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Lindsay

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  1. Lindsay
    Thanks Richard LH. I see a promotion in O'Sullivan's future. Aurora AND Swanilda!
  2. Lindsay
    Thanks Dawnstar. I have a ticket in my basket but am umm-and-ahhing about it. Other than Firebird (which we will see in any case in the triple bill) does anyone have any clue what else will be on the programme? I have been "bitten" by terrible gala programming before....
  3. Lindsay
    Agree - this is an amazing and engrossing triple. Ratmansky is incredibly musical and I have never seen anyone manage a corps so well - it was utterly 'organic' and unpredictable - never settling into "solo, pas de deux, solo, ensemble" patterns. Grabs and keeps your interest for every second of the piece. And SFB has some really excellent dancers. Wei Wang is a technical phenomenon and it was great to see Yuan Yuan Tan and Sofiane Sylve still looking so amazing. And Ulrik Birkkjaer, leading the second act last night, was a revelation. I wasn't planning to see any of the other new works, since every programme has at least one choreographer (and more than one composer) I find a bit meh, but am now tempted to grab a ticket or two just to see what else their dancers can do.
  4. Lindsay
    Thirded (or fourthed - am losing track) in the not-going stakes here.
  5. Lindsay
    I would rather they did not. It is one thing to believe that an artist should not be censored for expressing his homophobic and sexist views (a distributor deciding not to sell tickets is not censorship by the way - it's the expression of a moral position, however commercially driven that decision might be) but encouraging discussion of that artist's work as one would any other performance is to normalise those views as if they were acceptable in a civilised society. Polunin is free to hire space for his projects but no one is obliged to go and see him perform and I reserve the right to think less of those who do. Doesn't matter how brilliant they consider his dancing to be. To support him is to support his repugnant views. Very disappointed by Kobborg's continued collaboration.
  6. Lindsay
    There is a view that the heavy and extensive gym work some RB dancers have been doing over the past few years has contributed to a more muscled "look" which distorts their classical line. The counter-argument is that it reduces the risk of injury, but I know a sports scientist who thinks that is an over-simplistic analysis, based on extrapolations from data sets that are too small to be meaningful. Of course he doesn't think we should return to the days of dancers pushing on through injury and maintaining their bodies through a diet of coffee and fags alone but that perhaps things have gone a bit too far in the other direction. It is one of the cruel truths of this profession that how you look on stage is important.
  7. Lindsay
    Not sure you are along Colman - there seem to be quite a lot of people who don't see Nunez as Juliet. Lise I view a bit differently, since she can be played as a kind of "Queen" of the peasants and I find that Nunez's radiant smile goes well with that happy ballet. But I think it's a question of degree - there are some very clear cases of type/miscasting and others which are borderline and will divide opinion more.
  8. Lindsay
    You have the advantage of me Janet, since I didn't see Campbell in the Bintley ballets, but I can imagine that his stage persona would suit them well. Just goes to show that there is space for many opinions in the debate - as I said I enjoyed his Basilio but I found his Albrecht somewhat jarring. Perhaps because his default expression and demeanour seems very bouncy and upbeat (doesn't really appear "understated" to me I must confess) I had a hard time believing in his attempts at arrogance in Act 1 or melancholy in Act 2. He is not a naturally "tortured soul". Same reason (in reverse) why i can't ever imagine Ed Watson, even in his prime, doing Basilio. I think perhaps I am in favour of emploi. If a dancer recognises that their body type, technical strengths and stage presence are suited to particular roles and excels in those, it doesn't make them any less a great dancer. Campbell has a superb comic talent - I very much liked him as Bratfisch (although of course the comedy there is of the heartbreaking kind) and I would always happily book to see him in an appropriate role. Of course some dancers develop over their careers and broaden their scope of work, but it can be uncomfortable seeing a dancer you admire struggle in role that is not really right for them...
