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pianolady

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  1. pianolady
    I'd recommend Sally Banes Dancing Women for a look at differing interpretations of the classic ballet female roles and her reading of Aurora as empowered rather than passive, and there are lots of feminist critiques of ballet which take hugely differing views about how far women are empowered- or otherwise- by these roles and by ballet generally. Off the top of my head, Alexander Daly, Jennifer Miskec, Priya Thomas on the sylphide, a few searches will these will bring up copious examples through their bibliographies. This subject is especially close to my heart as I'm midway through a PhD on the children's ballet novel as an empowering female space! As others have said, there is a big difference about how the ballets seemingly treat gender at plot level, as opposed to the differing interpretations across the eras, as well as ballet offering such a powerful space for female expression- albeit often with male ballet company directors in charge!
  2. pianolady
    I really enjoyed both ballets. In Carmen, I loved the treatment of Bizet's music and the striking set. The only thing I wasn't keen on was the background of broken fence panels- it kept distracting me by reminding me of my back garden! Really liked the high chairs with the onlookers-for me, this production was about constriction in a surveillance-based society in which no one was free, whether male or female. For me, and this is why I liked the pairing of ballets in the programme, Petrushka continued with this theme of lack of autonomy and being conscious of viewing and being viewed. I loved the use of the mannequin doll models. I didn't like the men in the bear coats either and wasn't sure what point was being made, but did love the Russian dolls and this whole idea of the piece being pared down. One I'd definitely like to see again. With the lack of the fairground crowd, however, I did miss a sense of a reaction to the puppets and that felt slightly disjointed with the magician and his creations being somehow seperate and apart from everything else going on.
  3. pianolady
    The reception in our theatre was flawless- it sounds as if things went wrong your end of things, Alison. Surely some kind of partial refund should be in order when it's as bad as that? Agree that the production is very impressive in appearance. The start of the Kingdom of Shades act was superb I thought as the ramp wasn't visible at first, making the dancers seem to be floating. Less impressive was the camera work, with the constant flitting in and out of the dancers in close-up-in this scene it really lost the full impact of the whole of the corps de ballet. I rather like the idea of the ending with that scene, but found the actual realization of it a bit unsatisfying. Maybe I'm an old romantic but I'd have preferred the two to be reunited in death rather than him seemingly lost and alone. Couldn't quite believe my eyes at the blacked-up children, and I couldn't stop laughing at the dancers with their dead parrots. With all that, and the large amount of Divertissements and endless stopping and starting with the applause, it was hard to quite get into the high drama of the latter part of the act.
  4. pianolady
    Agree about the choreography- I really didn't like the Sugar Plum Fairy solo which looked routinely virtuoso rather than delicately beautiful, or the Act 2 pas de deux. Another vote down for the snowflakes' bathing caps and the prominence of the toys there(that said I'd rather it be toy-infested than rat-infested like ENB's production), and the dominance of Marie and the Nutcracker rather than the corps de ballet in the snow flakes' scene. Do quite like Drosselmeyer's choreography although the marigold gloves a bit off-putting. But very grateful to see a Nutcracker at all- last year was jinxed because of snow and I missed out on the RB screening due to a virus-laden household.
  5. pianolady
    Couldn't resist looking at that- I found it highly amusing- maybe as I couldn't get your mention of a hostess trolley out of my head. Funny how trying to be literal with a swan swimming doesn't work. I may have grumbled a bit about Scarlett's ending but it's so much better than that in my opinion. Actually I liked the blue sheet but not Nureyev bobbing up and down for so long.
