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Fonty

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  1. Actually, I think Darcey has improved enormously, and Petroc is the best partner she has had. I think they work very well together. Last night I noticed that there was far less quoting from the auto cue, and far more unscripted interviews, which personally I thoroughly enjoyed.
  2. I went to the cinema in Portugal, as I am on holiday at the moment. Mr Fonty said he had never seen Manon before, although I could have sworn he was with me when I saw Morera in the role. The other two friends had definitely never seen it. There was a moment when we got there when the cinema said they were not sure if the performance would go ahead. A problem with the feed, apparently. Fortunately, it was sorted out in time. The cinema was comfortably full, which makes a change from the last time I went to my local in London. Really enjoyed the performance, agree with all the comments above. I am not a die hard Osipova fan, as some are on here, but I thought she was wonderful in this. Clarke is wonderfully good looking - of course a young girl would fall for him. I didn't have any problems with his acting, although I have always thought Des Grieux is a difficult character to portray. Very difficult not to make him a bit weedy and wet, and I couldn't help thinking that as he towered over the rather diminutive Lescaut, he should have been able to physically restrain him and protect his woman. I have always like Campbell in everything I have seen him in, and I wasn't disappointed on this occasion. His drunken pdd with Magri had the audience sniggering out loud. Several points puzzling me. At the start of Act 3, why are the women coming off the boat clutching the tops of their heads? My friend whispered "Do they have lice or something?" With a lack of cast lists and no story synopsis, I couldn't remember the specific reason for that gesture. Are they supposed to have had their heads shaved, and are mourning the lack of hair, as well as generally being in a terrible state after an awful journey? Secondly, when Darcey asked about whether or not the dancers had acting lessons, Kevin O'Hare said the RB employed an intimacy coach. I am sure he said it was to make sure everyone was comfortable with things. I know the story involves sex and rape, but dancers are used to getting close and personal with their partners, it is the nature of the art. I wonder what would happen if a dancer said they were not happy with it! Demand a change of a choreography? Thirdly, I do wish at the end of the performance, we could just savour the moment in the cinema, and watch the curtain calls. Is it really necessary to cut back to the two commentators standing backstage telling us how wonderful it has been and how good the dancers were? I would prefer a short voice over saying something along the lines of "hope you enjoyed it and goodnight.."
  3. I read that as well. I was going to write myself, but then I wondered if the BBC takes notice of the Radio Times feedback? Perhaps emailing the BBC might be a better option? I finally saw the last programme in the series. I love Salut d'Amour. The wonderful music, Ashton kissing Fonteyn's hand as he steps on stage, her radiant smile as she leaves the stage for the last time, all combine to bring a tear to my eye every time I watch it. I do have to say that I thought it was a pity that so much of the last programme was devoted to Marguerite and Armand. I have never really liked it, and even though it was being danced by Fonteyn and Nureyev, nothing convinced me to change my mind. Still, I can see why it was included, and the costumes were gorgeous. I I am glad that I now have a permanent copy of this wonderful programme that I can refer back to from time to time.
  4. Good heavens, I never knew that. What exactly is a partner company? It seems a little odd to me that one of the most prestigious schools in the world is bound by a partnership rule to have a winner in the school/company, when their existing pupils do not participate. Does it have to be the overall winner, or just someone who has won something?
  5. I may be wrong, but my perception is that the Royal Ballet is quick enough to offer places in the Upper School for winners of these competitions.
  6. I recently watched the programme about Darcey Bussell on the BBC, which came on after one of the Magic of the Dance episodes. Maybe she could offer some suggestions as to how to get them interested in the current crop of British dancers. She certainly had spectacular coverage, although I did raise an eyebrow at the claim that she was the greatest ballerina since Margot Fonteyn. I think there were one or two other rather good British born (or British trained) dancers, even if they didn't seem to manage to get themselves on tv quite as much.
  7. I adore the Pet Shop Boys. Alas I shall probably not be in London in July. I am amazed they have produced a show that will fill the ROH stage. Last time I saw them live, there was just the two of them singing and playing. It was a long time ago though....
