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bridiem

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Everything posted by bridiem

  1. The ROH has tweeted: Tonight at 7.30pm - tune in to our YouTube channel to learn more about The Cellist, @CathyRMarston's first Main Stage work for The Royal Ballet The event will feature @LondonBallerina, @MarcelinoSambe, Marston and others Watch here: http://youtu.be/UfkrqEa5nls #ROHcellistmixedpic.twitter.com/BsgFoFvbH7
  2. I think that might be Shen Yun. I've been offered leaflets for them many times outside Sadler's Wells at any rate, and was offered one outside the ROH recently. I took one the first time offered but could see I would have no interest in them so I don't take them now. (And I had also assumed they were Chinese, not unreasonably I think given the name. But any negativity about such 'dancers' is clearly related to what they do, not to where they come from.)
  3. I didn't have time to watch the Calvert/Porter clips when you posted them, Fonty, but I have now done so (in fact I've watched all the 1978 fairy variations, with great pleasure). The difference between Porter and Calvert, and between all the fairies then and now, is enormous. My eye has of course adjusted over the years, and I am full of admiration for the skill, strength and artistry of today's dancers. But they train differently, and so they look different and dance differently. It's difficult to be as physically strong as dancers are nowadays and also look ethereal. But my problem with Storm-Jensen wasn't her physique, which could have been used to great effect; it was her lack of dramatic skills.
  4. I don't think you are wrong. The UK Cards Association website says that 'Retailers are required to give you a receipt for card payments in a shop, and you can request a receipt for contactless payments'. (I'm sure the Coliseum would count as a shop.) (And I used to work in a library where we took card payments, and we always gave receipts for chip and PIN payments - where the receipt was generated automatically - and always offered them for contactless.)
  5. She did on Friday night. I don't know about Saturday night. To be honest, I would have thought that she should have done this after each performance even if some of the content may have been a bit different (various 'luminaries' came on stage on Friday night who may not have been at all the performances).
  6. Anastasia Act III was in fact on a bill with Land (Christopher Bruce) in 1989 (finishing with Etudes!). (And the next week: Onegin!).
  7. A thrilling and moving evening, constructed and delivered with real intelligence and panache. I loved the integration of the film and photos with the 'live action', and found the filmed contributions of Beryl Grey especially moving. What an achievement to have kept this company going, and going from strength to strength in often adverse circumstances, for 70 years!
  8. That was the performance not just of a principal but of a star. No wonder her prince was smitten. I just wish they had been matched by a more credible Lilac Fairy. I did think that Gina Storm Jensen danced the variation a lot better than when I've seen her before; but in a company chock full of wonderful dramatic dancers, it is really noticeable when someone isn't expressive especially in such a crucial role. A casting decision I really don't understand. Naghdi and Ball sensational. McNally a wonderful Carabosse. And Elizabeth McGorian the most gracious and beautiful Queen you could possibly imagine.
  9. Yes, he also did it last Thursday - it worked really well.
  10. ENB has tweeted: Casting update: due to injury, Joseph Caley is replaced by Isaac Hernández in tonight's performance of #ENBLeCorsaire at the @LondonColiseum
  11. Yes, she's been off for weeks with illness; I think this is the first time they've said 'injury'.
  12. ENB has tweeted this: Casting update: due to injury, Alina Cojocaru will not be performing in our 70th Anniversary Gala performances on Fri 17 Jan 7.30pm and Sat 18 Jan 7.30pm.
  13. Really interesting film! Thanks for posting it, balletfan2020.
  14. A slightly different issue: in the magazine a new Print on Demand service was advertised for ROH posters, directing those interested to the shop on the website. I went to the shop on the website but no matter how hard I looked I couldn't find anything about it. Eventually I emailed the shop and received a (prompt) reply saying that the service had been delayed and would be available at the end of January. So there does seem to be a bit of a disconnect between advertising in the magazine and immediate availability of details/products on the website.
  15. Agree with all the comments above! A magnificent, supremely authoritative performance from Nunez and Muntagirov and the most beautiful, luminous Lilac Fairy from Kaneko. The company as a whole on great form, and a hugely involved and responsive audience; I've never before heard such an audible gasp go round the auditorium when the King decreed that the women with the needles should lose their heads! So the audience became part of the drama - an essential element of a great performance.
  16. Thank you, capybara; that's very reassuring. My primary 100% concern is for dancers (though audiences are also not unimportant) and I think that the ROH announcement did, perhaps unnecessarily, raise some legitimate questions on behalf of both. And yes, I am very much looking forward to seeing Reece Clarke in Onegin, and apologies for my part in this thread getting diverted.
  17. I'm really pleased they're bringing this SB - it's a rare (for me at least) opportunity to see the Nureyev production and as Bruce says it will give a really good picture of the strength of the company.
  18. There's an advert for the NBC performances in the ROH magazine but I don't know if they're shown on the ROH website yet. The season is presented by Victor Hochhauser and information is apparently on that website though I haven't looked. (I don't quite understand Don Q Fan's post I'm afraid.)
  19. Yes, but it's disingenuous if the casting is known to be provisional from the outset, which doesn't apply to most casting. Would a big opera star be withdrawn with no explanation? (Btw I'm sorry this discussion is happening on the Reece Clarke promotion thread - his promotion is entirely welcome and deserved whatever the reason that prompted it!).
  20. Well we won't know now, will we? Having seen him in Winter Dreams, I think he's a lot more versatile and mature in his acting than he's sometimes given credit for. And the biggest issue is that he was announced as performing the role and then the casting changed with no explanation very shortly before his début. I know casting is always subject to change, but once announced it should really only be changed for injury/illness/unavailability. If it might be changed for some other reason that we don't know about but the company does, the casting should be shown as provisional/to be confirmed from the outset.
  21. Yes - ENB tweeted a few days ago: On Mon 13 Jan 7.30pm, Emma Hawes replaces Rina Kanehara in the role of Gulnare Ken Saruhashi is replaced by Aitor Arrieta in the role of Lankendem on Fri 10 Jan 7.30pm and Tue 14 Jan 2pm. He is replaced in the role of Ali by Daniel McCormick on Thu 9 Jan 2pm In the role of Birbanto, Fernando Bufalá is replaced by Miguel Angel Maidana on Fri 10 Jan 7.30pm, and Henry Dowden on Tue 14 Jan 2pm On Wed 8 Jan 7.30pm due to illness, Erina Takahashi and Francesco Gabriele Frola replace Alina Cojocaru and Isaac Hernández in the roles of Medora and Conrad I didn't realise this info hadn't been posted here.
  22. That sounds like a really good initiative, Blossom. I don't know what primary school assemblies are like nowadays, but I personally think that the information about any music chosen should generally be kept to a minimum so that the children can respond to it and think about it in their own way/s. And I think that the regular use of reflective music would be good, as a counter to the no doubt endless 'stimulation' that will follow during the day, although more upbeat music could be used too. And music that you might not expect to be appropriate; at my (Catholic) primary school in London in the late 1960s, music (chosen by the headmistress, a nun who was very cultured and musical) was played every day as we filed into the assembly hall, and a regular choice was the Sea Interludes from Britten's Peter Grimes. I had no idea what is was or what the context was, but it was hauntingly beautiful and it stayed with me into adulthood and for the rest of my life. So in general I would choose for the music rather than the context.
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