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ToThePointe

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Everything posted by ToThePointe

  1. I think another reason to branch out in the classics is that the dancers will not only explore a different style and choreography but there are often more parts. That's something I love about Sleeping Beauty actually - all those fairies give some of the younger dancers a chance for a solo!
  2. I agree that Ondine isn't all that but I'm mainly using those as examples to highlight that there is a lot of Classical repertoire that doesn't seem to be revived very often. It seems to me it's often the same ones, which I agree, are there because people love them and dancers love to dance them, but I think some more focus could be put on expanding this side of the RB's repertoire. They've got it down to a T with the new works, maybe now just some more thought for the 'traditional' pieces.
  3. I really love the fact that the RB has an identity and that putting on MacMillan and Ashton ballets and programmes regularly is part of who they are. I think it's important to keep this going not only so that these works can be preserved but I think it attracts an audience. I've heard so many times that no-one does Swan Lake like in Russia or Balanchine like NYCB and I think we have that here with MacMillan and Ashton. My problem is that the classics, along with the MacMillan and Ashton ballets, are on a loop (let me guess, Manon, Swan Lake and Onegin in 2018?) which is beginning to get a little tired. There is a lot of focus and emphasis on commissioning new work and keeping the company current, however, the 'classics' haven't changed much in years. It's been said over and over again on this Forum that they should bring back some of the other ballets like Ondine or Bayadere which I think would wake up tired eyes! Variety is crucial though not only in putting 'bums on seats' but also to keep dancers enthused and happy about their work. Dancing the same programmes over and over again must be difficult which is why new work will always be important, however, I think they could shake things up with the classical repertoire too.
  4. What's one more DVD of such a wonderful production and cast?!
  5. Latest post on my blog about the Nela/Vadim performance of Giselle. Enjoy! http://tothepointemagazine.wix.com/tothepointemagazine
  6. A friend of mine came to the Salenko/McRae cast, having never been to the ballet before, and asked why Giselle doesn't also save Hilarion...I said I thought she would be a bit busy trying to save them both at the same time!
  7. I think Kobborg once mentioned that she definitely does kill herself because of where she is buried (and I agree that this isn't always so clear), and he also spoke of the lines that Giselle draws with the sword on the ground but I can't remember the symbolism does anyone know? Perhaps this is unrealistic but so is a bunch of ghosts dancing around a forest killing men?! Many ballet tales have elements of what's unrealistic, especially the Romantic ones; however, this is often a way of highlighting the moral codes that support the narrative. Giselle has to be overly naive and child-like to make the betrayal strong enough to send her mad. I've actually always thought that the lead characters are more symbolic than they are realistic: Giselle symbolises betrayed women and Albrecht symbolises the aristocracy and the unfairness between classes during that time.
  8. I loved Salenko in this role, far more than I enjoyed McRae. He was a bit over the top for me and I actually didn't feel anything for him. It was tough though, because I was still thinking of Vadim! I liked Salenko's first Act in particular, I loved the way she was fragile and sickly, just waiting really for her heart to be broken. She's a lot more subtle than the others but still acts, although perhaps some of this is missed without binoculars! I mainly focused on her throughout, and thought it was an intelligent performance.
  9. It's great that they are given something as a token of recognition from the audience, I'm sure the dancers really appreciate it!
  10. That's lovely! Isn't a flower also given to them in Swan Lake at the end of the run? The corps run the show in Giselle and Swan Lake! Without them, neither ballet would hold my interest!
  11. Me too! That music is so powerful! I think the corps are the real stars of the ballet, they are so together in this run and the most beautiful Wilis I can ever imagine seeing on stage. I love it when they all go on pointe when they have just walked on stage and they are wearing their veils, I find it so mesmerizing, haunting and beautiful!
  12. I am so enjoying the current run of Giselle. The second Act gets me everytime. I keep trying to explain to friends and family the way it makes me feel and I can't put it into words. I don't understand how movement can bring such a big lump to my throat. When the Wilis all cross into each other (something I used to re-enact in my grandma's house when I was about 5), it brings a lump to my throat every single time. I think it's the combination of the music and how beautiful they look as their bodies intertwine. It also makes me think of women as a whole and their strength. I find that whole act incredibly moving. Although it's been a shame not to have seen Osipova in this run (I'm not hopeful about her final performance) as this is her greatest role as far as I'm concerned, the Nunez/Muntagirov cast change was pretty awe inducing. Everyone I have spoken to since has said how special it was and Vadim has cemented himself as one of the greatest Albrechts (certainly that I have seen) of our generation. I found Nunez slightly knowing in Act 1 but i think this is often just her way (Salenko's first act was flawless for me, she was naive, pure and fragile which I think worked well against McRae's arrogant Albrecht). It was really Act 2 which blew me away, and Nunez was graceful and so full of love while Muntagirov danced with such strength and passion it seemed to bring a tear to everyone's eye! I'm so excited to see them again tomorrow night with an extra week of rehearsal time, I wonder if the interpretation will be slightly different at all.
