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Two Pigeons

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  1. I have a copy of this taken off Sky Arts. I haven't seen it for a while and would be hard pushed to find it but I do remember being not that impressed with Cuthbertson's performance. She was clearly having on off night. I did chat to someone at the Hippodrome in 2012 who had seen it at the cinema relay a few weeks early. He was giggling that before the performance there was some text on the screen comparing this partnership as one of the greats, right up there with Sibley and Dowell etc. We will never know as Polunin had left the RB very shortly afterwards.
  2. I was about to post that they are leaving the casting really late this time. Any sign of the triple bearing in mind it's only a week away?
  3. Were I able to go any cost would be worth it just to see Merle and Wayne coaching Voices of Spring. I have never seen anyone match them in this. Other couples may have danced as well or even better but for sheer èlan you needed the originals.
  4. Another loss! I have seen him in Le Jeune Homme via Sky Arts. These are the mixed joys of being a balletomane. For every great artist you do see there are so many you didn't. Heigh ho!
  5. Rojo is someone else i booked for but kept missing. I was especially sorry that she was injured when I was hoping to see her as Tatiana with Adam Cooper. I did see her live when she appeared in Triad as part of the Nureyev but that was hardly that representative if her work. I must concur that I missed a very special artist.
  6. From what has been said above I feel I should thank the Late Mr Stretton for giving me the chance to see Nicolas le Riche live. I have never forgotten it or him. Utterly stunning!
  7. I was at her last Sylphide too. I don't think I appreciated how very good she was in a role that really didn't play to any of her strengths. I remember her most clearly as Tatiana. For me she only had one peer in that role and that was Marcia Haydee. It takes real gravitas, maturity and artistry to carry off the final scene as well as they did.
  8. I have seen the first episode anc I thought it was stunning. Have the rest plus the Verdon special to catch up with. She was clearly something else and very highly admired and respected. Fosse reminded me of Busby Berkeley. Highly gifted and completely original but an utter b*****d to work for and with. However, we are all so much richer for their work.
  9. It was all pretty sloppy in my opinion. I suppose they chose Wayne Sleep because he seems to be available to the media at the drop of a hat and they could go on about him dacing with Diana in the 80s. Personally I would have chosen dancers like Iain Mackay or Steven McRae who have stellar careers, ard still involved with ballet, married to fellow dancers and have families. Wayne Sleep is too much like the cliche Ms Spencer was alluding to.
  10. This is all very true but my original point was that if he hadn't transferred to the Royal Ballet his career would have passed by virtually unnoticed by critics and/or television audiences.
  11. I agree with so much of this. I was lucky enough to see her farewell performance as Giselle, a role very suited to her dramatic intelligence. She was also a fluent delight hosting various open rehearsals and other events.
  12. I do so agree with you about Viviana. There is a full recording of her Aurora but the original plan was for it to Darcey and who can ever forget Sky Arts trailing the broadcast of Mayerling as ' starring Darcey Bussell' who was playing Mitzi Caspar? Even Irek Mukhamedov was relegated to second billing. I know I have caused controversy by saying this before but, for me, Viviana was the ballerina and Darcey was the star. Maybe 'artiste' is a better word. Her intelligence really showed in her performances. Darcey undoubtedly glittered but I found her interpretations less deep. I agree with Kevin's self assessment too but that doesn't mean that he didn't deserve some permanent recordings of his work. P.s. Janet, sorry I meant to include Chi but clearly got overexcited on my theme and I typed too fast.
