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bridiem

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Everything posted by bridiem

  1. And a great ballet conductor.
  2. Just to say that my bag has been checked and my ticket checked on every recent visit to the ROH, whichever entrance I've been using.
  3. Thank you for these interesting reviews. I was originally intending to book for this (if possible) but the amphi prices for Romeo and Juliet blew my budget. But I'm glad to hear other people's impressions.
  4. I do love this forum. Only here could we start off with Romeo and Juliet and end up with The Exorcist. 😄
  5. Such conditions would go far beyond the existing conditions/guidelines for membership of the forum, which seem to me to be perfectly adequate.
  6. Usually involving the suggestion that 'it must be something wrong at your end'.
  7. Both left and right look completely unattainable to me!!
  8. Thrilling, gripping, moving, weird, mystifying, ugly, bursting with energy and at times achingly beautiful. The darkness, the love and the light embodied in these brilliant dancers, to a monumental score and with spectacular designs. A hugely ambitious work and hugely enjoyable. Edward Watson terrific as Dante - questing, suffering, learning, loving; Gary Avis wonderful as Virgil, guiding his charge with a stern but loving authority; and Sarah Lamb, the epitome of beauty and clarity, quietly showing Dante his - and our - ultimate destination. The sections are surprisingly uneven in length - Purgatorio and Paradiso are both only about half as long as Inferno, which I think is a shame. And there are a few times when I found the choreography a bit less lyrical than I might have hoped and the 'storytelling' aspect slightly obscure. The music is to my ears a complete smorgasbord of styles, influences and direct quotes from other composers; but it's exciting and hugely powerful, and matched in force by the choreography. The designs are simple but evocative and effective. A major achievement for the company and all involved with the production.
  9. So was I! One of the highlights of all my years of ballet-going.
  10. Absolutely, capybara! Opinions are subjective and influenced by all sorts of things that will differ from person to person. And only a small number of people have posted any doubts here, whereas Naghdi and Muntagirov got a great reception last night and so clearly thrilled the vast majority of the audience.
  11. Yes - the announcer's request is steadfastly ignored by those not already wearing masks. But I'd rather the dancers didn't get involved in the whole mask-wearing issue. And I suspect those who ignore the current announcements would ignore them too. As far as I'm concerned, at the moment wearing a mask when asked to do so is simply a matter of courtesy.
  12. They're not the auditorium announcements. I don't hang around in the foyer so I haven't heard any announcements there.
  13. I've been very profoundly moved by Muntagirov in dramatic roles in the past, but I felt last night that he was 'performing' Romeo rather than really inhabiting the role. I didn't know if I felt that because I was very distracted anyway; I thought it could be my fault for not engaging properly. But his dancing was magnificent, as was Naghdi's. I felt something similar about her, though (hence my doubt about my judgement); I rarely actually believed in her as Juliet rather than as a brilliant dancer dancing Juliet. But I did find the last act moving. And I thought the new harlots were all terrific.
  14. Great. So we now need to check in two different places to see if the cast sheet is up. 😝
  15. That's so funny, Borzoi! But I do understand - even if you really love ballet, there are times when it does take a real effort to go through the whole palava of getting to a performance and getting home afterwards and etc. There have been a few occasions on which I've chickened out; but when I force myself to go, I'm almost always very glad in the end that I did. Having said that, I now remember a performance by Houston Ballet many years ago at Sadler's Wells - it was Peer Gynt. I'd been very tired and quite reluctant to go, but I did force myself, and I thought it was just awful. It was when some large artificial camels came prancing on that I drew the line and made for the exit.
  16. In any role where a story is being told or a character portrayed, I find Osipova almost disturbingly brilliant. Her intensity blazes off the stage and her body is thrown full tilt at the choreography with not the slightest hesitation or inhibition. That can make for (and has often resulted in) the most thrilling performances possible. She's an absolute phenomenon and I feel so lucky to have experienced her.
  17. I agree that those could be seen as more natural pairings, but I felt that with Bracewell's Romeo there was an element of him playing the 'lad' because his life had no focus - he was just joining in with messing around with his friends; but when he saw Juliet, he instantly recognised what he was missing and matured before our eyes into a serious and passionate young man. And Kaneko's Juliet saw past the laddishness to the real person underneath, and knew this was it. Together they would fly through life, supporting each other, growing together, and bearing each other's burdens. Except that, tragically, they didn't.
  18. Exactly how I feel, JennyTaylor. Just sublime. Incredibly moving and incredibly beautiful. Bracewell doesn't dance to the music, he dances with the music and so the choreography sings as it should. Real, profound artistry. How is it possible that he's not a principal?! The sheer beauty of Kaneko's dancing, the light and shade, and the melting, yearning, ecstatic partnership with Bracewell. Just brilliant.
  19. Great, thanks Richard LH - I was afraid this wouldn't be up before I leave in the morning. (I find the spacing on the lists a bit tricky - it was only when I thought Bennet Gartside was down to do Nurse that I realised I was reading the wrong lines...).
  20. Really don't feel guilty, Dawnstar! I wouldn't say that critics 'point out' issues anyway - that implies that they're always right. They just have opinions, though sometimes their writing can also be very helpful and informative. I'm just glad I don't have to justify my reactions to performances, as they have to.
  21. I also found it sad that when I entered the ROH for the first time in so long, the first thing I heard was a rather dismissive 'we don't have cast sheets any more, you have to look online', so instead of feeling celebratory I felt irritated and negative. I had my cast sheet printed out because I left home after 5pm when the cast sheet appeared online, but most people will either have had to start fiddling with their phones, or cramming around one of few screens showing the cast (I only saw one in the amphi by accident), or there will probably have been quite a lot who just didn't bother finding out who was dancing. If I'd left home before 5pm (which will often happen) I would not have had a sheet to refer to. And yes, lots of signs and announcements telling people to turn their phones off. Ridiculous.
  22. Most people around me were wearing masks, though I agree that a lot of people weren't. But even where mask-wearing is a requirement (e.g. on London Transport) it's not enforced and a lot of people don't wear them, so I think public compliance is just weakening. And to be fair, the Opposition presents itself as mask-wearing in Parliament and non mask-wearing at its party conference, so there's no consistency there either. I find it strange that people ignore the ROH's request - it just seems like a courtesy both to the ROH itself and to fellow audience members. But I didn't let it worry me either.
  23. Blazing commitment, energy and passion from the whole company tonight - they were on fire! As if to say: this is us, this is who we are, this is what we do. And they did it, brilliantly and heartbreakingly.
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