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RobR

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  1. RobR
    Not inexpensive but worth every penny. She correctly diagnosed my student daughter’s problem, we avoided what would have been an unnecessary operation (with no guarantee of success) and my daughter now dances professionally.
  2. RobR
    I’ve now seen four casts and enjoyed all their performances, although I found that different performers and differing interpretations have resonated with me for different reasons. An earlier poster described how thoroughly venal the lovely Valentino Zucchetti appeared when he performed as Lescaut. My recollection is that the poster had no doubt that his interpretation revealed a character who would not only sell his sister but also his mother and wife if the opportunity arose. I was looking out for this performance last night and he certainly lived up to his BF billing! Another great evening
  3. RobR
    The RB bought dry ice in bulk for La Sylphide a few years ago and have been doing their best to use it up in Giselle and Manon 😐
  4. RobR
    Only this week, BF Posters who’d watched the live relay of 'Manon' expressed concerns about the restrictive nature of filming a performance at the ROH. One poster expressed a concern, which I’ve also had, that the live relay film director tends to concentrate on the dancing of the principals to the detriment of the action going on around them. MacMillan ballets have large casts and a great deal of action, both centre stage and at the sides. It makes sense to me for the RB to explore the possibility (which they must already have done) of using facilities and a filming team which can do justice to this very exciting ballet. Apart from the BBC performance it is likely that the RB will hope to achieve wide sales, coverage and publicity from what seems to me to be a very exciting development. The RB is an internationally acclaimed company and I support this development. Also a good idea to take advantage of the terms and facilities whilst we remain a member of the European Community.
  5. RobR
    Lovely to revisit this 2005 ballet, choreographed by the wonderful and much missed David Fielding; Artem Vasiliev's original score is still as fresh as it was then. It really was an enjoyable performance. Victoria Collinson has kept faith with the original production but introduced various subtle changes that smoothed out and developed some aspects of the 2005 production. The company was well drilled and had clearly benefited from coaching by both the LCB team and various former and current members of the RB. The effort put into staging the production was very much appreciated by the audience and the large number of young performers and young onlookers can only be positive for future generations of ballet lovers. Whilst it would be invidious to single out the various performers, the two little girls playing the naughty twins were prominent in carrying much of the humour of the staging.
  6. RobR
    I acknowledge and appreciate the earlier concerns expressed about the depiction of women in Manon and the proposition that the C18 scenario should be updated to reflect contemporary mores. Developing this concern I worry about the health and hygiene issues raised by Armand kissing his tuberculosic lover on the lips and Marguerite failing to wash her hands after holding them to her mouth following her numerous coughing fits. Should Ashton’s ballet be updated, should her maid appear earlier with a bowl and towel or should the cast list carry some sort of warning?
  7. RobR
    I think this terrific review encapsulates all that those who really love Manon feel about this ballet. I should, by rights, have quoted the full review but that would have been otiose. Many regular ROH attenders have remarked to me that Manon is their all time favourite ballet and I can understand why, particularly after reading the above review. I'm not sure if Manon is my overall favourite; it is certainly in my top 5. One of the strengths of the production and choreography, in my opinion, are the number of roles available to RB dancers and the various opportunities they have to show how well they can dance, whether in a principal role or a less prominent one. This is no bad thing given the strength of the Company.
  8. RobR
    It was a typical Triple Bill (except we were treated to four pieces). As with all Triple Bills, some of us will have enjoyed one particular piece more than another. Just a matter of how we see it and the mood we are in watching it. All four pieces beautifully danced by a great cast and each rapturously received by a packed and enthusiastic audience, particularly Forsythe's 'Playlist'; classical ballet danced by an all male corps to heavy house hip hop (I may be a little out of date with my ability to discern modern music styles) at the end. My own favourite was Aszure Barton's 'Fantastic Beings', crisply danced by a very well drilled company and showing to advantage the strengths of the ENB. I would very happily watch this again.
  9. RobR
    Just back from Bolle, Nunez, Sambe & Beatriz S-B. Absolutely brilliant dancing and acting by the whole cast. Wonderful evening.
  10. RobR
    Now sorted out
  11. RobR
    Has anyone a spare SCS or Balcony standing or frontish amphitheatre ticket for Wednesday 11 April?
  12. RobR
    I'll pm you.
  13. RobR
    Whilst I completely accept that there are two perspectives on the role of those in the background, a hallmark of MacMillan's fabulous ballets is the involvement of those supporting the frontline performers. I always feel that I am emotionally transported to an 18 century Parisian brothel or a bustling Veronese market square filled with tradespeople and bored (but armed) teenagers 'hanging out' with their chums. MacMillan's ballets are anything but static and that is one of the many great strengths of his productions. I am regularly frustrated watching the summer performances of the Russian companies, in which brilliant principals perform in front of a backdrop wooden faced, inanimate onlookers who might as well have stayed in the dressing rooms for all they contribute. Still, it's a matter of style and taste.
  14. RobR
    Yes please, I’ll pm you
  15. RobR
    She was, and Bonelli was terrific too.
  16. RobR
    And Mr Catlett
  17. RobR
    Thanks, I only recalled the red coated doormen
  18. RobR
    When did they change from red-suited footmen to dinner-jacketed presenters?
  19. RobR
    C'mon guys, It's a ballet based on a play (as opposed to a fairytale) and, IMHO, a vehicle for lovely dancing rather than cause for motivation, meaning and psycho-analysis. Or maybe I’m wrong and we'll have to start wondering about whether Seigfried is really in love with a princess turned into a swan by an evil psychopath or if Siegfried is really in love with a swan he thinks is a princess. And please don't get me started about whether or not James can actually see the Sylphide (which no one else can see) or if he just imagines he can see her
  20. RobR
    I'd like it. I'll pm you.
  21. RobR
    Yes please, if still available
  22. RobR
    I’ve always assumed this to be the case
  23. RobR
    What a good review - and well worth the re-write! I really like all three acts but entirely agree that Act 2 is 'exhuberant and uplifting' and that there are a 'host of very strong performances'.
  24. RobR
    Nor me, Penelope. I had hoped that any BCF member who has read my two posts in this thread, particularly the fourth paragraph of my post from yesterday (top of page 2) in conjunction with posts in other earlier threads would understand exactly what I (and some others) are concerned about. I make no criticism of you or any BCF member and merely posted to express what I perceived to be a proper concern regarding personal remarks posted about dancers, either specific or implied, that I believed were inappropriate in this day and age.
  25. RobR
    I’m sorry about the way this thread has developed since my initial, and carefully worded post. I think I may have been a little too opaque. I was certainly not prompted to post because of comments on techniques or stage slips. What did concern me were remarks suggesting that a particular dancer might have owed his casting to having a ‘pretty face’ and the suggestions that young dancers wanting to whistle blow on treatment they found onerous should have failed to identify themselves. These remarks were neither criticism nor appropriate in my opinion
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