Jump to content

bridiem

Members
  • Posts

    3,970
  • Joined

  • Last visited

Reputation

15,037 Excellent

Profile Information

  • Gender
    Female
  • Location:
    London

Recent Profile Visitors

6,489 profile views
  1. Surely all the dancers there were, by the mere fact of being there, special achievers.
  2. Hope that everyone going enjoys this! Will look forward to hearing about it afterwards.
  3. I can't speak for @Geoff, but I understood 'non-idiomatic emotionalism' to mean that classical ballet as used by Petipa is a formal 'language' and so to imbue (or seek to imbue) every step with excessive personal emotion is inauthentic (and more of a 20th-/21st-century approach).
  4. No, I don't think it can. It aims for emotion rather than transcendence (in spite of the music) and so for me doesn't fully achieve either. There's still a lot to admire, or even love, but it's not SL at its best.
  5. Swan Lake at its best is not so much emotional as transcendent, which is ultimately even more powerful.
  6. Interesting review of this by Alastair Macaulay in today's Links. I haven't seen this piece, but what Macaulay writes seems to me to be generally relevant to much of McGregor's work.
  7. I haven't got the full cast sheet, but for the evening I saw it my abbreviated record lists the cast as 'Morera, Sasaki and company' in DC, Mukhamedov, Watson, Harvey and Galeazzi in Judas Tree, and Acosta, Tapper and Urlezaga in Gloria.
  8. What a brilliant Insight! Watson and Bussell both terrific coaches, Sambé and Hamilton excellent, and a really interesting discussion between Eagling, Ferri, Bussell and Lady MacMillan. Very moving to see dancers who thrilled me in my early years of ballet-going talking and coaching so vividly. Has even made me look forward to Different Drummer (which I'm afraid I loathed on it première; I will go next week with an open mind...). I didn't catch the name of the presenter but she was very good too. Thank you to all concerned!
  9. The last time I saw Danses concertantes was in 2003 when the bill was DC/The Judas Tree/Gloria. Clearly very similar thinking behind the programming this time!
  10. I'm sure that Alexander Campbell is far too mature, balanced and positive to have left in a 'fit of pique'; I imagine that he simply decided to accept a wonderful opportunity that was presented to him. Nevertheless, I think that members who wish to express dissatisfaction with casting decisions have every right to do so (and that does not amount to 'grumbling' let alone 'gossip' - there are serious issues at stake here! Well, serious if you love ballet, the RB and its dancers). But yes, I'm sure the RAD appointment will give him great opportunities, and that he will retain excellent connections with the RB and all the other organisations with which he has been associated.
  11. I watched (online!) a class he gave in London last year, and some of his Zoom classes during lockdown/s. He's clearly an excellent, kind and intelligent teacher.
  12. I hope it's OK to copy here what he has said on Instagram about Friday evening: 'Still can’t find the words to describe how it feels to have been through this experience of a ‘retirement’ show - but I can say that I couldn’t have asked for anything more. I was reminded that I have been surrounded by incredible people during my time here @royaloperahouse and that is an absolute gift that I will treasure for the rest of my life.'
  13. Thank you for the wonderful review, @Jan McNulty! Can't wait to see this in London.
×
×
  • Create New...