  6. pianolady
    Lovely screening of Swan Lake yesterday at local Vue and I'm so grateful to them for showing the repeat performances which few others in our area do. It was also irritating that 2 nearer venues who are situated over the road from each other both decided only to show the live screenings this year- especially as neither are especially well-attended unless it's something like Swan Lake. I had complained to ROH and Vue last time round as they forgot to turn the sound on or the lights down until we told them. So I approached this one with a bit of trepidation but this time round there was perfect co-ordination with intervals and interviews and lighting. Also nice size screen and excellent sound with no transmission blips during actual performance (backstage interviews a bit quiet)
  7. pianolady
    Finally managed to see this at the repeat screening. I loved the production although I didn't think it was perfect. Didn't like the ending, I found it unsatisfying and find the death of both Odette and Siegfried and their being united after death far more emotionally telling and in keeping with the passion of the music. Also didn't like Siegfried spending the latter moments of the act out of the action. The air of menace, corruption and potential unhappiness which for me underlays Act 1, which was even more prominent in this production with Rothbart's role suggesting a court full of political intrigue and power struggles, to me, fits in with the tragedy that two young lives have been lost at the end. I did think that Scarlett's ending maybe suggested a Prince who could cope with the fantasy, perfect unattainable swan but not the reality- this is an unhappy young man who doesn't fit in or feel ready for the responsiblity that is about to be forced upon him with his father's death, and isn't ready for marriage. This would I think have fitted in had Siegfried had a much more prominent and compelling presence throughout Act 1, and his relationship with his sisters (a touch I really liked) could have been explored and shown to be uneasy. That said, loved the role of the Queen- the placing of her in mourning and so evidently in deep distress turned what often seems a snobbish and unsympathetic woman into a mother who loved her son but had no choices in anything. Loved the ramped-up Rothbart role though, and the general sense of strong narrative running through. Agree with others about it being very dark lighting-wise in acts 2 and 4- at any rate for cinema.
  8. pianolady
    Happy endings, jesters, bizarre musical changes (am thinking of Vienna Festival Ballet's Sleeping Beauty which moved the overture to the end of the Prologue and did a strange sort of medly at the beginning- with the house lights still up, sending a hugely confusing message to the overly chatty and restless members of the audience). Also some touring companies tackling elements of the choreography that is beyond them. I think these companies pay a very important role, and what is frustrating is when they are making wholesale changes anyway. Plus Rothbart nightmare costumes looking like Darth Vader on an off-day hanging around.
  9. pianolady
    I saw the Encore screening on Sunday and I do totally agree about the music. I find it so mesmerising, especially the first and third acts and the ending sends chills down my spine.
  10. pianolady
    I agree with aileen. The Nephew felt to me like an awkward plot device superimposed on the narrative. I've seen this production twice and didn't like it any more the second time- I agree that the puppet theatre idea in the second act doesn't connect or seem to say much, and it makes for a strangely empty stage and rather dry experience. Also don't like the rats continual presence. I'm also not keen on the balloon and would love to see it go. It's a shame we haven't seen the full potential of this production but I agree with others that it's time for a change.
  11. pianolady
    For me, the dance content was slightly better than I'd anticipated. Liked the bedroom pas de deux the best. So far I've never been overwhelmed by Bourne's choregroaphy and now I don't watch expecting that I will be but I enjoy the dancing and I think the dancers do a good job with the material they have. I do enjoy his take on different themes and the production side of his shows and I'm looking forward to seeing this closer at hand. I think that Matthew Bourne has done a great deal in terms of popularizing dance and it's great to see such well-attended performances at our local theatre- but- there is still a part of me that just can't quite get to grips with his popularity and the full theatre compared to recent performances by Northern Ballet (well attended but not a sell-out) and ENB when it isn't Swan Lake or Sleeping Beauty. He has very astutely cornered a particular market which is really interesting in itself.
  12. pianolady
    Beautiful photographs, thank you-have just booked to see this at Milton Keynes. I was a bit undecided as I wasn't sure if I'd enjoy the concept but having seen it on TV today, I thought the wartime London setting really worked and added really fascinating layers to the story- as well as wanting to see the production live as I know my smallish TV screen didn't do it anywhere near justice.
  13. pianolady
    I much preferred SB to RS. I enjoyed the production of RS but loved the Gothic reworking of SB so much more. Thanks for the heads up about Cinderella on TV- will look forward to that.
