Geoff

On 04/01/2022 at 13:15, jm365 said:

  It really is a most complicated situation.

 
Yes, complicated, but not impossibly expensive. Speaking as someone who has occasionally been Involved professionally in such matters, if the BBC wanted to it could show the programmes again for a fraction of the cost of making something new.
 

Could it be that the BBC allows such “difficulties” to hinder showing what they don’t in fact want to show?

26 minutes ago, Geoff said:

The stories one could tell about the Maoists of the present-day Arts Council and the fear they engender among otherwise decent, intelligent, experienced, cultured, forward-thinking and open-minded arts administrators. In some cases Arts Council officials appear sincere in their commitment to their ideological position, and in some cases those applying for funds sincerely believe it all too. But often there is cant on one or other or even both sides, which deserves exposure and ridicule. 
 

But I see few if any journalists willing to tackle the Arts Council rot. The public can vote with their feet however. 

As a PS I just remembered one of the very few times the truth has got out, albeit with regard another state-funded art form (film). An article in The Times in 2010 by the iconoclastic and controversial film-maker Chris Atkins admitted the truth about what he called his "worst film". Here is a short extract from his astonishingly (one might say self-destructively) honest article:

As a producer I had four films funded via the the UK Film Council and so had the opportunity to observe their failings close hand, and, in my shame, help them to waste public money. The first problem? The choice of films. They cared more about promoting diversity and fulfilling social quotas than about strong scripts. For that reason Nina’s Heavenly Delights (the worst film that I or anyone else has produced) was given £250,000 by the Film Council via Scottish Screen, not because it was a good story — far from — but because it was about Asian lesbians making curry in Glasgow, and so the perfect PC trivector. It was a critical and commercial flop, but no matter; we ticked the boxes.

5 hours ago, Fonty said:

 

I do wonder if it is the Arts Council that is driving this idea that classical ballet companies need to "move forward"  I know people who work in the theatre, and they have said in the past that funding often depends on showing that whatever they are putting on reflects all sections of modern British society. 

👍

The stories one could tell about the Maoists of the present-day Arts Council and the fear they engender among otherwise decent, intelligent, experienced, cultured, forward-thinking and open-minded arts administrators. In some cases Arts Council officials appear sincere in their commitment to their ideological position, and in some cases those applying for funds sincerely believe it all too. But often there is cant on one or other or even both sides, which deserves exposure and ridicule. 
 

But I see few if any journalists willing to tackle the Arts Council rot. The public can vote with their feet however. 

1 hour ago, Rina said:

I've been looking again at Capriol Suite (1930), as presented by New York Theatre Ballet: Living Room Series | New York Theatre Ballet (nytb.org) It's a work I turn to when in need of some good cheer.

How wonderful Rina, thank you so much for introducing me to a new jewel (I have needed cheering recently). Might I add to your list another quality I associate with Ashton’s choreography: unpredictability. Simple repetitions are always subverted, extended or converted. I defy anyone seeing this tiny masterwork for the first time to predict where any step or sequence is going: surprise after surprise. Not something we can say about the new works we get served at ROH. 

Might this be an appropriate place to share a personal story? Some four or five years ago I had cause to discuss the present era of the Royal Ballet with Clement Crisp. When I asked him for his particular favourites among those in the company he thought for a while and then picked just one name, Laura Morera: “she has everything”. 

21 hours ago, zxDaveM said:

 

he seemed to 'brava' or 'bravo' not only at totally inappropriate moments, but also some utterly unwarranted ones as well. The one in the middle of Myrthe's set of dances was unforgivable; some of the ones at the end of other variations were baffling, as the recipient of the brava/bravo hadn't danced it particularly well, as far as I could tell

As there have been a couple of performances with Dhr. Bravo recently at which he was (so far as I could tell) silent throughout, I wonder how much in control of this behaviour he is? Maybe it depends on whether he has a drink before the show, or the phases of the moon or whatever?

