Geoff
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Posts posted by Geoff
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The only two dancers who I think have been equal to the task of portraying Anastasia have been Lynn Seymour and Leanne Benjamin.
You don't want to add Viviana Durante to that short list?
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I hadn't thought of Sonja Yoncheva.
For those who might like to know a little more...
http://www.operanews.com/Opera_News_Magazine/2016/5/News/Netrebko_Radvanovsky_Norma.html
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On this point I once had a remarkable opportunity to compare and contrast. I watched the 1978 Sleeping Beauty (Royal Ballet live for Christmas, on YouTube) and then the second half of a friend's private copy of an earlier BBC transmission of the Royal Ballet Sleeping Beauty of 1969 (Sibley/Dowell, sadly not generally available). Leaving aside the principals (about whom one might have an interesting but different discussion) the most striking change is simply one of how much better the corps was in 1969. Cleaner, crisper, faster, more fleet of foot. A big difference, yet less than ten years in between.the declining standards in the classical rep?
Although many postings on an earlier thread praise the 1978 performance (in comparison to nowadays) just about everyone was more enjoyable to watch in the 1969 show.
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I have just received an email from ENO announcing the appointment of Daniel Kramer as their new Artistic Director...Any thoughts?
There was an unilluminating instant piece in The Guardian. This is slightly more helpful:-
http://www.theartsdesk.com/opera/daniel-kramer-eno-artistic-director-cause-cautious-optimism
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How funny that the same thing is often perceived so differently....et vive la difference!
Talking of which, see this review, just out, most of which I don't agree with (including his comments about the glorious FROSCH a couple of years ago):-
https://operabritanniauk.wordpress.com/2016/04/27/wagner-tannhauser-royal-opera-26th-april-2016/
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Not to pre-empt reviewers but just to say I was at the dress rehearsal on Saturday and am now arranging to go back. This revival is in some ways stronger cast than the original; the conducting all in the right place; the chorus in fine voice; and the (modern clear unobtusive undistracting) production a relief after Lucia.
Of course there are people who don't go to Wagner. But if that isn't you, and you are wavering, try and go.
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This week it seems appropriate to draw attention to this news report from 1953 and the royal splendour of the first night of Gloriana:-
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taken the liberty of setting up the poll
Any chance you (or a moderator) could slightly alter the title so people can see what it's about? I have been following this discussion with interest but only clicked on the poll by accident, as currently it is headed "Bade poll" (maybe a typo or possibly a reference to the excellent Patrick Bade, don't know)
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In trying to post some strike news in News/Information somehow a work in progress got posted as well, so there are now two posts up at the moment, one of which is incomplete and has a misspelled title. Is someone able to delete that one? Sorry!
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Possible trouble to/from Victoria / London Bridge this Tuesday/Wednesday:-
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Advance notice of a most interesting looking documentary tonight, for those who would like a different take on Shakespeare:-
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In an earlier post on this thread, I stated that I didn't like Sleeping Beauty!...I loved it!
That's great Susan! First, because whatever one may feel at certain points of certain performances of certain productions of SB, it is and always will remain the apotheosis of classical ballet. Second, because I admire anyone (particularly in these days of seemingly ever more strident online opinionating) who openly admits to changing their mind. Thank you for what you wrote.
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From an article just published in the NYRB, which quotes a Dorothy Parker theatre review
>>She may poke fun at a vast and gorgeous spectacle called Mecca—"It is comfortable to reflect that it gives congenial and remunerative employment to hundreds, including two exceedingly shabby camels, who, I am willing to wager, although my memory for faces is not infallible, made their debut in the world premiere of Ben Hur..."
>> - but she goes on to say “the most important announcement is that Michel Fokine directed the dances, for they are startlingly beautiful.” Who knew that the renowned choreographer of The Firebird, Scheherazade, Petrushka, and Les Sylphides had once worked side by side with camels?
