Jump to content


  • Content Count

  • Joined

  • Last visited

Community Reputation

257 Excellent

Profile Information

  • Gender
    Not Telling
  • Location:

Recent Profile Visitors

958 profile views
  1. Dawnstar posted, “Why are there only 4 courtesans credited on the cast sheet when there are 5 of them on stage? While 2 have larger roles, the other 3 seem to do about the same amount yet the one costumed in red velvet (mostly Gina Storm-Jensen at the performances I've seen) doesn't get credited.” I think I may originally have made a similar assumption. In fact the four courtesans are listed in the cast sheet, and the fifth is Lescaut's mistress, who dances with them.
  2. Capybara says “ One of the joys of Manon for me is that lower-ranked dancers ......... have the chance to shine”, and I fully agree with her. I have been a regular at the ROH for about fifteen years and have always enjoyed watching the 'junior' RB dancers, spotting my favourites and trying to predict those who may rise through the ranks. Most of the ballets, not just Manon, have roles that allow a junior dancer to take the next step (no pun) on the developmental ladder. In some instances, dancers who are 'covers', have had the chance to make a mark, if not an impact. I understand why 'bigger names' are sometimes imported; Osipova & Hallberg for example, but I get greater pleasure watching dancers who have developed with and within the RB and whose careers I have enjoyed over the years. I think that both the current Director, and his predecessor, should take both satisfaction and pleasure from having adopted and applied such an approach, rather than merely buying in talent.
  3. I can’t tell you how much I’ve enjoyed reading the latest tranche of reviews of following this afternoon's matinee, particularly in respect of Alexander Campbell's performance. Some posters, and I abbreviate and paraphrase describe Campbell's performance as 'two dimensional' whilst others say he was 'immaculate'. I assume both views are mutually exclusive or were some posters at different performances?
  4. Congratulations. I’m afraid I can’t help you with your enquiry but I know that both your daughter and you must be thrilled. You never know where it might lead.
  5. I was interested to read another thread in which an Amphitheatre enthusiast (and a BF Poster I assumed was a regular at the ROH) acknowledged a difficulty in discerning and distinguishing dancers from the higher vantage point. We can all spot Principals from every seat location, and need little assistance distinguishing between them, but the narrative ballets have many relevant roles and part of the pleasure of watching a live performance is to watch old favourites in the non-principal ranks, Gasparini and Pajdak fall into this category, and to spot the new dancers who are likely to make an impression in the future. I find it next to impossible to take in the bigger picture through opera glasses, where I might miss some aspect outside my direct focus and, of course, it’s easy to miss the facial expressions, acted nuances and epaulements ((amongst other things) having ones eyes glued to opera glasses, way on high. By way of a further example, we’ve all seen film or video recordings, in which the camera, and the film editor concentrate on the facial expressions of the principals (believing that that’s what the audience want to see) and generally ignoring feet and the performances of the other ten/twenty dancers on stage. Anyway, sorry for my ramble but I go (and I advise others to do likewise) as low down and as expensively as I can afford. Of course, I do sit in the Amphitheatre, but only if I can’t get a better seat.
  6. Unless it’s a ballet where I want to watch the patterns danced by the corps, for instance the snowflakes in Nutcracker, of the options you propose, I’d always opt for the Stalls Circle. This is because I like to feel closer to the stage, to have a better (in my view) sight of the footwork of the dancers and, significantly for me, I can see the expressions on the faces of the dancers without the need to rely on opera glasses or mini-binoculars.
  7. And I also enjoyed a strong debut by Buvoli as a courtesan.
  8. I’ve bought from the website. You have to nominate which language you want to use and then register. Once registered, you shouldn’t have any great problem but will have to print off the e-tickets. If you have any problems, I have found that the box office staff are helpful and multilingual.
  • Create New...