1 hour ago, FionaE said:

Regarding the dancers I agree with much of what has been said … though I want to add that I was particularly mesmerised by the movement quality and aura of Leonore Baulac, principal of Paris Opera

+1

The pictures in this news story published today may bring back memories for some:-

https://www.dailymail.co.uk/news/article-10247707/Princess-Dianas-secret-ballet-school-visits-revealed-never-seen-photos.html

Just noticed a further twist, which would impact on e.g. the evening of Saturday 27 November (so far there is no indication on the TfL website that these strikes are not going to go ahead):

Evening and overnight strikes - Central and Victoria lines

These strikes will affect evening and night services on the Central and Victoria lines only.

Strike dates

Strikes are planned for the following dates from 20:30 until 04:29 the next day: 27 November, 3 December, 4 December, 10 December, 11 December, 17 December.

9 hours ago, oncnp said:

This might be of interest   Insights: Behind the Scenes with Music Staff of The Royal Ballet (roh.org.uk)

 

Booking for Friends 25 November and public 30 November

How come this event seems to have got its own booking date (or have I misunderstood)? Surely not because the Insight is on the magical palindrome 22.2.22 ?

I just received an email from TFL with the  announcement copied below. Those heading for Ballet Icons at the Coliseum this Friday (or indeed Macbeth at ROH or other shows in town) might want to plan around this disagreeable possibility:

And of course this may impact on Nutcrackers at ROH and the Coliseum on Saturday 18th December as well, but this is less urgent. 
 

5 hours ago, Naomi M said:

A reminder that the above Vienna State Ballet’s program is currently streamed for 72 hours.

https://play.wiener-staatsoper.at/event/5c0fcbf7-b409-49fb-978c-824060c68ec6

When clicking on the link I get a request to install the Vienna Staatsoper app - which appears not to be available in the UK. Is there a way around this?

Just a comment on Gerhaher, whose performance has received a variety of responses, from raves (including from at least one critic, though not at all of them by any means) to “embarrassing” (from a confirmed Gerhaher fan). My own view - after yesterday’s matinee - is that he probably should not have accepted this job.
 

However what he did was at least not ugly, unlike the time an old man who couldn’t sing the part (Domingo, sad to say) made indistinct sounds across the sublime Jaho, a once-in-a-generation wonder hopelessly trying to make music. One of the worst scenes I ever saw at Covent Garden.

Thanks everyone, v helpful. As to bonkers, both the official Bolshoi/Pathe website and the website of the Phoenix cinema itself listed a screening today at the Phoenix- but as the cinema (finally) just confirmed, they aren’t showing it. 

Anybody got a good idea as to whether the Bolshoi/Pathe live stream of Spartacus is actually available in London tomorrow Sunday?

The Pathe website says it is (at 3pm) but I just tried the websites for both the Picturehouse chain and the Phoenix and what they are saying is bonkers, or at least no help. Phone calls don’t seem to be on offer so I thought I’d ask the Forum. 
 

This article about changes to Scottish Ballet’s Christmas Nutcracker might be of interest:

https://www.dailymail.co.uk/news/article-10168989/Ballet-bosses-change-Nutcracker-racial-stereotypes.html

What do people think?

Timmie, a bit late I realise I should probably have pointed out that the second cast of Nabucco (which maybe I would otherwise steer you away from) includes the amazing Anna Netrebko, possibly the most famous opera singer working at the moment.

Opinions about her voice are divided. People who know her performances from recordings/live transmissions can be critical in a way that fewer people who hear her live are. So to my mind she is always worth trying to get to hear in person.

Be warned: getting a ticket can sometimes be quite an issue but you won't regret the experience.

15 minutes ago, zxDaveM said:

some of the archive film showed the dancers of the time in no way in unison (I noticed this a lot in Symphonic Variations);

 
My (failing) memory is that the Symphonic Variations footage was of a rehearsal. 
 

24 minutes ago, Fonty said:

Did they say why?  After all, everyone tells us that dancers today are technically so much more accomplished than those in Ashton's day.  It should be really easy for them!

He didn’t, no (it was an offhand remark). I won’t venture a guess as to what he was referring to but people here have in the past commented that “different” is not always the same as “better”. And there is a strong case made for Cecchetti training, for example by Julie Cronshaw in her recent YouTube film.

