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bridiem

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Everything posted by bridiem

  1. I don't think all the press reviews been raves, in fact. A lot of positivity, yes, but also some reservations/criticisms (and one stinker, as discussed above). And I think the response on this forum has ranged quite widely too.
  2. I was just thinking that, J_New - there didn't seem to be much dancing that actually travelled, and a lot of quite static (and quite clumsy-looking) lifts. Maybe as you say it was partly the camerawork and seeing it live would (will) give more sense of movement.
  3. That's crazy! They know it's a live performance and the timings are approximate, and it can't have 'overrun' by much. It clearly wasn't the ROH feed cutting off since other cinemas were OK, so why would a cinema have a time limit?!
  4. I saw the live screening of this bill at the Ritzy in Brixton tonight. No sound at all until just before curtain up! Which was a bit disappointing (no idea what Christopher Wheeldon was saying) and stressful (in case the sound never materialised, but fortunately it did in the nick of time). I found Dances at a Gathering absolutely breathtaking, from beginning to end. I've only seen it a few times, and not for many years, and I felt as if it was the first time. Alexander Campbell's opening solo was so beautiful and so beautifully danced that I thought I'd died and gone to Heaven. And really that continued for the rest of the piece. Gorgeous music, constantly interesting and absorbing and beautiful choreography, and tremendous dancing from all the cast. Towards the end, when the whole cast stood looking out and up, slowly moving their gaze from one side of the auditorium to the other, each one lost in thoughts, feelings, reflections, I felt moved to tears. Will Gompertz's article last week about beauty came to my mind in respect of this work which distilled all I love about classical ballet and was performed to the highest possible standard. Unfortunately I didn't feel the same about The Cellist. Possibly it will look better in the theatre (I'm seeing it on Friday); possibly filming did it no favours because of all the people milling around and the low level of lighting. But it seemed to me to be murky and turgid and messy, and although it had a few good moments (the orchestral surge in the Elgar Cello Concerto, the wedding, the solo for the child Jackie near the end) I never felt invested in the characters (even when I knew who they were) and I found the choreography for the leading characters largely clumsy and inexpressive and the use of the other dancers a strange combination of symbolic and literal and not working on either level. There were obviously a lot of ideas going on, but ideas have to be translated into effective choreography. The dancers all did as well as they could, especially Cuthbertson and Sambé, but I didn't feel the production was worthy of them. BUT, I hope I may get a different impression on Friday when I will be seeing the whole stage from above and so may be able to see what was going on more clearly.
  5. But it doesn't say 20% of the tickets for each performance. So there could be individual performances - or even productions? - where fewer - or no? - tickets are held back?
  6. Yes, it was M&A. I also thought that casting sounded surprising/unlikely, but since I used to sit out M&A sometimes I couldn't be absolutely sure. After reading Alison's post, I've done some googling and I see that Vera Liber's 2013 review is actually referring to Choe and Campbell in Voices of Spring, when they replaced Cojocaru and McRae; Rojo and Polunin then danced M&A. That's rather embarrassing isn't it?! You'd think someone would at least quote themselves accurately! See https://www.britishtheatreguide.info/reviews/la-valse-med-royal-opera-hou-8542
  7. Excellent and surprising (to me) review of The Cellist by Will Gompertz, the BBC Arts Editor, on the BBC website. He starts with the thought that the concept of beauty suffered under 'the relentless march of modernism with its frigid less-is-more dogma and strict no-frills dress code', and that classical ballet was one of the victims of this; he considers this 'a shame' (which is a rather milder verdict than I would pass, but never mind). I'm not sure how often he goes to ballet, or why The Cellist in particular should have brought produced this epiphany for him, but he does go to the heart of the matter when he says 'beauty should be cherished not banished. It is not uncool or naff, it is an ideal worth believing in and striving for and appreciating'. Amen to that! See https://www.bbc.co.uk/news/entertainment-arts-51591280
  8. What a phenomenal performance tonight from Naghdi and Bonelli. Even more satisfying than the wonderful Nunez/Clarke performance I saw 2 weeks ago, because the chemistry between these two was evident and they matched each other in terms of their complete absorption in their roles and in each other and the incredible level of their artistry. Desperately moving at the end, and they were greeted by a huge roar from the audience at the curtain call. O'Sullivan was an excellent Olga and Sissens a promising Lensky. All the pas de deux in this ballet are so beautiful, interesting, intriguing, moving, fascinating, expressive, poetic. What a ballet, and what a performance.
  9. On my phone downloaded documents go to My Files, Downloads (I think it's a Samsung folder) and they stay there until deleted.
  10. I enjoyed the evening, with the highlight for me being Les Lutins, just before the interval - I hadn't seen it before, and it was great fun and brilliantly danced by Marcelino Sambé, Takahiro Tamagawa, and Cojocaru. Marguerite and Armand was its usual OTT self, but I do increasingly appreciate the quality of much of the choreography and both Cojocaru and Francesco Gabriele Frola were excellent in the title roles. The evening started with Handel's Passacaglia for Violin and Cello, played live on stage, and although it was beautiful it seemed a slightly unusual way to start the programme (i.e. no dance for quite a while!). I enjoyed the first piece (Reminiscence, by Tim Rushton - a pas de deux for Cojocaru and Kobborg) at first, but gradually found it a bit winsome; but lovely to see them dancing together again, and their chemistry is still palpable. There were 2 short films by Kim Brandstrup in the first half, which were very slow and solemn; it was sweet that in the second film Cojocaru was paying tribute to her teachers (I assume - I didn't get a programme, because even if I had it wouldn't have listed who was dancing each piece in the programme, so I just took a photo of the cast list up on the wall - no cast lists were available either in the programme or separately), but it was all rather funereal. I didn't much enjoy Journey, choreographed by Juliano Nunes and danced by Cojocaru, Nunes and Dominic Harrison. But even if this sort of evening is inevitably a bit of a mixed bag, it did showcase the (still evident) beauty of Cojocaru's dancing.