  9. Lindsay
    I think Sambe displays signs of deep emotional intelligence that could bode well for a future Onegin. His performances as Romeo and in Flight Pattern, although very different, showed tremendous potential as a dance actor.
  10. Lindsay
    Agree with Bruce that we are not seeing "peak Hallberg". I was also lucky enough to see him dance with Osipova before his injury and certainly his technique has not returned to the extremely high level he achieved back then. However, this is more of an issue for me in Giselle or Swan Lake - by contrast, Romeo is not all about the height of the jump - the joyful lightness and esprit of that balcony pas de deux was dependent upon far more than strong technique. I still find Hallberg's elegance (those extraordinary feet are still there!) and the emotional range of his acting well worth buying a ticket for. In addition, we shouldn't forget the importance of a working relationship developed between partners over a long period. I simply don't believe that Osipova could have given the same performance opposite, for example, Campbell. I really like Campbell in the "cheeky chappy/male soubrette" roles and thought his Basilio was fun but do people really believe he has anything like Hallberg's acting chops? With the greatest respect for BRB's R&J (they were my first local company and I always loved watching them) Osipova is playing in a different league. (For the avoidance of doubt, I DON'T mean that statement to apply to the RB in general vs BRB - just Osipova who is a once in a generation performer) There is clearly, as always, a debate to be had over the value of importing guest artists but let's try not to let it turn into an unpleasant pile-on against a particular person. I really dislike the concept of the audience defending the "home team". This isn't football.
  11. Lindsay
    Well quite. I find it just about ignorable when it's Minkus they are ruining but to butcher that Prokofiev score is really unforgivable.
  12. Lindsay
    The way I saw it was that Hallberg's Romeo started off cocky (I liked the interplay with the harlots) and became increasingly uncertain as the narrative progressed. That meant that, especially after Tybalt's death, Romeo more and more needed Juliet to make plans and drive them forward. I thought Hallberg portrayed exactly that, which is entirely consistent with Osipova's forceful Juliet (and also with Shakespeare's text). After all, if Romeo is more romantic/protective/powerful after the balcony scene, it doesn't really leave space for Juliet's character to develop. And I thought his performance in the final scene was by far the most moving I've seen in a long time - the way he carefully rearranged Juliet's "body" on the tomb was heartbreaking.
  13. Lindsay
    Could be a factor. i was at the back of the Stalls Circle last night (no binoculars, surrounded by people unwrapping cough sweets and other people shushing the unwrappers) so probably didn't focus on Osipova's shoes to the same extent as people who were closer/looking through binoculars. But I thought the drama was such that it "read" very well, even from a distance.
  14. Lindsay
    Me too (as I think is evident). And agree with you about her 'wildness' but I don't think that is at all incompatible with Juliet. Shakespeare's Juliet is headstrong and passionate and, as the play progresses, it is absolutely her rather than Romeo who is in the driving seat. It was just the "sophistication" and "knowing" points that I had trouble recognising.
  15. Lindsay
    Gosh! Have you seen Osipova's Juliet penelopesimpson? It was the polar opposite of 'knowing' or sophisticated last night. She began Act 1 as a bouncing tomboy who looked about 11. Not sure I could think of two dancers with more different stage presences than Nunez and Osipova. Maybe Watson and McRae?
