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bridiem

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Everything posted by bridiem

  1. bridiem
    I wasn't really expecting updates before the event - I'm just looking forward to going to it!
  2. bridiem
    Enigma was in my first ever mixed programme too, AnneL! So will always be (extra-)special for me. Exciting for you to see it again next season!
  3. bridiem
    Great review, Mandy! Sounds far too cool for me...
  4. bridiem
    Hmm. Not sure about this, though I can see the thinking. The Genée awards have a long history, and were named thus for good reason.
  5. bridiem
    I last saw the company do it in 2000!
  6. bridiem
    I'm not sure how they know for sure what the 'demographic' is every night; I have rarely filled in surveys, and my work and financial situation has changed radically in recent years. And, the only possible starting point for reaching a wider audience is to address the ticket prices; not to put them up, by whatever rate of inflation they use.
  7. bridiem
    That's true. And I'm sure that if Polunin had stayed, he could have negotiated a similar arrangement in due course. He had the talent. And I wish he had done that.
  8. bridiem
    Yes; and she joined the Royal Ballet...
  9. bridiem
    I really don't care what his opinions are, or whether or not I or anyone else agrees with them. He is clearly immature and troubled, and I just wish he would stop leaving himself open to criticism. (This applies to a lot of immature 'celebrities' who find themselves in the public eye.) The only thing I can judge him on are his dancing and his artistic choices; the former used to be magnificent but from what I've seen has deteriorated noticeably, the latter are from what I've seen highly questionable.
  10. bridiem
    Thrilled to see Fonteyn's Firebird costume (plus lovely photo) in the Amphi bar last night (next to the toilets...). Also lots of lovely photos of her.
  11. bridiem
    Oh dear; I think it must be me... I'm afraid that although I thought Corrales's dancing was excellent, I wasn't convinced by his acting to any real extent. So I didn't really feel involved with the tragedy; only when Juliet was dancing on her own was I moved, and that's not really enough. I could see the great potential of the Corrales/Sambé/Hay/Ball quartet, but for me it fizzled out because I didn't believe sufficiently in Romeo as a character; but there were moments that nearly worked, and I liked the times when he became almost non-balletic as he seized Juliet and grabbed at Tybalt. I hope if I see him again in this role I will react differently. Sambé was superb again, as was Hay, and I found Ball an intriguing Tybalt. Hayward danced with incredible lightness, like a firefly flitting round the stage, and was completely believable and very touching. Gary Avis was terrific as a domineering, exasperated, but also loving father. Amazing that this was the 500th performance of R&J at the ROH! I had hoped that Kevin O'Hare might come out front again to say something about this; but I suppose he's had quite a busy day already... I wonder if Lady MacMillan was there. Anyway - here's to the next 500!
  12. bridiem
    Yes, in the main house. (The last bill includes Corybantic Games plus a tbc.) There are several posts above that give links to the info on the website, the calendar and the press release, so I haven't tried to find them separately.
  13. bridiem
    He did Don Q with Magri, who is taller than any of these ballerinas. But as Douglas Allen says, there may be other reasons why he hasn't been cast. Well I very much hope so, at any rate... 🤨
  14. bridiem
    No - strange because it's almost the first thing mentioned re the RB's new season. Perhaps it's being performed in Birmingham? In which case why highlight it like this? I really really don't want Ashton (or MacMillan) to be classed as a 'Heritage' choreographer. He may have died, but his work is living and breathing (when it's given the opportunity to do so).
  15. bridiem
    That interpretation doesn't fit very easily with the press 'embargo' until 11am.
  16. bridiem
    You can have mine too, zxDaveM! (Unless the tbc is, say, Scènes de Ballet... )
  17. bridiem
    Terrific photos, Rob S! Thanks to everyone who posts curtain call photos - it's lovely to see them.
  18. bridiem
    That gives a slightly better balance to the bills in the main house. The thinking seems to be (to put it crudely): one classical bill, one neo-classical, one contemporary, and one new. Seems a bit formulaic to me, and not a formula I much like. And very disappointed about the comparative lack of Ashton, and the limited range of Ashton and MacMillan one-acters that ever seem to be considered. Very pleased to see Coppélia there, though (as you will have gathered) I would have much preferred Cinderella. And delighted to see Tombeaux. Unlike (it seems) everyone else, I was underwhelmed by Onegin when last seen (though I loved it many years ago when performed by LFB/ENB). I hope my mind will be changed this time; perhaps I was in the wrong frame of mind when it was last performed.
  19. bridiem
    Having said which - I can't see that bill mentioned now - ?
  20. bridiem
    Just as well I didn't...
  21. bridiem
    Ah - I wasn't sure. Thanks for correcting.
  22. bridiem
    Why does the Royal BALLET celebrate Cunningham, the most 'contemporary', non-balletic choreographer you can imagine, and ignore Balanchine??!
  23. bridiem
    And Alice, I think.
  24. bridiem
    I think he was pretty near the complete package when he was with the RB. He was the most exciting dancer I'd seen for many years. I'm not dead set against him at all; I just lament what could have been. (Of course I didn't see him in Moscow. But I have seen him in London in recent years.)
  25. bridiem
    What a debut from Beatriz Stix-Brunell! Ably supported and partnered by a strong, ardent Romeo from Ryoichi Hirano. Stix-Brunell was riveting, right from the start. Every moment it was clear what she was thinking and feeling. She was so young and bouncy and jumpy in the first scene; more puzzled than anything by Paris's attention. And when she sees Romeo at the ball, again she's puzzled, confused, stunned - she has no idea what's happening to her. Then the joy comes, and her lightness and expansiveness and abandonment - physical and emotional - are thrilling. Only gradually, as the terrible tale unfolds, does she begin to take charge of herself and her situation, in spite of her grief and fear. Her dancing throughout was so expressive, with every detail vivid and individual. In the last act, she was the most believably 'dead' Juliet I've ever seen as she slipped out of Romeo's desperate arms; and when she woke up and realised where she was, she all but fell off the tomb in her shock. A stunning performance.
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