  13. I would suggest another criterion we could consider. This is very likely to be somewhat BRB centric but I would like to list a few artists who may be considered to be underappreciated or not but definitely finished their careers with very few filmed performances left as permanent records. Kevin O'Hare, by his own definition a Principal but not a star. However you judge him here is someone who practically carried the company single handedly for a while. There was a tour of somewhere in the Far East when he had to dance 5 performances of the Snow Queen and 2 of Coppelia in one week. Robert Parker Iain Mackay Joe Cipolla Wolfgang Stollwitzer Iain Webb Michael O'Hare - although we do have Hobson's Choice Desmond Kelly and just to prove that I do sometimes pay attention to ballerinas Marion Tait Margaret Barbieri Galina Samsova Patricia Ruanne Nao Sakuma Ambra Vallo Leticia Muller Sabrina Lenzi I realise that for most of the older dancers filming was a much greater rarity than it is now but I would suggest that were they still dancing now it is very likely that little would have changed. Had he not moved to the Royal Ballet I suspect Alexander Campbell would have been on the list too. I have probably diverted from the original point or this may be subject for another thread. But my basic point is that when you have an artist who has ballets created for them and gives their working lives to entertaining the public it is a real shame when there is nothing permanent as a record.
  14. Slightly off the point, but not that far off, when Yasmine Naghdi was promoted to Principal her photograph was on the front page of the Times. It was stressed that she was a British dancer. I have no issue with this and, frankly, bully for her. I would have thought that the promotion to Principal of the equally British Brandon Lawrence might have merited similar treatment. Like so much to do with BRB there was barely a ripple in any of the national papers.
  15. Actually, I was lucky enough to interview her after she had retired and was the mother of 3 boys as I remember. I remember two things she said very clearly. The first was how much she enjoyed being involved in the creation of Hobson's Choice. The second was that she doubted she would ever have got into the Royal Ballet School as tall dancers were so much more in demand in later years. Along with Marion Tait I cannot think of a more splendid example of a typical SWRB dancer in the mode of Brenda Last. She was a fast, secure, soubrette dancer who was both funny and moving through a wide range of roles. I remember saying that if she had been turned down by the RBS what a lot we would have missed.
  16. Excellent choice! She deserved far more renown than she had, especially when dancing with Michael O'Hare in works such as Fille and Two Pigeons. She was a very fine Aurora too. There were works such as Gerda in The Snow Queen where it could be argued she exceeded the original.
  17. I agree totally about more inspiring triple bills. For about 3 decades my watchword was 'never miss a triple'. For a few years now that is pretty much exactly what has happened.
  18. To pay for a top price ticket I would need to have a pretty clear indication who I was expecting to see.
  19. I have to say that I am less keen on this production as I vastly prefer the earlier production by SPW. I particularly miss the pas de six in the first act as this has reverted to the traditional pas de deux which I find less interesting. Having said that I have absolutely no dispute that with the right casting it is worth seeing. If I could book for any combination of Celine Gittens, Delia Mathews, Samara Downs or Yvette Knight with Tyrone Singleton, Brandon Lawrence, Cesar Morales or Mathias Dingman I would happily book. This brings us back to the eternal blister that is the BRB practice of not announcing the casting until about 2 weeks before. Aside from that I endorse Janet's love of the Mary Skeaping's production for ENB. To me it is the essence of the Romantic ballet.
  20. When one of my all time favourite great ballerinas, Nina Ananiasvili, took over at the State Ballet of Georgia she introduced a fair bit of Ashton into the rep there. Given the huge success of Iain Webb at Sarasota if Miyako does the same in Japan it would be terrific to have more and more international balletomanes have the chance to experience his work. Given the history of David Bintley's and SPW's influence in Japan much of the Ashton rep would probably be a good natural fit for the company there.
  21. Janet and Naomi, who did we have in Prince of the Pagodas? I remember the terrific guests we had from Japan for Aladdin but I am sure we had at least one guest for Pagodas too.
  22. May I say that as a distance viewer of the RB, ie only ever see them on film, that I am really sorry there isn't more film of Laura Morera as the little of her I have seen and everything I have read about her makes me want to see much more of her. I was especially sorry she wasn't in the broadcast of Two Pigeons as I gather she is a very fine Ashton dancer and there are all too few of those around these days.
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