  16. Lindsay
    I thought last night's performance was an astonishing feat of theatre. Both Osipova and Hallberg are theatrical animals to their core and they took the story by the scruff of its neck and gave it new life. I found myself thinking of Shakespeare's lines again and again during their performance, it seemed to me that they had captured the essence of the play and I far prefer that level of commitment to "nicer" and "prettier" interpretations, particularly when it comes to Juliet. They make you think about the characters rather than just accept a simple girl-meets-boy story with a tragic ending. Like an earlier poster I found myself thinking that I might for the first time be seeing what Macmillan intended when he created the piece on Lynn Seymour's dramatic energy (first night casting controversy notwithstanding...) Agree that the casting of James Hay and Tristan Dyer alongside Hallberg was a mistake - the size difference was comically ridiculous (no criticism of any of the dancers - they were all good, just didn't belong together). I felt it was more balanced when Hallberg took on Hirano in their swordfight. But I am quite surprised that people spent so much time being put off by Osipova's shoes. The only time I really focussed on her feet was to admire the incredibly slow and controlled rises to pointe she did a couple of times in her scenes with Paris. Simple and yet incredibly expressive of her initial shyness and later reluctance to engage with him. And yes the balcony scene was not "smooth" but it was something far more risky and thrilling - the lightness and speed of both their movements generated an excitement that I haven't felt from more conventionally lyrical interpretations. The moment near the beginning where they hold hands and walk forward and the desperate lingering at the end followed by Osipova's outright sprint back up the stairs were super-charged with emotion. And the third act was even more sublime. The poster that thought there was no emotional connection between them must have been watching a different performance or maybe one becomes accustomed after a while to the "usual" RB interpretation so that any change is simply jarring? It's never smooth sailing with Osipova but she is an absolutely unique dance actress - her performance are really in a different category from other (very good in their own right) ballerinas. Clearly not for everyone but I'm incredibly glad that we have her at the ROH! Main downside of last night for me was the brass section - who should be taken out and shot. It is the kindest thing to do.
  17. Lindsay
    Did he? I was near the front of the stalls and didn't get that. I had thought when he took his helmet off the first time and at several points during the pdd he was looking right at her. Maybe I need my eyes tested...
  18. Lindsay
    I saw this last night (sounds from posts here as though cast was mostly the same as opening night) and for me it scored a solid 2 out of 3 on the triple-bill-ometer, which is a perfectly decent average over recent seasons. As you might guess Medusa was the disappointment - not a complete failure in concept and execution (looking at you Unknown Soldier) but "not enough" good stuff so that even Osipova at her slinkiest best (what does that woman have where the rest of us keep our shoulder joints???) couldn't raise it above the average. The costumes as many have said did not help - the snake headdress and Athena/Princess Leia outfit being particularly unintentionally hilarious, the musical choices seemed to me incoherent, narrative was confused (when you have a concept as interesting as not been able to look the Gorgon in the eye, why not build that into pas de deux choreography??) and despite some good moments of imagery in the choreography, I didn't feel as though it was anything I hadn't seen before. Professionally done and the dancing was excellent but wouldn't rush to see it again. Within the Golden Hour on the other hand was a delight. Wheeldon can be such a good abstract choreographer - Stix-Brunell and Muntagirov were particularly delightful in their pas de deux - she really does suit Wheeldon's choreography and the joyful mood of this piece. I didn't expect to be as moved by Flight Pattern as I was at first viewing, given that I now knew what to expect, but Sambe's solo at the end made me cry. The expression of pent-up anger and frustration is so powerful - he is really a very special dance-actor - and Pite's pacing and handling of her large ensemble is exemplary.
  19. Lindsay
    I also thought Andrijashenko and Hamilton gave a beautiful performance. He is a gorgeous dancer, with a stunning grand jete and his acting with Zucchetti and Nicol made for the most lively trio I have seen in this run - he must be around the same age as Ball but somehow his Romeo seemed much more youthful. It helps that Zucchetti is such a good Mercutio - I think the quick choreography suits him more than many other ballets and his sometimes rather over the top stage presence is perfect for this loud, 'cheeky' character. Hamilton is truly lovely in MacMillan's pas de deux - perhaps because she has the best legs in the company, shown off to great effect in all those extended lifts.....
  20. Lindsay
    I sat in the front row of stalls boxes and (although I'm very short) found the view perfect. Enjoy!