  14. pianolady
    Yes, I did think it's one I'd see again and see if I felt differently. It just didn't gel musically for me tonight- could be my mood- Mahler at the end of a long day of teaching piano lessons possibly not the best thing...
  15. pianolady
    Just got back from seeing this at Milton Keynes. Shame to see half the circle empty (and top circle was completely closed) but good sales on stalls. Loved the performances- but I think both ballets can evoke very different responses. Husband loved Song of the Earth, enjoyed La Sylphide but didn't fall in love with it, I absolutely loved La Sylphide but with Song of the Earth I felt I ought to be moved by it but somehow wasn't. No reflection on the outstanding performances of the dancers and also the singers - it could be the music as I'm not a massive Mahler fan althoughthe combination of ballet and singing works so well. On the other hand I adored the period piece feel to La Sylphide.
  16. pianolady
    we had a problematic Bolshoi screening (I think it was the first one they'd done) at our local Odeon a while back where we lost the first 20 minutes or so of the beginning of the ballet. The situation at the time for a number or reasons suggested that it was a human error problem at the cinema. We were given vouchers which, when I tried to use them for another screening shortly afterwards, was initally told that they weren't valid for those types of performances. When I explained that the whole point of the vouchers was to make up for an abortive screening they quickly changed their mind. Don't think all of the cinemas are at all geared up for these events. It's a shame because they're so fantastic when everyone gets it right.
  17. pianolady
    I was age 7 when I went to my first public performance (Disney Snow White) and 8 when I saw my first ballet which was Swan Lake. Children do vary a lot but I think my parents judged my attention span very accurately. I agree that a bit of research and clear behavioural expectations is invaluable and makes for an enjoyable event. Even now as a middle aged grown up I know that I get so much more out of an unfamiliar ballet when I've read the story in advance and know what to expect. Have had some annoying experiences with children in audiences- I remember one child continually being allowed to go in and out and to stand up during the performance and an ENB Nutcracker with a frequent loud stage whisper going on from the parent to the child and also the hyping up of already over-excited little ones with endless sweets. That said I'd say I've definitely experienced more annoyance from grown ups than children and it's lovely to see them sitting there enraptured- they've got so many performances to look forward to in their lifetimes!
  18. pianolady
    I know someone who took her 4-ish daughter to one of the ENB My First ballets and she loved it! Like others I wouldn't worry about the venue- it's a day out and special wherever it is. Meant to say, as a piano teacher I find 5-7 year olds hugely variable in their attention span and ability to sit still!
  19. pianolady
    I am immensly grateful for these screenings. In terms of live performance, where I live, we do get around 2-3 visits per year from Northern Ballet and an annual ENB visit but other than that it's the Siberian Swan Lake or nothing (not that I'm knocking Russian touring companies, I think they do an important job and I'd much rather their Swan Lake or Nutcracker than none at all). We can see several of the screenings for the price of one live performance in London when you factor in travel costs and food and without the hastle and stress of travelling and time taken, together with factoring in my working hours which limit what we can go to. Plus good view (not perfect camera work all the time I know but it's like having a front seat overall). It's been such a lovely opportunity to get to know some of the Bolshoi works and dancers, and likewise RB. Costs where we live are usually £15 per ticket with our local Odeon or theatre a shortish drive away. Personally I don't care if the performance is live or not- given the choice I'd rather opt for an Encore given the choice as I think (don't know for sure) these are likely to be more technically reliable? Don't think the ticket prices should be less if not 'live'- it's never going to be the same as actually attending anyway - I don't think of it in general as better or worse, just different really. Only drawback odd glitches in reception- and certainly I trust some venues more than others there- don't know if it's pot luck or not.
