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Mummykool

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  1. Absolute highlight of my season was La Bayadere. I think Osipova/Nunez/Muntagirov just edged it over Nunez/Osipova/Muntagirov but both were absolutely wonderful. How I wish they had filmed both (but with Sambe as the Bronze Idol both times!) Other standouts have been Sarah lamb's Marie Larische and James Hay's Bratfish in Mayerling William Bracewell, and Yasmine Naghdi in Winter Dreams Osipova's stunning Juliet on June 1st and Matthew Ball's Tybalt I have also very much enjoyed watching Anna Rose O' Sullivan and Joseph Sissons light up the stage whenever they appear and (of course) almost everything danced by Vadim Muntagirov The exception to the latter is Don Quixote as even a dream team of Osipova/Muntagirov couldn't rescue it for me. The music has had the life sucked out of it, the choreography is a mess and the costumes ugly. Both ABT and Bolshoi versions are so much better. I didn't particularly enjoy Flight Pattern. I'm not so keen on some of the modern pieces and the gloomy lighting didn't help (although I thought the music lovely). However, bottom of the pile has to be Unknown Soldier. That was so awful words fail me......
  2. Me too. Still getting over it in fact. It really was one of those nights that will stay long in the memory
  3. Having read Chris Shipman's report, I wasn't particularly enthused about the new season but thought I'd see when everything was on. Scrolling through I found, totally unmentioned in the text, that Onegin is on Jan 28th to Feb 29th. I am so happy! However, if that doesn't class as a classic (and doesn't even rate a mention) I seriously wonder what does.
  4. I pre-ordered my copy from Amazon as soon as they announced the blu-ray version would be available on March 1st and it arrived at 10am yesterday.
  5. Tickets at the Southbank went on general sale this morning folks. Originally advertised as three performances, June 20-22, there now only seem to be two shows - June 20th and 21st.
  6. I see your point Sim, but I still don't think the smile matches the choreography in the beginning, especially in the solo he dances for Manon. It is certainly well placed during their pdd and afterwards, but it would have worked better for me if he hadn't started out so happy! Nitpick over and very much looking forward to Sunday!
  7. I thought Francesca was lovely too Capybara. However the lady next to me had no idea why she was in a different costume. I didn't mind the different costumes/sets in general, but in this case, unless you knew why she was dressed differently, the whole effect was lost. Costume adds to the narrative of a ballet and, in that particular case, the new design really doesn't work. I thought Alina was amazing but was not so convinced about Joseph Caley. I agree with Ruth E that steps tended to look rushed as if he couldn't hold the balance or stretch out far enough in longing. It was the fact he smiled the entire way through Act 1 that put me off as I always thought Des Grieux was a serious and studious young man. However, he totally won me over in the final act in which he really went for it. I also thoroughly enjoyed Jeffrey Cirio's Lescaut. He won my heart by remembering to stay drunk throughout the brothel scene which I found as something of a rarity. It has often amused/annoyed me that after the comic solo and PDD, most Lescauts I've ever seen miraculously sober up for the rest of that scene. Glad we have tickets to see it all again.....
  8. I have written (twice) to the ROH about how difficult (if not downright impossible) it is to work out triple bill casts on the ROH website. I have just received the following reply... "Apologies for the difficulties you are experienced with our website, and for the delay in our sending you a response. We have been working to resolve the problem and now have a fully tested solution. We will publish an update to the live website when we next have an opportunity to release the code and should be displaying error-free casting on our mixed programmes next week. Best wishes Ellen" Watch this space...
  9. This is a question that has fascinated me for years but I think after 30 years I have finally figured it out! When they come off the ramp one dancer takes three steps forward and the one behind takes four so they are then on alternate legs. (It took me years to figure that the dancers also change legs when they turn at the end of a 'row' by only taking three steps instead of four). The whole thing is so clever and totally magical, especially when it is performed as well as our excellent ladies of the RB corps have done this run.
  10. From 4.05 onwards is no longer performed. It was cut in the last run of Bayadere also.
  11. He certainly is John. He is also a wonderful actor and his attention detail is always meticulous. I absolutely love watching him.
  12. The Hirano we saw last night was nothing like the Hirano we saw in opening night and who garnered such tepid reviews. It has been interesting to watch how his characterisation has grown and how the whole cast seem to have gelled together.
  13. There was a question and answer session afterwards with Tory Drobin. He was saying how he regarded the British audiences (and critics) as very special as we all really appreciate his company. His parting shot was that he would (hopefully) see us all again in three years' time.
  14. The Trocks were sheer delight last night. The Millenium Centre is quite large but there was a decent sized audience. When I booked tickets they had only opened the stalls but obviously there was quite a bit of interest as the circle was also almost full. For Les Sylphides we had Joshua Thake, Alberto Pretto, Carlos Hopuy and a very vacant Haojun Xie. After the interval we were treated to the Harliquinade pdd superbly danced by Long Zou and Takaomi Yoshino. The Trovatiara was the same cast we saw in London headed by Joshua Thake. Robert Carter once again executed his Dying Swan with panache. The audience had been pretty quiet up to this point but he really brought them to life. Headed up by the amazing Carlos Hopuy (partnered by Giovanni Ravelo), Paquita was simply wonderful. There were a couple of slips from the soloists (on the same patch of the stage) but, being Trocks, they made a thing out of it and carried on. If anything the standard of dancing was even better than when we saw them in London. Needless to say we loved every minute of it. Judging by the cheers, and quite a few of the audience in the stalls standing in their applause, so did everyone else. 2021 seems a very long time to have to wait to see them again.
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