  21. Lindsay
    A group of SCS tickets have just appeared for Saturday's matinee in case anyone is interested in seeing the guest Romeo
  22. Lindsay
    Thanks bridiem - I find it very interesting the different ways in which people (thinking more about the young man behind you rather than someone like yourself who has clearly seen huge amounts of dance) perceive the importance of narrative in ballet. I can absolutely see how all the fiddling with the piece of paper would be incomprehensible to those who don't know the play and I suppose that could take us back to a topic discussed here before, being whether a ballet should be able to 'stand alone' without recourse to a synopsis/programme notes. However, what I think is more interesting is whether one can still get enjoyment from a ballet even if it is not entirely clear who the characters are, their relationship to each other, or the nature of the events being portrayed? I am often happy just to 'go with it' and follow the moods/expressions indicated to me by the choreography without worrying too much about grasping every piece of the "story" and I tend to be frustrated where a story is spelled out in too literal terms, often meaning that the themes and ideas behind it are never properly explored. So I enjoyed the section where Torvald "forgave" Nora and her reaction to it even though I agree with you that it wasn't clear from the choreography alone why that might be the case. Like you I thought that their marriage in the earlier sections seemed happier than I might have expected, although Torvald did spend a lot of time sitting at his desk ignoring Nora completely and only coming to her as a plaything rather than to share his work or world, so I could accept it on that basis. I absolutely agree that this was by no means a perfect work but I suppose I would rather see more work from a a choreographer who errs on the side of too little 'exposition' rather than one who tends towards too much. I found this a very promising start and hope that Stina Quagebur gets more opportunities in future to develop her thinking.
  23. Lindsay
    For me, this is an unmissable programme if only because of Pina Bausch's Rite. Francesca Velicu was the Chosen one last night and was great in the role. James Streeter was also superb but of course, like all Bausch works, it is about the company as a whole. There are a few moments where ENB are slightly more "balletic" than is ideal but they throw in themselves into the music (and the dirt) wholeheartedly and it's an incredibly powerful experience. I was also very impressed with Stina Quagebur's new work, Nora, based on a Doll's House, danced to Philip Glass. I really liked her concept with a very spare set representing the house (almost cage like) and how she kept the characters from the play very simple - just Nora, her husband and the blackmailing banker - and used 5 other dancers to represent Nora's "Voices". Crystal Costa was very clear as Nora and Jeffrey Cirio really outstanding as the husband. But for me, the thing that was most interesting and promising about Stina's work is her choreography for the "Voices" - particularly near the end as Nora decides whether she will stay or go. It feels like the work of someone intelligent who understands how to get to the essence of a piece/story/idea when translating it into dance - a crucial skill which is sadly lacking in the recent work of several more experienced/'prestigious' choreographers.... Broken Wings is a another well conceived piece, a theatrical coup rather than a choreographic masterpiece, but very enjoyable and moving and well danced once again - Katja Khaniukova has a very strong stage presence and it is always great to see Irek Mukhamedov in action. A very impressive triple bill all around - the emphasis being thoroughly on creative thought rather than expensive sets/projections/special effects.
  24. Lindsay
    Since Lauren also cancelled her Aurora in St Petersburg I suspect that she is nursing an injury that prevents her from performing long, strenuous ballets like Beauty or Don Q but can withstand the shorter, less technical Marguerite and Armand.
  25. Lindsay
    I think Campbell might work with Takada but it did occur to me during his performance with Magri that he was a bit short for her. Whilst they both put in very solid performances I think she might have looked even better with a taller partner. Is Takada a little shorter than Magdi? To be honest I think Campbell really looks best with Hayward but I can see why they are not always cast together - it’s fine in Nutcracker but in the more ‘naturalistic’ Macmillan roles their very different stage presences might be jarring. I think shorter virtuoso male dancers pose a real casting problem for directors and O’Hare has a surplus of them right now with Campbell, Sambe and Hay just to name a few. It appears that he is currently favouring Sambe for some of the available “short ballerina” slots, which is not ideal for Campbell. Much easier to slot in taller partners like Hirano and Ball as “supersubs”
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