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  1. Selling as I have a cough... SFB Welch/Scarlett/Peck bill at Sadler's Wells - second circle N 13, £15 e-ticket so can email.
  2. Had my first taste of Roland Garros at the weekend - 7 hours sitting on rock hard benches under a blazing sun! Our 'annexe courts' ticket proved fine, and we were able to move between courts without much queuing. Highlight match was Cornet/Martic (below) v Mladenovic/Babos. Towards the end of the day they open up the big courts too, so we got to see Barty beat Petrovic - and then turn up in our Chinese restaurant later that evening. I hope she didn't have the spicy pork, given what it did to me later.
  3. I saw the Shostakovich Trilogy tonight. 'Theatricality' in the synopsis above is actually an insight for me, as that characteristic suffused the three pieces - assertive, pronounced, almost gymnastic movement at times. A hint of Broadway even, dare I say. I enjoyed all three, but Chamber Concerto was the highlight, with Piano Concerto a close second. I was pleased to see Mathilde Froustey and Yuanyuan Tan for the first time live, and Mathilde was particularly fluid and expressive - a really lovely dancer. Those of us who lean to the ENB side here will also have been delighted to see Maddie Keesler back on stage at Sadler's. Oddly, up in the second circle, quite a few people left in the first interval, and a few more in the second - the dancing was good, and Shostakovich is not everyone's cup of tea, but should hardly come as a surprise either. I guess you can't please all of the proletariat all of the time. The orchestra was excellent, by the way. Looking forward to Welch / Scarlett / Peck next week.
  4. I was looking forward to seeing Beatriz S-B and Vadim tonight, but among the four substitutions Francesca Hayward easily made up for it - she was gorgeous. Within The Golden Hour was much our favourite of the three pieces and I'd certainly go to see it again. Natalia Osipova is always a pleasure to watch but I thought Medusa didn't really develop enough - however electro-Purcell was a revelation. Olivia Cowley was barely recognisable in her Athena guise - kudos to the makeup team. Flight Pattern was the most enthusiastically received by the audience, but while I found it interesting, I can't say I found it particularly engaging or moving, and I have a vague feeling I've seen something quite like it before - the whole swaying crowd part at least.
  5. We all agree not to talk about Pas de chat
  6. Katie Boulter got us through to the final 16, for the first time in an age. I'm pleased with this pic - she doesn't photograph well, not least because of that wretched visor that shadows her face in almost every shot
  7. An extraordinarily noisy Fed Cup yesterday in the Copperbox Arena as the Kazakh drummers and trumpeters were out in force! My 'discovery' was Yulia Putintseva, who I'd not come across before and how is very entertaining - a little powerhouse who wears her heart on her face! I'll be cheering for her over Konta this afternoon. Here are a few pics..
  8. Indeed, or possibly comfort turning into rejection - for anyone unfamiliar with Frida's work this scene, with the jacket and the skeletons holding her detached braids, is a direct reference to her painting here. Similarly the miscarriage scene with the red ribbons refers to this henry ford hospital painting, and there are of course many other references - the Wounded Deer, the Broken Column, and many others. Her work can be very dark, so even the fluttering bird at her death also evokes that in the grisly 'A Few Small Nips'. I wish this were on DVD so I could sit and spot them all at leisure!
  9. Great evening tonight. I've seen BW and RoS a few times over their two runs and enjoyed every cast. Of the Fridas I've seen, I think Tamara Rojo best captures the pain, and Begoña the joy - but Katja Khaniukova gave a well balanced performance tonight. In the Bausch, Precious Adams threw herself into the Chosen One role tonight and was very powerful. For me in Rite of Spring however, even when as tonight she is not the Chosen One, Francesca Velicu is on another level and simply owns the stage - she really seems to become the character rather than play it, and I couldn't take my eyes off her. It's an absolutely gut-wrenching work, a real masterpiece. As for Nora, not knowing the play, I had little idea what was going on, but aside a few McGregoresque arm-whirls I enjoyed the choreography and thought Stina had put together a visually appealing piece.
  10. I think it was on a tennis forum, Fonty - I was just googling around RG outside courts to see how they 'work'. We'll play it by ear; get in early to get a good first match but then plan to wander around - a friend happens to be there the same day, on one of the big courts, so we need to catch up with her in any case. I enjoy taking action photos and certainly at Wimbledon I've got the best shots by wandering round the smallest, least popular courts, so I hope RG is similar. Having said that, I also see they limit you to a 20cm lens, which knocks out my favourite combo!
  11. Roland Garros ticket sales just opened. We got a pair of unreserved outside court tickets, but I now see online advice that once there, you need to secure your seat early then plan on sticking in it the whole day as big queues build up. We were assuming it was like Wimbledon, where going from court to court is not a problem. Has anyone else had this kind of RG ticket before?
  12. Like a scene from 'Frasier' ! I can just see the Crane brothers in this situation...
  13. I saw it on Saturday, not particularly knowing what to expect. I enjoyed it very much as an engaging and strangely hypnotic spectacle, even if at moments it veered somewhat towards 'soirée folklorique'. I didn't quite fathom the coherence between the 'line bits' and the 'individual bits' or an overall sense of narrative, but then I'm too mean to buy a programme so doubtless all was revealed therein. I felt this was something to sit back and get absorbed into, rather than analyse. Vangelis' music was powerful and atmospheric, and mostly loud enough to drown out the constant audience chatter at the back of the second circle....
  14. By way of contrast to the time it takes the dancers to get out, I'm always amused by the speed at which the orchestra manage to make an exit. I've often managed to be one of the first audience leavers at Sadler's only to find sundry musicians with large instrument cases way ahead of me, legging it up Islington High St at a rate of knots!
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