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nickwellings

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  1. These are all excellent points, especially thoughts about promise and others being promoted on much fewer merits. I haven't seen her as much as others, so my impression and conclusions perhaps based on a paucity of evidence. Certainly she has great talents, and I'd not object to promotion at all. You've all given me great food for thought about my own impressions and thoughts.
  2. I too thought that Hayley Forskitt was excellent. I enjoyed the surprise substitution though of course regretted not seeing Ms Cuthbertson. Some aspects of their variations felt a little rushed but they were very minor. The fact that they still have a lot of experience ahead for them is a lovely prospect. I'm not quite feeling that Yasmine is Principal material just yet (just my own uneducated opinion). I think maybe she needs another season or two to bed in, in my opinion. I would have liked a bit more Oompf in places from the orchestra, but I think I am comparing them to cinema-broadcast Maryinsky orchestra from a few weeks ago, who are very oompf-laden!
  3. I wouldn't quite go so far as to say that most of the audience are philistines and boots, uninterested in classical music or ballet. However it is certainly true that they equate a dead stage as excuse to talk. I have noticed it happens a lot in Swan Lake too. Why, I can't say. To me and it seems to a lot of posters here, we recognise it's part of the musical and dramatic continuum of the piece. It does seem that those who might not go as much as some regulars here might not realise they should ideally listen, not talk. And maybe some don't care. Just as some audiences enjoy clapping between movements so it seems some people enjoy talking during pauses. And in some cases, talking during proceedings! I too wish it were not so, but I don't see an easy solution apart from an announcement. And who at ROH would be churlish enough to make that happen and make people feel dictated to?
  4. Siegfried's Entrance in the final act of Swan Lake The 'ribbon carousel/roundabout'in Fille where Colas runs through the girls as Lise is rotated as the run round her, and Lise bursts with joy and scatters the ribbons Whenever Odette or Siegfried do a great leap into death at the end of Swan Lake When Ferri kisses Sarah Lamb's head in Woolf Works 'Tuesday' The Rose Adagio entire As above, when Siegfried cradles Odette, and the 'falls' that precede this, bit only when done with true (acted) belief, and the falls with eye contact (Delia Mathews and Brandon Lawrence did this the best ever for me) The Christmas Tree growing music in Nutcracker, and in RB version, where Nutcracker wakes after being savaged by Rat King. Two Pigs, when the second pigeon flies in. I'm sure there's more!
  5. I could have sworn that a few days ago the site said 3 hours! Certainly that's the time I memorised for my own train journeys home. Now it says TBC.
  6. I heard an angry man during Act I say "TURN IT OFF!" just when Scene II was starting. Maybe someone was checking their phone? It was so loud I heard it in Upper slips! I have felt like saying similar in similar situations, but never shouted at someone!
  7. I left after Act I, feeling ENB'S superior at that point. Ratmansky's version felt quite light. My friend said Act II was beautiful and worth seeing just for that. The 2300hr possible finish just too late for me, sadly.
  8. Lovely post, James, and so interesting to read about the versions of the score. I am minded to return to Wiley and read up. Would you recommend a programme, by the way? I am tempted to get one. I only regret that on Tuesday "Evil Genius" rather fumbled the final moments with Odette. I had seen the same with Krysanova, and she was almost, so it appeared, snapped in two, to die squalid and crumpled, a shell. No wonder Siegfried's despair there. On Tuesday Evil Genius fumbled the crucial preparatory lift I think, and she sort of slithered into a heap. Not as dramatic, sadly. (PS: so nice to see a fellow Suffolk-based ballet-goer!) I agree with you Bruce, the variation for genius is actually quite thrilling! One of the Geniuses (horrible usage, apologies, but Belyakov, I think?) was splendid in mirroring Rodkin's jetes and tours. One could just about see the conceit of the evil double working. And Bruce, I too felt the same wonder at the rapport they shared. It was a blessing and a privilege to witness. I was astounded that they made the production work. A lasting memory for me too, is of Daria Kholkova. The three big swans at every night I saw seemed slightly mismatched, at odds with the supernaturally precise corps. I must mention the fantastic phrasing and control from (Sophia Belyaeva, I think, on oboe) of the main motifs. I have never heard it so beautifully played as when I heard it on July 30th. Just wonderful.
  9. I saw both Ms Zakharova and Ms Smirnova's swans. I was expecting a serene, noble performance from the former, and got one. Almost too serene, rather detached I felt. Smirnova however was legitimately dazzling. When I say I dislike the production, I just mean I have gripes with some cuts and the ending for instance. Even so, Smirnova and the wonderful Semyon Chudin danced what was perhaps the greatest Swan Lake I have yet seen. And it was mainly due to Ms Smirnova. A friend had raved to me about her, after her appearance last time at ROH. I am so glad I listened to him. I have written slightly more about her and the night at my blog. Needless to say when I see her name down to dance, I will try and see her, however I can.