  13. I agree, there is art that creates some emotion in you for no reason other than its beauty. I remember when I went to Rome and stood in front of Michelangelo's 'Pieta' statue and was so moved and had a lump in my throat. I was quite young at the time and still at school, and there was something so beautiful about it that moved me. No experience from my side was needed at all to appreciate it!
  14. I have just written a blog piece on Rhapsody and Two Pigeons (Hayward/Hay/Ball/Stix-Brunell cast) and start off by mentioning that these ballets seem to hit me on a deeper level since falling in love. Do we get the most out of art/dance if we've experienced love, whether it be family, friendship or romantic love? I feel like I understand the themes of certain ballets a lot more now than I used to... Here is a link to my blog, sorry for the self-promotion! http://tothepointemagazine.wix.com/tothepointemagazine#!A-teary-night-at-the-RBs-Ashton-Double-Bill/cmbz/56bcf6320cf2062bd41f6735
  15. Perhaps he was suggesting that only contemporary dance would put a smile on their faces!
  16. That's really my question Janet but put more eloquently - how can the classics be preserved? Especially once those currently preserving them are no longer with us...!
  17. It has been announced that Benjamin Millepied is leaving his post as AD at Paris Opera Ballet. There is much speculation that his longing to turn the company into a contemporary one is a possible factor in his departure. This made me wonder, with many young choreographers and AD's out there who favour contemporary, what will happen to the classical institutions in years to come? At the RB, for example, once Dowell, Carr, Collier etc are gone, will we be in danger of losing the high classical standard?
  18. I completely agree with this argument and I think we could all agree that after a stressful day and then reading the metro on the Tube with the usual depressing content, the last thing one would want is to see a 2 or three act ballet on war, terrorism etc. But I don't think that means it shouldn't exist. There's plenty of serious and dramatic theatre that has a public...I mean jeeze look at how many people watch abusive scenes in Soaps or Box Sets daily after work. It's a choice to go and I don't think ballet should limit itself to brighter themes just in case the audience doesn't want to see the darker themes that it might dare to portray. The thing is, we aren't watching the Nutcracker and Fille all year round...we are watching Manon get sexually assaulted, Romeo and Juliet killing themselves, a young girl hanging herself in Las Hermanas, Prince Rudolph killing himself, Odette killing herself, Giselle (possibly) killing herself...it's not a barrel of laughs all Season and all of these ballets have an audience.
  19. https://twitter.com/TheRoyalBallet/status/676370750975172608?t=1&cn=bWVudGlvbg%3D%3D&sig=2c0a19e1e82bba5336a9ed9b5a5a2d680b6f8ff2&al=1&refsrc=email&iid=75c2cfcb5fa84cbca41434e924d71349&autoactions=1450094328&uid=2648076871&nid=4+1489 The Royal Ballet have picked up this discussion, if anyone would like to see what others think of this topic...
  20. Also I'm not sure where all of the political correctness is coming from... I haven't mentioned it and I'm not sure anyone else has on this thread. I haven't said anywhere that I want to see PC ballet, in fact, please, save the PC dance for the PG audience. Islam, race, aids, rape...whatever it is, I'd watch it because I'd support a choreographer using dance as a medium to discuss these issues.
  21. This very comment makes my heart sink. Art should absolutely tackle such matters! Music, painting, installation, dance and movement are all ways that 'complicated' matters can be explored. Perhaps reading such matters in the newspaper isn't enough to broaden awareness or create change and perhaps it is a 'non-verbal art form' that could do this. It's also a great way to reach out to a younger audience and to a generation that don't always read and who respond well to technology and visual mediums. Imagine if we all had the view that art shouldn't push boundaries and tackle some of the most difficult issues challenging our society - we would be without some of the most pivotal and important artists that have graced our Earth!
  22. I'm not quite ready for that type of career change just yet SwissBalletFan...
  23. And I discounted Bourne's Swan Lake because I'm really adressing human same sex relationships without allegory and myth.
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