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Coated

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  1. How popular is the Rake's Progress? My friend just about managed to get something affordable under the rafters, which was lucky since the upper circle was sold out for all performances by the time I got through the queue. Saying that, I think their booking system is pretty neat with a simple one-click from performance to performance, staying in your chosen area of the house. Blessed efficient simplicity compared to the ROH kerfuffle. I was tempted to go for their Fidelio to compare productions, but thinking of trains nipped that in the bud
  2. It might not be a perfect production (it really isn't, particularly the second half), but the singing was quite something on Friday. Kaufman didn't sound as impressive as he used to, but he didn't in Otello either IMHO. I am now a signed up member of the Lise Davidsen admiration society and want a wife that takes care of me as her Leonore does of Florestan.
  3. I'd happily never see any of the programme prior to Les Lutins again. Les Lutins was charming, whimsical and beautifully choreographed and performed. Marguerite and Armand is not exactly my favourite ballet, but I couldn't take my eyes of Frola (who I managed to not recognise after only seeing him from balcony levels previously - so he holds the dubious honour of persuading me twice of being an exquisite dancer) and Cojocaru is always beautiful in emotional roles. As mentioned upstream in this thread, the performance could settle in a bit more, but even if it didn't, I'd happily see it and Les Lutins again. So I decided to keep my second ticket, hopeful that knowing what is to follow will make it less painful to sit through the first part of the bill again.
  4. Didn't look like it lacked connection from where I was sitting, really enjoyed both of them in the Don Q. Simkin isn't terribly expressive, but the dancing was lit and they looked good together. Though I don't expect perfect partnering at one off galas, so perhaps I didn't bother looking for the odd fumble. I love the range of perceptions about the Gala - everyone seems to pick different favourites. Loved Kondaurova and Askerov in the Grand Pas Classique, detested everything about Diamonds (Jewels is one of my favourite ballets, but that gala performance made me close my eyes and listen to the music). Slighly unexpectedly, I only hated one of the modern pieces - the golden gymwear and tedious choreography of Elegy is a prime example of why I often avoid Galas and Vanity projects. I always though Takahashi is fabulous in the Dust PDD, and she and Streeter reminded me on how good that piece is. Could have watched it for hours. I couldn't get too much into the Frida pdd, having just seen Rojo do it, anyone new to dancing it would likely feel a bit flat (same for SB - after Nunez/Muntagirov is difficult to switch to a slightly different choreo and really get into it) Finding Light was very emotional / touching, with beautiful movements - though Golding and Lacarra were wonderful in it and really telling a story. I thought Kittlebergers choreo suited him somewhat better than Osipova, but overall the piece was enjoyable with pockets of depth. And I rather liked Le Parc, again a surprisingly emotional piece particularly in this type of setting, but still wondering why she didn't get to wear trousers. With the tops of both dancers being similar, it really highlighted the 'less clothes for ladies' choice.
  5. I was going to try and write something, but @pasdedeux has summed up the performance perfectly for me. Osipova was radiating Tatiana through every movement and gesture, and Ball's Lensky nearly topped her performance in intensity. I would have loved to see him as Onegin in this run, based on his Tybald showing that he can do flawed and entitled beautifully, and most certainly after seeing what he wrung out of Lensky.
  6. @Rob S Slightly less wobbly, perhaps. Would go anywhere near assured to describe it.
  7. The youngster in front of me at a recent matinee had a comfy sleep in act 1, was spellbound in act 2 and not impressed with the lack of dolls and action in act 3.
  8. That must have been a horrible experience for you. I had people standing, or attempting to stand, next to the aisle seat in the upper slips for opera, and got an earful from one young man who thought it was very unfair that I didn't appreciate his company. Thankfully that was before the performance and my friend was having none of it, telling him exactly where to go (his seat - we are polite). In terms of health and safety, the one who sat on the bannister, feet dangling over the edge still boggles my mind. If he'd slipped, he would have flattened a few patrons in amphi row E, or worse. I only noticed what he'd done when he was climbing down, at least saving me the dilemma of whether to wreste him back to safety during the performance or not.
  9. I have endless patience for people sharing their encyclopedic knowledge
  10. Really liked the film, Hayward as glorious as expected (the camera clearly loves her) and the rest of the cast looked very good as well. Clever 'staging', though there was a bush that really needed pruning since it took centre view in a couple of scenes. The set and costumes are deliciously opulent. I was very happy to hear that Michael Nunn and William Trevitt are hoping to make more ballet films. I'd love to see Swan Lake filmed, though judging by the comments about mime and natural settings, that is unlikely to be a contender.
  11. Tag team, one for each side!. I was on SCS left that night asking a woman to switch off her mobile after she ignored several valiant attempts by people closer to her.
  12. Not terribly keen on the ES rules for wannabe luvvies. I'm exceedingly unlikely to tell Ratmansky how to choreograph better, or know what director X even looks like, but creatives who wish to not overhear the hoi polloi talking amongst themselves surely can find an audience free zone to admire their master piece. Don't cross your arms? Huh? I'm not there to babysit the feelings of a tender soul, but even the most delicate of actors must have sat in an uncomfortable seat trying to not shove their limbs into their neighbour's kidney and perhaps understand that not everything is a reflection on their genius. Don't get me started on the 'do eat' part. And I fondly remember returned theatre tickets based on reviews (from trusted sources) where hardier friends ground their teeth and went regardless - and continue hating the play for years to come. I've also learned to return some opera tickets when a particular section of Twitter gets very very excited about the production.
  13. I recently gave up on being an impeccably behaved audience member and now use my pub closing time voice to tell persistent offenders to switch off their phone. Who would have thought that the 'finish your drinks, please' cadence (unspoken implication: or the landlord will throw you through a closed window) acquired in a part time job 20 years ago works perfectly for a well aimed 'switch off your phone please'. Even achieved a 2 for 1 at Modanse yesterday - successfully asked the woman 3 rows down who was constantly filming to desist, and the guy 2 rows down who had just switched his mobile on for a browse nearly dropped it in his haste to switch it off.
  14. Thanks to all the contributors to this very interesting discussion. I'm strictly a ballet watcher and all I can say is that I prefer a dancer to do/wear whatever is least likely to damage them in the long term. Especially if that means boureeing like Krysanova....
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