The article is here (there are no more ballet references):-
http://www.nybooks.com/articles/2016/04/07/brilliant-troubled-dorothy-parker/
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For the confused there are some useful comments (among some less useful ones) here:-
http://slippedisc.com/2016/04/bucharest-crisis-angela-gheorghiu-speaks-out/#comments
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An overnight review from The Stage, with pictures:-
https://www.thestage.co.uk/reviews/2016/lucia-di-lammermoor-review-at-the-royal-opera-house-london/
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Just had a quick spin through tonight's Twitter after the first night of the Lucia we have been warned about. More positive than otherwise, I would say (though not about the conducting). There was however still some booing.
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Just to say, I have heard some pretty exciting rumours about Anastasia casting, so fingers crossed (even though it is a show I never felt really worked).
And for those who have commented negatively about the return of Strapless, Kevin O'Hare made it clear in the Sunday Times this week that it will be reworked for its second outing, so perhaps we should give it another chance.
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Three different reviewers have used the exact same word: "genuinely" funny. What do people think? Did this show make you laugh? "Genuinely" laugh (and what kind of shows produce laughter which is not "genuine")? Or did one have to be there?
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Many thanks! Let's see how long this link survives...
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Thanks John. I had somehow picked up the impression that a disproportionately high number of views had come in suddenly - within 24 hours - suggesting some kind of technical issue but I was probably wrong. Apologies if this is a muddle.
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There is plenty of good MacMillan that never sees the light of day, presumably because it does not fit with his official image as a tortured unrecognised genius who challenged the artificial boundaries placed on ballet and its subject matter.
Tee hee! You have made that point before FLOSS - and I appreciate it each time you make it. The MacMillan "problem" is indeed a distorting factor in RB seasons and that old image is increasingly meaningless to new audiences.
Perhaps there was a time when - whisper who dares - it might even have been good box office to play up a (rather artificial but nonetheless) set of dichotomies, MacMillan/Ashton, new/old, sad/happy, town/country, pepsi/coke whatever...but now? In the 21st century? In 2016, when both are long dead?
A point I was once able to make discreetly to current RB management is that today's audiences don't know anything of the actual history, nor care about any ancient so-called rivalry, and just want to see great ballet, which both choreographers produced in quantity. No idea if this was appreciated.
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Good news: I was able to watch (nearly) all of this yesterday evening, and pretty good it is too. Bad news: the YouTube link has now been removed.
Does anyone know where else this might turn up (eg Vimeo or wherever)?
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I see a thread which only started this February, yet has suddenly gained over 26,000 views, most of them recently (Giselle, RB). This and similar on a couple of other threads suggests a glitch somewhere.
I may be completely wrong but just thought I should pass on my suspicions! Apologies if off the point.
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A (free) opera concert from the Mariinsky, with some pretty amazing voices:-
Gala concert of Mariinsky Theatre basses, baritones and tenors
Akhmed Agadi (tenor)
Yevgeny Akimov (tenor)
Mikhail Vekua (tenor)
Roman Burdenko (baritone)
Alexei Markov (baritone)
Ilya Bannik (bass)
Stanislav Trofimov (bass)
The Mariinsky Orchestra
Conductor: Mikhail Sinkevich
The programme includes:
Arias, duets and scenes from operas A Life for the Tsar, Prince Igor, The Tsar’s Bride, The Queen of Spades, La forza del destino, Rigoletto, Aida, Tosca, Turandot, Don Carlos, Carmen, Pagliacci, Il barbiere di Siviglia, Otello, Un ballo in maschera
ROH Tannhäuser
in Opera & Music
Posted
Went back for the second time today, enjoyed it even more. Particularly well conducted, although the piece shows up the weaknesses of the ROH band.
Silly comment (but as this is BalletCoForum, if I can't post this here where can I post it): couldn't help noticing that Venus wears a one strap evening gown, just like the one in Strapless!