nickwellings

On 05/08/2017 at 07:53, penelopesimpson said:

That is really annoying.  I booked especially to see Tereshkina.  I have already seen Osmolkina.  Why on earth did they bring Skorik if they knew she was injured?  This tour is a disaster as far as I'm concerned.

 

Does this mean that The Marinsky only brought three female Principal dancers for this tour?

I may be wrong but it looks like Swan Lake is being performed concurrently in St Petersburg by the Mariinsky, so some Principals helping there. This would explain the paucity of Prinicpals!  Skorik might even have stayed behind.

I see Contrasts isn't selling well! One would hope for an initiative to sell the remainder. 

14 minutes ago, annamk said:

A much improved Swan Lake yesterday evening. At the start of week two the company seem to have settled into their London Season. 

 

Skhlyarov & Tereshkina have been a regular partnership for years, their familiarity with each other pays dividends in exemplary partnering. In some respects they are opposites who combine harmoniously to great effect.

 

Tereshkina is remarkable. She has a simply astonishing, unrivalled technique and is in total command of the steps from her first entrance to her last fouette to curtain down.  Shklyarov is no technical slouch either, although I feel his particular strength is his exceptional vitality and warmth. From his first entrance, he makes every small gesture count and his total commitment to telling the story breaths life into what can feel like a moribund classic when the dancers only go through the motions. It’s this warmth that works so well as a counter foil to Tereshkina’s naturally cooler stage persona. 

 

A nicely executed pd3 from Batoeva, Shakirova & Stepin and Batoeva also noticeable in Act III for her beautiful swan arms. Terrific corps. 

 

Huge cheers at the curtain calls, throughly deserved. 

Agreed on all counts. the PdT particularly fine from the ladies, rousing one or two Bravas! from me. 

I very much agree about Shklyarov, some of his expressions and yes, those small gestures were truly beautiful.  His expressions when realising he had forfeited his love or rather betrayed it, was wonderful. Great depth of conviction in everything he approached, feather-light respectful partnering and support. He made Tereshkina appear more humane in her Odette, and yes, he breathed life into what can be a rather austere production. During the final fight with Rothbart I was really rooting for him inwardly, one felt the moment of resolve when he faced his nemesis. It was truly thrilling. And even the happy ending worked! A great pleasure to have been there.

Hi Amelia, is the 7th ticket still free please?

I'm selling Lower Slips Right A88. Chebykina, Parish.

£20.

I should be able to leave at box office on 31st. Or post first class on Monday. Please let me know.

 Payment via PayPal or bank transfer please. 

Thank you.

Maybe it was the truly appalling lady next to me, who variously glared at people daring to cheer, told the two children off twice in front of her for leaning (making the father shout at her at the start of Act III ) and who claimed I was in her space even though she was "manspreading" ( she decided to put her foot on mine for the entirety of the Black Swan solo variations presumably to press her point home - literally)...but I didn't feel this Swan Lake sparkled or had much emotional depth from the principals. The corps were as one would imagine, almost one organism, lockstepped and reminding one of a perfect machine or purring motor, but again, it feels the heart of the show has been lost. It makes me grateful for RB's evident joy in dancing. It feels like something has changed since they were last here.

I realise this isn't a common opinion or given much depth of analysis, and won't make me popular with Xander fans! I was disappointed, I admit. I am hoping for better tonight!

The whole night felt like a bit of a misfire to me, the Grand Pas and Mercedes excepted. I was a bit bored in places, and was hoping to be dazzled!

I feel that Acosta's and Bolshoi's were "better" productions. Some of the scenery and general production values felt like they belonged more to companies like State Ballet of Siberia than the hundreds of years old glorious company dancing for us.

Hi, is the ticket still for sale please?

1 hour ago, Bruce Wall said:

Given that I no longer have time to write an in depth review of anything - (in many ways now my life - as I knew it previously - or at least recently -  is no longer my own - for all the very best reasons) - I just want to jot a few impressions.

 

I have seen every single step of this triple bill and thoroughly enjoyed all throughout.  

 

 

 

May I just say, it was a pleasure to sit next to you on Thursday in row U. Forgive my enthusiasm, and at times excited interruptions: it is rare that I get the chance to 'talk Ballet'. I echo the same pleasure and gratitude as above, individual and company all united in giving us a wonderful few evenings of balletic joy.

