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Mousem40

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  1. Mousem40
    At least he won't be forced to dress up and look like a transsexual cabaret dancer anymore. Ugh
  2. Mousem40
    I just got back from tonight's performance. Just some quick thoughts. Osipova should be made a national treasure and not be allowed to leave her character transformation from Odette to Odile was completely mesmerising. Those fouettés were astonishing. Golding was really excellent in the solos and disappeared in the PDDs. I'm not crazy about the production though, some of it (the end of masked ball) was very Phantom of the opera. I dislike the brown dresses and some of the other costumes. I preferred the Mariinsky version and their corps too. Quintas - I posted my thoughts before reading yours, it seems we both think she's a national treasure!
  3. Mousem40
    I agree. It seems like a passionless marriage, a marriage that 'makes sense' - and passion is the overwhelming connection she has with Onegin which she still craves. My apologies Janet, I understand.
  4. Mousem40
    'so sure her love for Gremin' I'm not so sure about that.
  5. Mousem40
    The FT article: No praise is too high for Osipova’s reading. Her rare gifts have been variously traduced by some of the stuff she has danced in London since quitting the Bolshoi Ballet. As Tatiana we see the whole artist, and the whole progress of the tragedy shown with subtle grace — so real her infatuation for Onegin; so wounding his rejection; so sure her love for Gremin (the magnificent Bennet Gartside), so terrible the final parting from Onegin. It is a wholly truthful performance. Mousem40, I have deleted most of the quotation from this post as it is in breach of the AUP to quote articles wholesale.
  6. Mousem40
    Well said Mshovelt! A few other memorable points if I may. I remember reading the posts here and looking forward to seeing 'grand jetésGate'. They had to absolutely blast them out with the music playing at that speed, they were panting, faces were showing the real effort and physical pain of having to deliver them and be off the stage so quickly. I felt sorry for the corps, but they did very well. It seemed like Osipova was in tears several times during the performance. As has been mentioned before, it took her 2 curtain calls to come out of character and out of her extreme emotional distress before really enjoying the applause. She really becomes Tatiana. The complete turnaround in Golding's persona, from dispassionate self centred cad at the party, to a broken shell of a man, an emotional wreck in the final scene was astonishing. I was taken aback. It was almost difficult to watch a man so broken like that. During the mirror pdd I couldn't stop shaking my head. In disbelief at what I was seeing, total control, total mastery, while being thrown around like that. Coupled with such intense emotion and exhilaration.Then also because I realised (like Mshovelt) that this was going to be one of those utterly special evenings of ballet that I would never be able to watch again.
  7. Mousem40
    I just returned from tonight's performance (Osipova/Golding, Naghdi/Ball) In my opinion, tonight's showing by Osipova was on a par, if not better, than her Giselle last year (which was world class) The mirror PDD was an overwhelming emotional journey, as was the final scene. One of those rare nights at the ROH which has left me in awe - not just of Osipova, but of all four of them. Outstanding
  8. Mousem40
    Great video, thanks Balletfanp. Does anyone know how to be part of the audience at such rehearsals?
  9. Mousem40
  10. Mousem40
    I also thought T&G were a wonderful paring, ill certainly be looking out for them again and Ryuichi was excellent. I disagree about Morera however, did you not notice her very average performance during the 'cup' scene where she knocked one over? Watch 21:27 onwards for how it should be done. In my opinion this Mariinsky performance is in a different league to Acostas production which I've now seen twice (last year Acosta/Nuñez and Monday) http://m.youtube.com/watch?v=-4EDhdAHrOg Who was the girl on Monday wearing the blue tutu in the Dryad scene? She was so sprightly, confident and technically proficient. She was the stand out performer for me and certainly deserves a more prominent role in future ballets (if she hasn't had one already)
  11. Mousem40
    Oops, my mistake yes I meant Tuesday evening.
  12. Mousem40
    For me the standout performance was by Yulia Stepanova in the Saturday Matinée's Firebird. Her piercing facial expressions, staccato neck movements and flowing arms and hands transformed her into a truly believable bird. She's 'Just' a Coryphee?
  13. Mousem40
    Please make space for me on that sofa too! Lopatkina was mesmerising, a masterclass in ballet, partnered by a rather dull (but technically competent Evgeny Ivanchenko) who was being shown up by a wonderful Jester (Tkachenko) and the magnificent Yermakov, who's leaps and jumps were jaw dropping (I wish we could have seen more of him) The Corps were absolutely stupendous. Looking down the lines of swans was like looking at a computer generated rendition of what a perfect line should be. An all time great Swan Lake IMO.
  14. Mousem40
    I agree, Kobayashi was masterful during the Rose Adagio, although I felt her connection with the audience and Bonelli lacked spark. I thought she was much better suited as Queen of the Wilis where she really shone. Really looking forward to seeing Osipova's interpretation.
  15. Mousem40
    Just returned from the ROH. I'm still dumbstruck by Osipova's performance tonight, a true display of magnificence. She had all the delicacy of Cuthbertson (exemplified by her performance in R&J) and the technical skill of Obraztsova.
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