  11. They might have tightened up the timings by Sunday - the first night of a season like this does sometimes overrun. Maybe you could check with SW tomorrow?
  12. I'm not seeing it until the live screening (and a live performance of the second cast thereafter), so I'm intrigued that the reviews have ranged from rave to pan and everywhere inbetween. My only thought so far is that the idea of 21 scenes in 65 minutes strikes me as rather an odd way of structuring a one-act work. But I'm looking forward to seeing it (and Dances at a Gathering - as an Alexander Campbell fan, I was delighted to see one reviewer describe him as 'drop-dead magnificent' in this!! Must be rather nice to get a comment like that!!).
  13. Shouldn't the choreography categories include the word 'new' because the nominees comprise only new or recent works/works not seen here before? (I assume they don't think the nominations are all better than pre-existing great choreography that was on show during the year.) Either way, I'm glad the Shostakovich Trilogy was recognised; but SFB winning outstanding company seems a bit odd to me (though I thought they were excellent). I'm particularly pleased about Gary Avis and Marion Tait.
  14. I watched the series of Strictly Come Dancing that was won by Caroline Flack. I have seen nothing else of her career, but I just wanted to record the fact that she was a really wonderful dancer. She was the real thing. Terribly sad. RIP
  15. I don't think companies should apologise, on the basis that the casting of leading roles already announced should only be changed when it's absolutely necessary, which it obviously sometimes is. But I do think that a reason should be given, partly out of courtesy to those who have booked to see the original cast and partly because the implication otherwise is that dancers are simply interchangeable which is disrespectful to them as well as to audiences. And if the reason is injury or illness, that would normally be stated; if it's not stated, my assumption would be that those reasons don't apply.
  16. Perhaps they didn't want to risk any Scarlett-related comments?
  17. That Balanchine/Tchaikovsky bill makes my mouth water!
  18. The ROH has announced a new Wayne McGregor work, to be premiered by the NBC in November 2020 and then be performed by the RB in 2022: 'In this major new international collaboration between The Royal Ballet and The National Ballet of Canada, Royal Ballet Resident Choreographer Wayne McGregor brings Margaret Atwood’s post-apocalyptic vision to the stage in a three–act ballet, MADDADDAM based on the writer’s acclaimed trilogy of novels: Oryx and Crake, The Year of the Flood and MaddAddam. Themes of extinction and invention, hubris and humanity are spliced together with aspects of Atwood’s non-fiction writings and political voice. Featuring a specially commissioned score from Max Richter, lighting by Lucy Carter, design by We Not I, film by Ravi Deepres, and dramaturgy by Uzma Hameed, this world premiere reunites the creative collaborators from McGregor’s Olivier Award-winning ballet Woolf Works. Kevin O’Hare, Director of The Royal Ballet comments ’Wayne’s genius in bringing together some of the most exciting creative forces in art today reveals itself again with this latest venture. Collaborating with Margaret Atwood, author of some of the most haunting and potent writing in contemporary literature, is a wonderful prospect for our next co-production with The National Ballet of Canada. It’s a dazzling opportunity for dancers from both of our companies to relish.’ Karen Kain, Artistic Director for The National Ballet of Canada adds ‘I am thrilled The National Ballet of Canada will premiere Wayne McGregor’s exciting new work, MADDADDAM, our third co-production with The Royal Ballet, in November 2020. I have long admired Wayne for his intelligent, visually stunning and highly physical work that continually pushes the boundaries of creativity. He has a perfect collaborator in Margaret Atwood. Together they are creating a work firmly rooted in the Canadian landscape exploring themes of extinction and invention, hubris and humanity and activism.’'
  19. Wonderful Insight this evening: Zenaida Yanowsky coaching Fumi Kaneko as Odette and then Mayara Magri as Odile, followed by Wayne Sleep rehearsing Anna Rose O'Sullivan and Joseph Sissens in the Neapolitan Dance. Kevin O'Hare spoke at the beginning and Kate Shipway was the pianist. I'm afraid I can't remember the name of the presenter (Tamsin …?) but she was good. The coaching was brilliant! Yanowsky thrillingly illuminating about both roles (Odette in her own world when she first appears; Odile's arrogance, laughter, irony), and I remembered why for me she was one of the great Odette-Odiles. Both Kaneko and Magri looked terrific. Wayne Sleep was both entertaining and helpful, especially about the Ashtonian emphases in the dance and the need to really present themselves to the audience. Really interesting and enjoyable!
  20. Oh that is indeed sad! I hope he might in fact be able/willing to revisit the role if Onegin comes back soon. (And frankly I don't believe he has a body clock...).
  21. Cojocaru has posted a photo of herself and Polunin in M and A on Instagram, with the text: '@poluninink thank you so much for joining our project! Amazing to share the stage with you again. Very much look forward to our next show @royalalberthall' I suppose we can therefore assume that he is not doing Armand at Sadler's Wells?
  22. I wonder if the Eugenes will do one act each?! And maybe Nunez will run on to replace Osipova at an agreed moment in the ballet.
  23. Given the comma after Tatiana in the email, I read this as the illness applying to Osipova but not to Clarke. But that may or may not be a correct interpretation.
  24. It does say on the info about the Insight that it will be being filmed, but not that it will be livestreamed. Why does the ROH not advertise this fact? (Especially given that it's sold out.) I subscribe to their youtube channel, I follow the ROH on Twitter and I am a Friend, but I didn't know this was being livestreamed. Seems odd if they want to Open Up participation in ROH events.
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