In any case the archive film shown during the evening made its own case. It will be interesting to hear what others think once it has been live streamed.

25 minutes ago, Angela said:

Geoff, do you think that reviews should be politically correct and balanced from now on, instead of giving an opinion? How can one even do that?

No idea but I suspect that is what this is about. 

36 minutes ago, Timmie said:

 probably give Figaro a miss,

Don’t get me wrong Timmie, Figaro is a masterpiece, one of the greatest operas, maybe the greatest. So please don’t be put off by my flip remarks.
 

But the reality, given the nature of the work, is that it is often not shown to best advantage in houses the size of Covent Garden, the ones who showcase the finest voices. So much depends not only on supreme musicianship but on strongly characterised, detailed and true performances, which can be hard to see from the back of the amphi. The giant barns - in London, Paris, Vienna, New York etc - are far larger than the theatre Mozart premiered his work in, the old Burgtheater next to the Hofburg in Vienna.
 

So it is perhaps unsurprising that the most exciting Figaro I ever saw was in the Schlosstheater at Schönbrunn palace in Vienna, perhaps a more comparable size, with a cast of advanced students/young professionals. Just so sexy and a real insight into the many different kinds of happiness and heartbreak explored in this most wonderful of scores and most poignant of comedies.

2 hours ago, Pas de Quatre said:

So if a production is rubbish the critic cannot say so - ridiculous! Whether for dance, music t.v. or films critics have their likes and dislikes. After a while you get to know their preferences and you learn which critic's opinons you are likely to agree with and which you usually disagree with.

indeed. However it seems possible that the unnamed company is in fact seeking to control in a more, what one could call, “modern” (PC) way, in relation to comments about specific performers. For example, trying to outlaw saying that a fat dancer “looks a little heavy”, or noticing the skin colour of a dancer, possibly even saying that someone is not very good (remember, all must have prizes and dancers and their families have feelings and could suffer from “micro aggressive” writing). This is slippery stuff, given the world we live in now.

1 hour ago, Timmie said:

Of the others coming up at ROH what’s a newbie going to like? Macbeth or Nabucco? I guess The Marriage of Figaro is a must see? I’ve got a fairly short attention span so nothing too heavy 😄. And I’ll be booking another Tosca. Angela Gheorghiu is one of the few opera singers I’ve heard of 😁, so I guess there’ll be heavy demand for her performances?

 

I appreciate any guidance.

 
Ooh Timmie, the cognoscenti *love* these sort of quizzes. Hope you get loads of interesting replies. Let me start things off with a few basic comments, which no doubt everyone will disagree with. 

I am very partial to Macbeth, and will be going at least twice. It’s rip-roaring stuff, pretty sensational music when done right, and it doesn’t last too long (the previous ROH production was super-speedy, this one though takes itself more seriously - as does the singer giving us his Macbeth - which may slow things down a bit). Earlier Verdi than the ones you’ve seen so you’ll find it straightforward (it’s the same plot, btw, not always a given). A definite booking, I would say, unlike Nabucco (which has some wonderful things in it but can drag).

Figaro? Some say this is the greatest opera of them all. It is perfect. Downside is that on an off night you can feel, by the time you get to the interval, that you have seen at least a whole opera already but now you have to do it all again. Then again you have already enjoyed Don Giovanni, which has the same potential problem.
 

This Figaro cast is youngish and unknownish, which might be terrific (given that the drama is about a bunch of young people who fancy each other like crazy) or it might be a bit of a duff evening. And who knows how Pappano will conduct it (the traditional sneer about his conducting is that he does everything like Puccini, which would be fatal for Figaro). 
 

Angela Gheorghiu will be one to tell the grandchildren about. On a good night she can still pull out all the stops (when she is not distracted by her cleavage or the prompter). Go and have a great old time at the opera, in some ways she is perfect casting for Tosca.
 

All IMHO only, of course.

Hm, I won’t be rushing to either. But have just booked a repeat visit to Oropesa. Her cast has got pretty solid Twitter comments/reviews so far.

There is a new Osipova show coming up in Edinburgh, by the way.

See here for a clip and press release (which also tells us that she is now married):-