I'm habitually rather sober-minded, undemonstrabley reticent. My upper lip is usually stiff. Tonight though, watching Ferri's Marguerite love, suffer, reach fulfilment of ecstacy and harrowing despair, my lower lip quivered and was therefore bitten hard. I was greatly moved. The woman is a miracle, age notwithstanding, but instead for total investment of self: one feels pages of her pain have been re-read, used as text, so as to inform her characterisation, biography building a depiction.

As a twitter friend said, one also felt as if intruding on something personal, a voyeurism into true intimacy. 

What a stunning performance she gave us. Not to leave aside Avis, Bonelli et al. Strength in depth from all.

And then there is Hayward and Sambé. Marcelino tackling Oberon, finding his feet in the steps and character. Hayward fey, lighter than air, possessed of beautiful magick. And Yudes! Yudes a beautiful Puck, revelling in the steps, even if Ball and Mock slightly missed the paired "throw" leaving poor Puck more on his bottom than his feet! And of our, Bottom, captivating and lovely, making us smile and laugh. Corps and attendants all wonderful. Itziar and Claire C fabulous....

One could go on! I haven't spoken of SymphVar! Truly, we were spoilt.

Now at B/O!

This will go back to box office tomorrow ?

Hi all,

Selling my ticket to this lovely Mixed Bill. Lower Slips Right, A90.  Selling face value, £12.

Dream : Akane Takada, Steven McRae

Symphonic Variations: Marianela Nuñez, Vadim Muntagirov

M+A, Zenaida Yanowsky, Roberto Bolle

I can hand over on the night, but would prefer not to be too long at the ROH as I now have another commitment that night!   Thank you.

Thank you! ?

Pdf link not working on my phone. Any more details available please?

I was similarly disappointed to read the review. However as a friend of mine says the problem with blogs is that anyone with one can write and be published. Regrettably, despite her Oxon credentials, Ms Winter's writing is not of the kind I wish to read. I have fixed this by never wanting to read anything she writes again. I suggest this is a better approach than remonstrating with her in person as has been suggested.

I fully understand the view of those who wonder why she has complimentary tickets. I feel much the same. Her attitude may be more suitable to "edgy" publications but as above, I'll not read her. Simple. 

On 2017-4-26 at 21:47, Jane S said:

 

 

 

There were 3 Bournonville Festivals, 13 years apart, and #4 would have been next year - but Hubbe doesn't like the concept as he thinks it reinforces the impression in the outside world  that the Danes only do Bournonville.

 

 

 

 

If this is Hubbe's thought than that is regrettable, yet understandable. The Bournonville style is a treasure, and one I would love to see more of, as would many. Another festival devoted to it would be wonderful. 

Is this a Dr D Fullington offering? If so, essential reading. The Works and Process videos consistently illuminating, Fullington's commentaries therein concise and helpful.

Lovely resource.

DonQFan told me that it'll be on Facebook.

I don't recall seeing biographies, Danes are by nature very modest people. Maybe they think it is bragging or unseemly to show bios. I wonder if any of the programmes I have mentioned bios. Members can help here with names to watch if you need!

? i can wait til then! Thank you.

For concerts the green gallery seats are good, but for ballet, especially near the stage it might feel odd IMO. It'd be like sitting in the lower slips of ROH but about 20 feet above the stage, not 70 or so. You're right on top of them. I can see the seats where this is 'worst' are not on sale.

As with LS the closer you are to the stage the more you lose the effect of elevation and lifts.

Here's a pic I took at a concert a few years ago which might help. 

https://ibb.co/frwVwQ

Stalls would be good too but as at ROH you'd lose feet in, I'd estimate, first four rows. There is a slight rake. Sightlines are good. The seats at very rear of stalls are elevated and great value but alas sold.

As above here is the seat view tool.

https://www.cadoganhall.com/your-visit/booking-information/seating-plans/

3 hours ago, Jane S said:

This Tuesday, I think - streamed live, too.

Oh wow! Thank you Jane!

It sounds lovely. They are a very fine company.

On two related notes: I caught their ballet Gala in late March in Copenhagen, and it was fantastic. Likewise their televised/internet broadcast of Giselle!

I'm therefore eagerly awaiting their 2017/18 Season announcements...Should be very soon, if last few year's announcements anything to go by?

Sounds good! Curious how the venue will work for ballet but I know they have hosted for ballet before.

The green gallery seats seem well priced, but the view might be a bit odd.

I recall from seeing it last year, it being very odd and some of the movement being fantastic. Venues seem to be programming works in concurrent years a little more frequently than previously, it feels?