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Scheherezade

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  1. Scheherezade
    Matthew Ball seems to have cornered the market in multi-layered cads: Albrecht during this run (I’m looking forward to the screening; his sneering, public school Tybalt just a few weeks back. Are you trying to tell us something, Matthew?
  2. Scheherezade
    The advantage of the loose bar stool seats over fixed seats, Angela, is, as you'd expect, that you can move and angle the seats. This can help if the people in front of you are obstructing your view, although there are no guarantees; as always, it helps if the people in front are small and do not lean forward or move about too much. And, unlike similarly-priced seats in the amphitheatre, you don't have to worry that moving your seat will obstruct the view of people behind you.
  3. Scheherezade
    It certainly gives me a panic attack. Forever associated with childbirth of the worst sort. Luckily my eldest was well worth it. 😉
  4. Scheherezade
  5. Scheherezade
    Glad I’m not the only one who doesn’t like Trouble in Tahiti. And equally glad that you loved Phoenix Dance Theatre.
  6. Scheherezade
    Jenufa is well worth streaming. Not sure how much longer it's up but don't miss it.
  7. Scheherezade
    I am still unable to listen to the 1812 Overture without reliving the prolonged and painful birth of my eldest, for which the attending nurse, for some bizarre reason, decided that this was the piece of music that would relieve the ordeal. I have never been able to listen to it in the same light since.
  8. Scheherezade
    Ooh, that's a bit harsh, Maryrosesatonapin!
  9. Scheherezade
    There is really nothing that I can add to what has already been said so eloquently about last night’s performance. Nunez and Muntagirov were magical, heartbreaking and showed, yet again, that they are one of the truly great partnerships in this wonderful work. I loved Magri’s Myrthe, majestic and immovable but notably cowed by the unquestionable bond of love between this Giselle and Albrecht. Cowley and Storm-Jensen were well-matched and compelling lieutenants, with Storm-Jensen, always a powerful dancer, having developed her interpretative skills over the Covid lockdown, it seemed, and Lucas B B managed to carve something more than a two-dimensional portrait from the thankless role of Hilarion. The pas de six was beautifullly danced all round, with Melissa Hamilton standing out for the lyricism she brought to her role. And a special mention for the Corps, who totally deserved the spontaneous applause both during the performance and again at the curtain call. An extraordinary performance by everyone on stage.
  10. Scheherezade
    Was I the only one to see Ballet Black at The Linbury? No matter. I love this company. Always innovative and spontaneous, they are never less than watchable and this double bill was no exception. I’d agree with most of Jan’s review from The Lowry in October, the only point of divergence being what was, to me, the excessive use of the spoken word, particularly in the Tucket piece, and I can understand why the poems of Adrienne Rich were used but the moving power of the words necessarily distracted from both the beauty of the Bieber score and, more particularly, the haunting eloquence of the movement which, frankly, more than spoke for itself. The second work, by Mthuthuzeli November, was a piece of sheer, unabashed enjoyment, a happy confluence of words, music and joyfully executed dance. As I have come to expect from Ballet Black, this was an original, beautifully danced and highly satisfying programme, my only reservation being that I would love to see Then or Now without the spoken narrative.
  11. Scheherezade
    Entirely from the perspective of my personal reaction to the said performances, Gerhaher’s Germont left me with the oddest sensation of feeling more than a little uncomfortable. Geoff’s aside of “… sad to say” sums up my reaction, regretfully, to most of Domingo’s more recent performances.
  12. Scheherezade
    I wouldn’t argue with that list in the least, Lizzie.
  13. Scheherezade
    I'd go for the men's frock coats. Gorgeous.
  14. Scheherezade
    Particularly as the mayor is so intent on deterring anyone from driving in to London
  15. Scheherezade
    And very wide hairstyles are equally frustrating. Plus people in the front row of the amphitheatre who lean on their elbows and/or constantly play with their hair.
  16. Scheherezade
    To my mind, Melissa Hamilton is a wonderfully empathetic dancer and she has a real connection with the audience but tends to fall down a little in roles that demand pure classical technique and little emotional projection. I don't believe that her skills are restricted to dramatic, narrative roles as I found her loved her performance in the second movement of Concerto and I agree that she is woefully underused in the roles that suit her.
  17. Scheherezade
    I’d agree with that, Geoff, particularly as Timmie wants to experience the big names, but there are, of course, those who prefer the alternative Abigaille of Liudmyla Monastyrska.
  18. Scheherezade
    i see you’ve been taking to heart the instructions given by the unnamed US company mentioned in A Dance Writer’s Fears, Jenny. I am a little concerned, however, about the erasure of the dancers and contributors you failed to mention! 😜
  19. Scheherezade
    I was at the general rehearsal with the Oropesa cast and, Timmie, you will not be disappointed. If anything, Oropesa’s Violetta even capped her recent Gilda and I have never seen such a convincing death scene as hers. She alone is most definitely worth the price of your ticket but she is ably supported by Avetisyan, who was on good form vocally, if a tad park and bark on the dramatic front. Superb as Gerhaher is, I wasn’t totally convinced by his Germont but that’s a minor quibble in what were superb performances all round.
  20. Scheherezade
    Something that our present day choreographers should take to heart.
  21. Scheherezade
    It was a jewel of an evening, in respect of both the live performances and the film, beautifully and lovingly compiled by Lynne Wakes, and the time absolutely flew by. The groupings in Foyer de Danse were, indeed, pure Degas. Then again, as they moved and struck a pose, each of the dancers looked for all the world like miniature ballerinas on a jewellery box. Each of the pieces was a delight to watch but I would agree that the two stand-out pieces were Matthew Ball's Fisherman's Solo - he really does have a charismatic on-stage presence - and Bracewell and Hayward's mesmerising performance in Hamlet and Ophelia. Hayward is so suited to this type of role, the chemistry between them was palpable and Bracewell's angst-ridden Hamlet was like a calling card for the next run of Mayerling. With live performances of this quality, nostalgic recordings from the recent and not so recent past, reminiscences, reflections and little snippets of fascinating information, it truly was an evening to savour and I do so hope that the live stream follows very soon.
  22. Scheherezade
    And I have one on the ticket exchange for anyone who is interested. If not, I will offer it back to ROH as a gift as would hate to see the ticket go to waste.
  23. Scheherezade
    I have one spare ticket in the centre of row A, Upper Circle, as a friend is unable to attend. Please pm asap if interested. I will be there from around 7.00 and can email or WhatsApp the ticket (I have the other seat on the e-ticket).
  24. Scheherezade
    They were indeed. I found it difficult, for some time, to record my impressions in case the act of doing so should in some way break the spell. I am happy to say it didn’t.
  25. Scheherezade
    Bracewell and Kaneko's R&J on Saturday afternoon was heartrending, electrifying. And so very, very special. The power of Bracewell's Romeo was that his was an ordinary boy made extraordinary by the power of his love for Juliet, a Romeo that we can all recognise, the boy next door, slightly laddish, with reactions that we can recognise too, and Kaneko's Juliet was the embodiment of a young girl in thrall to the hypnotic allure of an all-consuming first love. This was a Romeo and Juliet made rich by the little details as much as the grand gesture and it was that honesty that made those grand gestures so much more powerful. There have been some defining performances in the recent runs of R&J. One was Matthew Ball's entitled, public school Tybalt. William Bracewell's Romeo is most definitely another. Ardent, free of artifice and so totally believable, his must surely be the Romeo for our time and how on earth he isn't yet a principal is beyond comprehension. Please, can that oversight now be rectified? Please?
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