  20. pianolady
    Can only echo others' comments -stunning performances and yes, a DVD would be great. For us, the performance was only spoiled by the very poor reception. There was a lot of picture break up and regular loss of sound-only a few seconds but enough to break the focus and then you're on edge expecting it to happen again. Typically it was happening in The Dream and at its worst in Symphonic Variations which were the 2 I'd really come for. Superb performances I thought in M and A but it's not a ballet I really warm to to be honest-and would you know it, the reception was perfect for that one of course! I've put a comment about the problems on ROH website but I'd be interested to know what others have found regarding reception for broadcasts. The last few screenings I've attended have been at our local, large Odeon multiplex, and have been trouble-free (apart from a Bolshoi one where I think someone forgot to switch something on this end!), but this one was at our tiny local theatre. I'm just wondering if the problem is to do with better receiving equipment at the larger cinemas as I have experienced regular hiccups in the reception at various times in all of the small venues I've been too.Or is that just a coincidence I wonder?
  21. pianolady
    Enjoyed Act 1 and most of Act 2-thought Act 3 very clever, loved the use of the wheelchair dancers, but I thought some of it could have been cut, it felt overlong in parts, and instead, I would have loved the exquisite final section to be extended instead- the music and the 3 Heros was very moving and left tingles down the spine. Overall it felt to me like a slightly uneasy mix between episodic and more reflective, with perhaps too much narrative being squeezed in. A more dreamlike approach with use of the idea of the 3 different versions of the Hero throughout instead of just at the end perhaps? Absolutely loved the music and the singing especially that final section.
  22. pianolady
    Loved this programme, agree it's the BBC at its very best. Rojo is such a compelling presenter as well as a dancer and speaks with total, quiet conviction. Enjoyed the juxtaposition of the two versions and loved Marina Warner's contributions.
  23. pianolady
    Just seen 2 screenings-Bolshoi and RB - usually I find the audiences for screenings much better behaved than for theatre, but my concentration in A Hero for Our Time was frequently broken by 3 ladies who decided to comment at regular intervals on the performance-mainly when they got lost about the storyline or didn't approve of something. Not even whispering but talking in normal voices. It was even more annoying than it would have been as it was such a small theatre. Anything they thought remotely sensual produced loud titters. 2 days later, lovely audience in Aylesbury Odeon for RB Jewels- except for 2 ladies who started the first act sitting a few seats away but then for some unknown reason decided to move closer to us for Rubies- and to proceed to comment in normal voices at regular intervals. Again, it was about anything outside the 'normal' confines of a classical ballet step-especially if they thought it slightly risque (hoping to goodness they're not going to grace the upper circle with their presence when we go to see Casanova next week!). They were noticeably quieter in Diamonds which I enjoyed the most. Emeralds I love, but the cinema resembled a ward for acute chest complaints throughout. I was struck with a completely unexpected cough in some of the quietest bits of Sleeping Beauty the other month and i know how mortifying it is, but I was bemused by the call-and-response nature of the coughing in Jewels- it seems that once a couple of people start then gradually more and more join in. We couldn't decide what to do about aforesaid ladies- it's a dilemma whether doing something would cause more disruption than leaving it- not to mention creating an unpleasant atmosphere as there were so few people there. So we left it but it put us on edge as everytime we got our concentration back, another comment would come along.
  24. pianolady
    A lovely afternoon -agree this was a well balanced programme. I expected to like The Cage the least but I absolutely loved it. I found it so dramatically satisfying and economical and tense. In contrast The Russian Seasons felt as it could have been shorter and it would have felt tighter. There was a section towards the middle with the girl in orange, devoid of partner and a wonderful section of the most moving music with the singer which I found very poignant. Less keen on all those endless strident strings accompanying movements that looked as if they were depicting harvest and made me feel that this was some kind of homage to Soviet collective farming. There seemed to be such an uplift in the musical quality and emotional depth of the choreography in the sung sections. I could find very little about this or the other works on the Bolshoi website, and the usual information sheet just had timings and cast. I suppose they thought that as the ballets were plotless it wasn't necessary but it would have been interesting to know the words for the soprano part. Etudes I was expecting to like the most but for me it came second after The Cage.
  25. pianolady
    Looking forward to seeing this at Milton Keynes in April. Looks intriguing and exciting.
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