  8. @Irmgard I would like to second the comments by @Sim above. Your wonderful posts really did add to the whole experience of watching this marvellous production. I hope I can remember them all when ENB performs the ballet again. Next year might be a bit too soon, but the year after perhaps? By that time, I hope the dancers in the lowest ranks who gave such splendid solo performances will have been promoted, as they richly deserve. On that topic, I forgot to mention Anna-Babette Winkler, who really caught my eye as Moyna in the second act. I must confess I misread Mr Paluch's remarks about how Giselle flies, as I was going through it very swiftly with mounting irritation as I read it. No idea why he felt the need to let everyone know how it was done, or the sarcastic way in which he said it. Surely it is a sign of the skills of the performing artists that we get so involved in the story that we don't care about the methods used.
  9. I agree. I have to say that I found the laughter on my first visit coming from a specific group of women behind me a little irritating. However, on reflection I don't think it was disrespectful, more a "Goodness, that surprised me" sort of laugh. @LinMM It certainly wasn't widespread, and I didn't notice any at all on my second visit, which was the school matinee performance.
  10. Hmm. I don't know where to start with that review from Gramilano. Matthew Paluch is an ex ballet dancer, so in theory knows what he is talking about. But I have to say I disagree profoundly with just about all of it. His main gripe seems to be that Giselle wasn't being performed by Osipova. I've never seen her in the role, but I believe I am right in saying that Osipova's interpretation is unique? I mentioned in one of my reviews that some of the audience members laughed at some points during act 2. When I went again, there was still the giggle when Giselle's veil was removed, but thinking about it the laugh seemed more a gasp at the unexpectedness of it, followed by a "oh my, that was a surprise" sort of noise. With regard to his comment: " Myrtha, no matter how convincingly performed, doesn't have actual supernatural powers, nor can Giselle fly." Er? We've already had an interesting discussion about the wings on the Wilis, and if the writer actually appeared in this production he should know all about it. Leaving the issue of flying aside, Mrytha is the leader of a group of women who died as the result of having their hearts broken by men, who roam the countryside at night looking for male jilters they force to dance to death. She commands Giselle to rise from her grave. If that isn't a display of supernatural powers I don't know what is.
  11. Well, that's the tennis all over for now. Just as well, I have been watching about 4 hours of television during the day for the past fortnight. Very pleased that the final today made up for the rather one sided affair yesterday. Well done to all the winners, and special commiseration to Medvedev, who has been in 6 grand slam finals and one only one. Tomorrow must be devoted to household chores, which have been sadly neglected while the tennis was on.
  12. It wasn't just about ballet, and Fonteyn does do a very comprehensive sweep of the history of dance with interesting asides on things such as shoes, stage effects and so on. I suppose she couldn't mention everything, and where she does talk about ballet specifically, it is perfectly understandable that she concentrates on a lot of the stuff that she performed so wonderfully herself. Plus, of course, there was all the controversy about R & J. As a matter of interest, did MacMillan ever choreograph something specifically for Fonteyn?
  13. Rather late, but just a brief note about the matinee on Thursday 18th January. My second visit, and decided to treat myself to an extremely nice seat in the stalls for a change. A wonderful Giselle from Emma Hawes. She seemed a less frail Giselle than Khaniukova, with slightly less emphasis on the heart condition in the first act. Her mad scene was more energetic, and at one point I really thought she was actually going to stab herself with the sword. . Incidentally, from my seat in the third row, I could see her mother removing the pins from her hair. Does the dancer playing the mother know exactly how many pins she has to take out? Does Giselle sometimes stand with some strands still pinned up? It wouldn't matter in the slightest, just make her look even more distressed, but my practical mind ponders these things. I thought Vsevolod Maievskyi was a very elegant dancer, and he had wonderful hair that danced along with him. I agree with the comment that he really did look too noble to be a peasant, although having said that I didn't realise how tall he was until the curtain calls. Precious Adams was a terrific Mrytha, full of menace. A lovely peasant pas de deux from Cloe Keneally and Noam Durand, and the rest of the company were on very good form. I was surprised that so many of the solos were by dancers from the lesser ranks, they were so good. Even though I could actually see Hilarion's mime this time, I still don't like the lighting in Act 2. Myrtha spends a lot of the time to the side of the stage, and because Precious Adams has dark skin, the only time I could clearly see her wonderful, terrifying facial expressions was when she moved closer to centre stage where the lighting was stronger. Apart from that, I would be very happy to see this production every year. Or at least every other year.
