

1 hour ago, Candleque said:

And I'd love to see the RB reach out to Arielle Smith. Would be great to see what she'd do on the big ROH stage.

I would also love to see Arielle Smith work with the RB.

16 hours ago, Sim said:

I thought macadamia nuts....

I think I might enjoy them rather more than MaddAddam.

19 minutes ago, LinMM said:

 

Yes I saw Makarova in Swan Lake a few times and she did take some parts excessively slowly but then she was a dancer who always brought out (and moved you) by the sheer beauty of the technique

 

Agreed. I found her utterly mesmerising and totally unforgettable. 

13 hours ago, Jan McNulty said:

I've only seen the ENB production twice but from recollection the first few minutes outside the house with the skaters are fabulous and then it is downhill all the way.  I found the rest of Act 1 very hard to follow as the Nutcracker and the Nephew kept interchanging and I lost the plot.  I thought the choreography for some of the national dances in Act 2 was mundane.

This totally sums up my reaction to the ENB production. I love the beginning and agree with your reaction to the national dances but it’s the constant swapping around of the Nutcracker and the nephew that wipes it off my ‘see again’ list. How does anyone make sense of it?