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Fonty

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Everything posted by Fonty

  1. Didn't we do a wish list on another thread? Or am I imagining things after partying hard during the festive season? Anyway, would love ENB to perform Le Corsaire again. Lots of dancing, and it was certainly packed out in London when I saw it. If RB is not performing Nutcracker in 2024 as rumour has it, then I do hope Matthew Bourne brings back his version. I've only seen it live once, and I loved the costumes for the Kingdom of the Sweets. Please, no more new stuff by modern or contemporary choreographers. And no revivals with dancers in horrible costumes.
  2. Goodness, where to begin? First of all, I also have no idea what Mr Monahan is talking about. What point is he trying to make? Why does he use the adjective "glossy" when describing the RB as a world class company? Makes it sound as though he thinks the company wants to be one with a gleaming facade but no depth. A case of "all fur coat and no knickers" as my aunt used to say. How on earth does that tie in with his comment about dramatic rep? And what exactly does he mean by "dramatic" in the first place? A ballet that expresses strong emotion of the tragic sort, or any piece that tells a story? For example, works such as the Nutcracker, Coppelia or Fille have a narrative, but I would hardly call them dramatic, at least not in the way I would define the word in this context. With regard to touring companies, they must have a very difficult time deciding what to take to places that get very little ballet. In London we are spoilt for choice, so we don't mind going to see something we know very little about. If I find myself watching people in grey underwear rolling about while someone bangs dustbin lids together for 45 minutes, I would just chalk it up to experience, knowing that next month I can book a ticket for something much more to my taste. Those who attend maybe once or twice a year are not as likely to spend good money on the unknown. They probably want something more familiar, such as good old Swan Lake. I seem to remember when the Opera House was closed, and the RB was performing in various places that they struggled to fill theatres at times. I know a friend of mine took her granddaughter to see something, and the only choice was a triple bill of some sort. She said it was ok, but the child was disappointed. She wanted to see the ladies in gorgeous tutus and pointe shoes, rather than the more modern pieces that were being offered. That is what ballet meant to her, as it does to so many people who don't go regularly. No idea what the ACE wants, but my perception is that they are keen to encourage the more experimental at the expense of the traditional, and allot funds accordingly. Whereas people new to ballet might be more tempted by the sort of fare danced at galas. Lots of variety with many definite crowd pleasers.
  3. I noticed those as well, @zxDaveM They have been around for some time, and actually on the wall at the back, where commuters will face them while waiting for a train. Also quite clear what they are advertising, makes a change from some sort of meaningless squiggle.
  4. I've only seen one Nutcracker, so I had nothing to compare it with. I did notice one of two very slight...hesitations, shall we say in the pdd. But if I thought about it at all, I assumed it might have been lack of rehearsal time, as Hirano was a late partner change for Lamb? Maybe if I had seen more performances I would have thought the same as you.
  5. I actually thought it was slow from the start. You must be much more familiar with the pdd than I am. I didn't notice any issues.
  6. I also saw them in the 22nd and I thought they were beautifully matched as a couple. Not sure what you mean by "the technique is weakening." I agree that perhaps Hirano isn't leaping as high now as some of the younger men, but I noticed how soft and controlled his landings were. I couldn't see anything weak about Lamb's technique at all. As I said on another thread, she has never been a flashy dancer, but I thought her Sugar Plum Fairy was smooth, elegant and poised. I thoroughly enjoyed her performance.
  7. Nobody has responded to my comment about the speed of the music for the act 2 pdd or the spf solo, so I assume it must be played at that speed at all performances. I do know the music very well, though, and it definitely sounded a tad on the slow side to me.
