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Fonty

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  1. Sorry, but I had to laugh at your post. I would have been very upset if I booked to go and then found all the performances were cancelled! It doesn't exactly make me want to start looking up train tickets on Eurostar. 🙂
  2. It seems my tickets have gone astray. Posted out the day I booked them, apparently. I thought they were taking a long time to arrive.
  3. I have booked a ticket for The Cellist, but I haven't actually received it yet. Normally I would expect these things to come pretty quickly after booking.. Have other peoplle received their tickets? I know it is quite a while before the performance, but I should I be ringing the box office?
  4. While the idea of setting a ballet around the Crimean War and the nursing staff sounds intriguing, I am really struggling to see how that fits in with the original music score! This is not a reworking, this is a completely new ballet, surely? With a leading role featuring a woman who happens to have a rather unusual name. In real life, I expect she would have insisted on being called Rosemary.
  5. Is it? I know when I saw it, I was amazed at how much of the stage was actually hidden behind the backdrop. Felt like about two thirds, although I was quite small at the time!
  6. It seems a very strange remark for Mason to make. After all, no matter how big the Mariinsky theatre stage was in 1890, the stage at Covent Garden is the same now as it was in the 60s and 70s. And I don't think the current staging allows that much more space to dance in than they had 40 years ago, does it? I get the impression she was not really answering the question at all!
  7. Was Hewett saying that the RB were dancing it much too quickly? And that the current tempi are the right ones? Or did he not answer that question directly? If, in the 1960s, they were dancing to a faster pace than the composer intended, that rather begs the question as to why they would do that. On the other hand, it doesn't answer the question as to why the Russians seem to dance at an even slower pace than the current RB, which doesn't make sense at all. I went to a concert last year that included excerpts from the Sleeping Beauty and Swan Lake, and to my admittedly not very experienced ears, the pace sounded faster than that being used by the current RB. As far as Monica Mason's response is concerned, I find it very hard to believe that the stage has expanded since her day!
  8. I thought those fairy variations from the 70s were gorgeous. The dancing really seemed to emphasise the different characteristics; the solos seemed so much more individual, for want of a better word. In the Bluebird variation, that was the thing that really struck me as well, Alison. I suppose the leg has to kept low in order to complete the movement in time to the music. Take it any higher, and it becomes a kick.
  9. Thanks Alison. The discussion wasn't specifically about the Fairy Variations, but more about how the modern training has produced a different style of dancing, and whether or not this could be considered an improvement. As such, the title is slightly misleading!
  10. But it is a sad thing when this different training doesn't actually improve the dancing IMO. It is glaringly obvious when you watch different eras dancing the same choreography that a great deal has been lost, in order to gain....what, exactly? We are always hearing that today's dancers are much better technically than they were 40 years ago, but I am not seeing that. Apparently they dance with more attack than their predecessors. I have heard this time and again, and I am still not sure what it means. To me, it suggests they dance faster, but they clearly don't. So what is it exactly they are "attacking?" And if the modern training means that dancers cannot cope with the original music being played at the speed it was meant to be played at, then there is something wrong with the training, surely? Regarding the different style of acting compared with that in the 50s and 60s Hollywood, that has as much to do with the subject matter as anything. A kitchen sink drama is going to require a different style of acting to the sort of light comedies that Cary Grant and Marilyn Monroe excelled at. I don't know about you, but I can watch those old black and white movies over and over, and still enjoy them.
  11. Thanks Richard. I remember that discussion. Maybe some of the points on here and elsewhere relating to past and present style could be copied and pasted into a new thread. I have found the comments on here on that topic really interesting, not to mention the links posted. But these points on the techniques of today v the past tend to get lost after a while, which is a shame.
  12. Sorry, Lin, I meant to put up who the dancers were. But if you click on More on the link I posted, it lists the dancers. I agree the film quality wasn't great, but the dancers shine through. On the subject of comparisons, I have often felt recently that the Bluebird pdd and solos were not quite as I remembered them as a child. A bit more digging on Youtube, and I found the following. The first one is Choe and Campbell, both dancers I love to see. https://www.youtube.com/watch?v=BZe0TFU75rI&list=RDBZe0TFU75rI&index=1 The second one is a longer clip of Sibley and Shaw, going back to 1963: (Shaw appears to be wearing the crown from a Christmas cracker on his head). https://www.youtube.com/watch?v=vlQcGWfmsl4 If you want to do a direct comparison with the first, move forward to about 4'45". But it would be a pity to miss out on such glorious dancing from Sibley. I think again these clips clearly show what has been gained, but also what has been lost. Choe has excellent technique, with beautiful legs and feet, but something is missing. Everything seems to be so carefully placed. Incidentally, I felt the same about Naghdi in the cinema relay. There is a wildness to Sibley's dancing that makes it very exciting. Her speed of movement adds a sharpness that makes you feel that this is someone who is really being taught how to fly, and will swoop away any minute.
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