  14. I tried to get my shoes as soft as possible. I had (and presumably still have) very sturdy feet that didn't require an ultra hard shoe. But I didn't have very high arches. The girls with very highly arched feet really struggled with their shoes.
  15. I found that on Youtube last year, and it really brought a tear to my eye. Critics used to talk about Fonteyn's wonderful "speaking" eyes, and I could see exactly what they meant in this piece. I am slowly working my way through the series. Watched the Romantics episode with my partner, and he enjoyed the excerpts from Les Sylphides, which surprised me a bit. Normally he isn't a fan of what he calls a lot of floating around and no story, but he was impressed with how together the corps were! I also found the talk about pointe shoes interesting. I belonged to the group who crushed theirs in a door to soften them up, but I love the idea of someone carrying a little hammer around to bash them into shape.
  16. BBC4 has always been my channel of choice, because I have seen such interesting things about art, music, history. Sadly not much dance, which is why this programme is such a joy to see again.
  17. My perception is that slightly older ballerinas enjoy dancing it, perhaps those coming to the end of their careers? Maybe because it isn't technically as challenging, but allows them a great deal of emotional output? Having said that, I did see Rojo in it, and I think it was a long time before she actually retired. I thought she was very good, but that kind of role was perfect for her. Can't remember who her partner was.
  18. Exactly how I would have listed the information as well @Jan McNulty With regard to the writer being a foreigner, it has been my experience that they are usually much more accurate with their punctuation in English than many of the natives.
  19. In the current one, yes, but it could also mean she has only just died, and therefore no "proper" cross has been put up. Also, if you look at photos of past productions there was always a large cross on her grave. Have a look at the Magic of the Dance, with the clip of Fonteyn and Nureyev in act 2, for example. In any case, suicide in those days carried such stigma, even if she had stabbed herself deliberately, surely it would have been covered up in some way by her horrified mother and the rest of the villagers. There is no way they would have allowed this poor girl to be buried in an unmarked grave somewhere in the middle of nowhere, especially after the way in which she had been treated by the man she loved. Incidentally, I've noticed that a couple of the dancers in the current RB production make it look as though they stab themselves by accident, as people attempting to intervene and take the sword from her. Which is one way round the issue. .
  20. I remember that. Given that most of these performances are filmed on exactly the same stage, I would say that reason doesn't make sense. In fact, if the stage is so much larger, surely the dancers should be moving even more quickly in order to cover the space?
  21. @alison If it is anything like everywhere else I have been this week, you might find yourself wishing you had worn a bathing suit! @Irmgard Thank you so much for your detailed comments about the story. I found this particularly interesting, as it has ben the subject of discussion before on this forum: "Gautier makes no mention of Giselle committing suicide or attempting to commit suicide. It is much more in keeping with the ethos of the Romantic era for a heroine to die of a broken heart but, again, it is up to the producer to decide which approach to take. Skeaping followed the leads of Pavlova, Spessivtseva and Nicholas Sergueyev in having Giselle die of a broken heart. The fact that Giselle is buried in a woodland glade is also from the Gautier scenario and does not signify that she is buried in unconsecrated ground but, rather, gives a beautiful setting for Act 2. " I have been watching Giselle for many years, and it is relatively recently that the RB production seems to insist on a definite suicide, the thought being that she has to be buried in unconsecrated ground so that the Wilis can get to her. This has never made sense to me, because her grave is normally marked with a large cross. I assume this wouldn't have been allowed on any grave other than in an official one, and also there is always the concept that its religious power provided by the sanctity of being buried in a place blessed by the church reduces the power of the Wilis. I presume that the fact that Giselle's grave seems to be all on its own is because it would be extremely difficult logistically to have all the Wilis trying to dance around a load of tombstones.
  22. Now you tell me! Oh well, never mind, I had a Christmas present to use up.
  23. That is the one thing that strikes me about many of the clips being shown. So why can't dancers do it at that speed today?
  24. The cheaper seats have sold extremely well, but the more expensive ones in the Stalls seem to have plenty remaining. I've just picked up one as I decided to go again and see it from a different position.
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