  8. Really enjoyed the show this afternoon. Sarah Lamb is an exquisite Sugar Plum Fairy, and Hirano made a very handsome Prince. He isn't a showy dancer, but neither is Lamb, and I thought they were beautifully matched. Several things struck me. 1) The music for both the grand pas de deux and the Sugar Plum variation sounded a little on the slow side to me. Is that the speed it has been played at this season? I noticed it particularly for the latter because I watched the video of Darcey coaching it which someone put up (sorry, can't remember who), and I thought it was faster. Obviously the dancers were happy with it, as they glided serenely through it. 2) I've always been slightly puzzled by the repeated sequence of lifts towards the end of the pdd. The music builds up to a soaring crescendo, the Fairy is raised by her Prince...and the people on the left side of the auditorium are treated to a prolonged view of her frilled bottom. Every time I see it, I can't help thinking that something a little more elegant might be appropriate? 3) I noticed that Lamb did her wonderful fouettes with the arms in second. Is that part of the choreography or a personal choice, as I think it is more usual to bring the arms in as the dancer turns?
  9. Thanks @Alison. I never thought of looking there.
  10. Can I ask a favour? If it is possible, could people put the names of the dancers under their photos? I don't go often enough to be able to recognise everyone immediately, and I have to scroll back through the posts to see if the dancers performing different roles have already been named in conversation.
  11. Although not about the ballet, it is sort of on topic. I went to a lunchtime carol concert, where there was a brass band quintet. Along with carols, they did various musical numbers. One was from the Nutcracker Suite. We were treated to variations of the Sugar Plum Fairy as performed by circus animals. The one for Nellie the Elephant was particularly amusing - rather slow, with lots of trumpet(ing). My husband said it was better than the real thing. But he never has been a particular fan of the ballet. I can't wait to see the real thing on Friday.
  12. Interesting. I've always thought that step looks rather clumsy, and wonder why anyone would do it in the first place.
  13. Is the stage very dirty? I only ask because all the pointe shoes look rather grey in places.
  14. I haven't got my diary on me, but can I have it? Just checked, but can definitely go, if it is still available?
  15. They could always turn Cinderella into a seasonal ballet by putting a bit of tinsel up in the kitchen in act 1. And/or a magnificent Christmas tree in the garden in act 2. After all, why shouldn't the ball be a festive one?
  16. According to the ROH database, the original casts were: Monotones 1 - original cast Antoinette Sibley, Georgina Parkinson, Brian Shaw. Monotones 2 - Vyvyan Lorrain, Anthony Dowell, Robert Mead. It really does need people who not only have superb technique, but can really dance it with a wonderful flow.
  17. Looking at this thread, it does seem sad that so many wonderful one act ballets seem to be shoved away in some dusty basement and forgotten about. Instead, new ballets are created, many of which are full length, modern in style, and frequently not to my taste at all. Yes, I know, dancers love having something new created especially for them, but if some of the rep hasn't been danced for many years, then it will be new to the current crop of dancers. I am sorry that some people find Monotones 1 & 2 boring. It is pure classical ballet, danced to glorious music, but it definitely depends on who is dancing it. I must admit the last run of performances were patchy, and I didn't think technically some of the dancers were quite as good as they should have been.
  18. I think you are right, but perhaps it should be?
  19. I love so many of the choices above. I don't think Monotones 1 & 2 has been mentioned yet? So maybe: Monotones 1 & 2 Rite of Spring The Concert The last two could be substituted with anything dramatic in the middle and something cheerful and lively at the end, out of the many suggestions already made. Incidentally, has the RB ever done Etudes? I believe the last time I saw it was with ENB (?) Wouldn't mind seeing that as part of a triple bill. Oh, and the Lesson as part of a triple as well?
  20. I can understand it if someone has a particular liking for one dancer, but not the partner they are being paired with. It happens. I often longed to see Guillem with someone other than Cope, as I felt they were not well matched dramatically. However, Cope was a fantastic partner, and tall as well, so presumably that is why he was always paired with her. Looking at ballets mentioned above, when it comes to the Nutcracker, the principals have so little to do, comparatively speaking, I don't think it really matters. Everyone speaks highly of Hirano's partnering skills in Manon, which are vital for that particular ballet. So really, I suppose it boils down to Swan Lake, where they will spend a great deal of time on stage together. However, much of that will see the man standing behind the lady supporting her, so those watching could feast their eyes on Ms Lamb and tune out the pair of hands holding her if they want to.
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