  10. I was lucky enough to be in Varna when Paul Marque performed. (Likely one of the slightly obnoxious 'Bravo!'s is mine ) I recommend anyone to visit. The atmosphere is lovely. Good weather, temps around 22, and lots of excitement mean a memorable time. I imagine going on finals night would be fantastic. My seat cost 15 Lev (about £6 or 7.6 euro) and was top price. It turned out to be front row. On the second half, I moved to just in front of the judges,else I wouldn't have seen any feet! I had an event photographer and assistant rather 'in the way' on the right where I was first put. My conclusion is that cheaper seats might be better! IBCV were using eventim.bg for tickets. Young locals man the event, with the exception of the programmes desk. In my experience it is often the case that anyone over about 35 is likely to speak very little to no English. Paper booklets of running order were 2lev. Programmes proper were 7lv think. Varna itself is pleasant and has an opera house sometimes showing ballet. A few nights before I was there a 'Bolshoi Gala's had been on, featuring one or two of those dancers I believe. One's money goes far in Bulgaria. The best restaurant in town serves a slap up meal for 2 for about 50lv (£20). The quality comparable to just about any fancy London restaurant you could care to name. A suite at the 5 star Grand Hotel London is about £100 a night. (I didn't stay there though!) I can also recommend ballet in Sofia, which should have shown a Sylphide in the park when I went, but heavy rain sent it into the opera house proper. There is from everyone onstage a deep love of the art form, and a conviction in its capabilities and storytelling which seems almost strange to any seasoned viewer. Hard to describe, but to my eyes, Russian companies share similar. Both are unashamed to 'sell' the story to you. The quality may not be, eg, NYCB, Bolshoi, RB, but it is by no means shabby, provincial, poor. Training is likely tough, as everywhere, and professionalism shines through. And again, the great value is mirrored in the capital too. So, sorry for my impromptu paen to Bulgaria! Its just that I visited, and really enjoyed. People are very laid back, and friendly. And the bonus of some ballet meant lovely memories!
  11. I think they do that sometimes on the Bolshoi cinema broadcasts too. Might be cultural!
  12. I know we don't all like the Jester in the "Russian" version of Swan Lake, but I have never seen such disinterest at the opening of third act, which is briefly Jester-heavy, as was shown by one lady in seat D50, amphi on Saturday night who decided that even lights down and music starting wouldn't dissuade her from urgently checking her Insta-book-feed thing. The white glow of her phone was horribly distracting. She was one of those people who believe that checking it inside one's handbag magically masks the supernaturally bright glow. (Lady, it doesn't...). I wished for something small yet noticeable to lob in her general direction, a peanut, or a penny...a hardbacked book. She only stopped when the Jester stopped, i.e. it lasted about three minutes. As consequence I was unable to fully enjoy his fantastically athletic cavortings. I was surprised she didn't get a nudge to the head from the person behind's foot. Otherwise it was a good audience.
  13. There were a few 'whoops!' moments indeed...and the one hand presses seemed rather tentative throughout. Anna Balukova's little slip was so nearly a splat. Credit to her for a good recovery. I thought Sancho Panza seemed slightly more subdued last night, but enjoyed his 'cannonball' in the sheet toss! I somehow sensed that the cast might be starting to get a little fatigued? It just overall felt not as zingy as my last viewing. I was side SCS (big boss Vladimir Urin a few rows in front!) So missed the geometrics of the dryads, but still appreciated their movement and discipline. Wish I could have seen all of the run to see 'who did it best' but might have needed to take a loan out to do so!
  14. Ms Alexandrova was fantastic last night The whole show just a fabulous romp, bursting with joy and life. I am going tomorrow and will be hugely impressed if the soloists are as good!
  15. Having missed Pite's Polaris last year, which garnered rave reviews, I was on the lookout for anything else she might bring to the UK. I chanced on Betroffenheit and booked on a whim. I am glad I did. The show itself was a bizarre spectacle for the first half, and hinted at a more tender, purer form of dance in the second half. More than the show itself I was glad to see Pite's dance vocabulary in action - mesmerising, thrilling at times, and to my eyes, unique. It makes other contemporary offerings look rather staid. I am not quite sure it offers a readily packaged analysis of madness, or depression in dance. Rather, it was often mad dancing, mad moments, for madness. So at times, a little impenetrable. Whether it says new things about trauma is debatable, but it said what it did with verve, passion, energy and innovation. One felt at times that one was watching something from the creative mind of a genius, such was the polished oddity on show. Of course, this could be product of many minds making a good show. Well worth seeing.
  16. Regent is my local Circle sightlines good really from all angles. I saw the Siberians from back row circle and it was fine.
  17. I was at Sadler's yesterday afternoon. Two seats next to me were empty. I thought maybe their owners had decided not to come. Nope. About 2 minutes into Broken Wings, the usher brings two people into the auditorium, blinds me with his torch, whispers sorry a few times as the couple barge past me. They then of course have to awkwardly and noisily undress their layers of outerwear, and whilst doing so they decide to swig a few drinks, loudly whisper. The whispering carried on throughout. Then the guy gets his phone out about 30 minutes in. I say 'can you put your phone away please?' and get a blank look from the girlfriend. He carries on and I ask again. He keeps going, and I am so annoyed I make to grab his phone. 'I'm texting my mum' he says. He finishes quickly. The whispering stops. At interval they look for other seats but don't find them. Medea began as the next piece and another blue glowing rectangle flashes up, this time in the gantry over the second circle,right in my eyeline! A member of staff/tech team having a lazy browse on eBay maybe. I sent a complaint to Sadler's
  18. I saw Corrales work in ENB's Nutcracker Trepak dance and that was astonishing. Sadly I didn't see his Ali. I have seen better versions but on the night Simkin got my blood racing where a few others didn't. I loved Bernal's cape control too, Don Q. It seemed almost liquid, living and totally subordinate to his whims, completely under control. Really impressive.
  19. Put me down as another fan of Simkin in Corsaire as capybara did, I enjoyed Spiral Twist and Daria and Vadim. Millepied's modern piece left me cold, despite Dupont dancing...and Spartacus was a bit boring for me! I was nearly one of the people daisy mentions who left early, but stayed for Vasiliev...who didn't quite blow me away. (I made my train with about 2 minutes to spare...) It was good to see some stars and to see some fun pieces, and to watch three and a bit hours of ballet was wonderful for me, despite it over-running....
  20. I have such fond memories of their Swan Lake (especially of "Odette"'s transformation into a swan! Fantastic stagecraft.) They are a lovely company, and always a pleasure to watch.
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