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  1. I had to replace my beloved wide vision binoculars this year when I left them by the ballerina statue, and micro globe came up trumps. I use Bushnell xtra wide vision 4x30, they are not produced anymore, but microglobe stocked up on them because the guy running it thought they are some of the best binoculars of that type. They were made for watching sporting events, which works marvellously well for ballet. I use them mainly from stalls circle or the back of stalls at Sadler's, excellent view of tiny expressions as well as larger groups of dancers. From the amphi they take in the entire stage, but you might lose the finer details you'd get with more powerful narrow binoculars. They work well for glass wearers as well. They are light enough, but won't fit into a tiny handbag. I love them so much, I bought 2 pairs this time in case I loose a pair again. currently £64 at micro globe, they were originally around £100 https://www.microglobe.co.uk/bushnell-4x30-xtra-wide-binocular-p-5937.html?
  2. It's also in the music - a few bright, hopeful notes before the score returns to despair. Naghdi's interpretation fitted the notes like a glove.
  3. It would be fun if a bored PhD student would develop a identification system for ballet processing types to explain the vast variety of perceptions of the same performance. For tonight, I'm in camp OMG: Naghdi and Ball created magic together.
  4. That would be an embarrassing oops if it's not official.
  5. @Sim , what a shame. I hate it when that happens, especially at a good performance. Ideally all standees could respect the space / boundaries of others. There are some places where I won't stand anymore to avoid potential trouble.
  6. All I can come up with to describe this bill is an assortment of superlatives. The programme itself, showcasing both the Royal Ballet and the influence of Russia on ballet across the ages, combined with the stupendous casting tonight made for a truly magical evening. Hay and Hayward in Month in the Country are probably one of my favourite ballet treasures, Lamb was achingly beautiful in Symphony in C, as was pretty much everyone else. Joseph Sissons even managed to distract me from watching Muntagirov. I nearly don't want to back to see more performances, so this one doesn't lose its special sheen for me, but it would just feel rude to return my other tickets 😆
  7. Edwaard Liang / Infinite Ocean Speed: glacial to tai-chi, with interludes of slightly faster swirls and slow jogs Lighting and costumes: conspired to make dancers appear astonishingly pallid. Also, beige/gold gauze-like tight tops with high necks and applique + matching tiny shorts ain't my thing. Music: not my cup of tea but maybe appreciated by people who are fond of long repetitive violin solos with strings strumming along as accompaniment. Though not as bad as the Glass piece that blighted the last ENB triple for me. Dancing: generic with some gymnastics. Couple of nice-ish solos, but my attention wandered so I can't be sure. Overall: yawn yawny yawn. Though judging by the enthusiastic applause, others enjoyed it. Cathy Marston / Snowblind Snowblind was a completely different kettle of fish. Cathy Marston at her clever best. Being a heathen who hasn't read any Wharton, I peeked at the synopsis of Ethan Frome, which probably helped, but I suspect I would have caught the gist of the story without a primer. The movement was beautiful, loved the lifts where he swirls her around and around at a 45 degree angle. The ending was poignant, the wife changing from a psychosomatic invalid to the person who becomes the (unwilling, I assume) carer for her husband and the rival she'd been trying to get out of her house. The last tableau of the 3 protagonists was heartbreaking, standing in a circle with their arms interwoven in its centre, locked together in misery. Jennifer Stahl was the wife, and her slightly restraint aura worked beautifully for the role. Mathilde Froustey was a passionate Mattie, and the exchange where the wife high kicked Mattie to get her out of the house is now one of my favourite ballet moments. Arthur Pita / Björk Ballet This is about as bonkers as it sounds. I was well entertained by the typical Pita offbeat staging, slightly reminiscent of a fetish nightclub at times. Most Björk references went straight over my head, but some triggered vague recognition. I was possibly slightly disappointed that Pita didn't go for a nod to the Swan dress she wore to the Oscars yonks ago. Too obvious I guess. At some point Dores Andre arrived on stage dancing on a platform, carried by 4 men and looking exceedingly fierce (or possibly fiercely concentrating on not falling off). It was pretty neat when she was eventually tipped off the platform, tumbling straight into her partners arms and somehow managed to make it all look very balletic. I might have missed a bit of the dancing watching a dancer sitting at the front of the stage with a rod, fishing in the orchestra pit, but overall it was frothy fun with some inspired moves, like the bit where the corps combined something like slow, hoppy entrechat feet with perfectly disco upper bodies. Due to the siren calls of Naghdi and Osipova, I won't see this bill a second time, but hopefully this won't be the last time I see Snowblind and I suspect I'd still find the Pita amusing if I saw it again. Liang goes on my avoid list.
  8. I need to congratulate my former self for being entirely unreasonable and buying a boatload of excellent tickets for the San Francisco ballet. Must have been expecting a lottery win, but based on tonight's Shostakovich Trilogy I made the right decision. As as much as I admire Ratmansky, I thought that a whole triple bill by one choreographer might end up feeling very samey. Instead I felt a pang of disappointment that the dancing was over when the last piece ended. The different pieces of Shostakovich set the tone for each ballet, starting with the energetic whirlwind of dancing in Symphony #9, followed by a more introspective, near-narrative Chamber Symphony and ending with the sprightly yet slightly melancholic piano concerto #1. I loved how Ratmansky's choreography never fought the music, every movement seems connected to the score. The company looked rather impressive to me, with heaps of talent across the ranks - though I have no clue who most dancers were. Lovely to see Aaron Robinson and Yuan Yuan Tang again, and some unfamiliar-to-me dancers particularly caught my eye - after much staring at the programme, I think they were Mathilde Froustey, Dores Andre and Wei Wang. I particularly loved Symphony #9, and at some point felt nearly overwhelmed with emotion, though in all fairness that might have been down to the Royal Ballet Sinfonia spinning their musical magic. Would it be wrong to ask their brass section to have a word with the ROH orchestra?
  9. Sissens, Sambe and O'Sullivan for me. Even if there were a vacancy for a female principal, I'd feel that all potential contenders should be given more lead roles before any choices are made.
  10. Not impressed with the booking dates, unnecessarily tight schedule for 3 of the levels. No time to find alternative date when your originally planned dates don't work out and one of you is dead busy in your allocated 24hr window. You might even have the pleasure of fighting with a very busy, badly designed website 2 days in a row. Joy. I'm considering swapping ballet for macramé, much less hassle (I presume, never having tried the latter) Premium 2 Friends: 2 July 2019 Premium 1 Friends: 3 July 2019 Supporting Friends: 4 July 2019 Friends+: 9 July 2019 Friends and Young Friends Packages: 10 July 2019 Friends and Young Friends: 11 July 2019 Friends Rehearsals: 18 July 2019 Daytime events booking for all members: 7 August 2019
  11. True, but using headers to create bookmarks is just good form when creating pdfs, and if they decided that chrological order is most important as a category, they should have added the date right below the header instead of at the bottom of each entry. Yeah, I know, nitpicking to some degree, but I'm also amazed at their new-found inability to represent information well. I'm not holding my breath on getting a better document than this press release tbh, so next seasons planning will probably require my own spreadsheet for seasons and dates. Very happy to see Onegin and I've not seen the RB Coppelia before, so nice to have something new to look forward to. I really hope that the Dante will come from the same well of inspiration as Woolf Works - fingers crossed. Is is certain that there will be no russian guest company for 2020?
  12. Yay, a 48 page pdf with everything mixed up higgledy piggledy and no bookmarks for easier browsing . Just what I was hoping for.
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