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bridiem

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Everything posted by bridiem

  1. bridiem
    I would say that Edward Watson's comparatively unusual appearance has served him very well in his career, and has been an essential part of it. That said, critics should be careful how they express negative views about dancers who are human beings and deserve to be treated with respect.
  2. bridiem
    Yes, that's a really important aspect that's missing from the ballet - the development, learning, and understanding of the creature over a period of time, so that he comes to love human beings and yearns to be accepted by them (and believes that he can be/will be, because he sees the good in humanity). It's what makes the work a tragedy rather than just a horror story.
  3. bridiem
    I did feel sorry for the creature, partly because he looked very like a large, lost baby who wanted to be looked after but was instead beaten and rejected.
  4. bridiem
    That's interesting, and you're right that it's very important to judge choreographers and new works on their own merits and not always to compare them to the comparatively few great works of the past. But if you've seen a lot of ballets you can't watch with the same eyes as a newcomer. I think Liam Scarlett is a very good choreographer, and as you say still young. That doesn't mean that I have to like the tavern scene in Frankenstein (though I didn't object to it as much as some people clearly did). I also think that it's great that on this forum there are people with decades of experience of ballet-watching, and people with hardly any experience. Both bring things of real value.
  5. bridiem
    That's very true. But I think that both the choreography and the music for that scene in Mayerling are much better than in this scene in Frankenstein. Things don't always have to be original - in fact they probably can't always be original - but if they're going to be derivative in theme that's when it matters especially to be fresh in execution.
  6. bridiem
    Me too, and a very happy one this evening!! I will now have to miss the cinema relay of Frankenstein in order to watch the Europa League Final!!!
  7. bridiem
    It seems very strange to do that, though. Many people can only see the company via these relays, so why give them the same principal again? (Wonderful though she is.) No doubt there are all sorts of issues involved in selecting possible dates for the screenings; but why not then allocate the casting to ensure variety for the cinema audience? (And allow more dancers to have this opportunity.)
  8. bridiem
    I think it's just because it's so reminiscent of other ballets and not particularly original choreographically even if the idea behind it is clear. So it's difficult not to think 'here we go again'.
  9. bridiem
    In which case it should not have been used to imply that they refused to dance because of the quality of the ballet. That seems incredibly unlikely to me, especially given the dancers involved.
  10. bridiem
    Thank you so much Sim. You've expressed both the strengths and the weaknesses brilliantly and far better than I was able to. (Though I did feel the torment of the Creature.) And I agree about Nunez and Muntagirov.
  11. bridiem
    I didn't find it overlong - my main problem with it was that it seemed extremely implausible that the Creature would have taken 7 years before looking into his coat pocket to find Victor's notebook. In the book, the whole process of him understanding about his creation and his relationship to other humans and to Victor is dealt with gradually, and is very interesting and touching. If you hadn't read the book (which I only did in the last few weeks, in preparation for seeing this ballet) I would have thought that that would seem a bit odd.
  12. bridiem
    That's interesting - perhaps there should be! These writers are effectively providing the scenario, which if provided by a living author would surely be credited.
  13. bridiem
    I hadn't noticed that Mary Shelley isn't credited on the cast sheet - that's outrageous! Without her there would be no ballet. I hope that will be rectified quickly.
  14. bridiem
    Thanks, zxDaveM - lovely photos! I was at the premiere tonight and I thoroughly enjoyed it. Visually spectacular, full of drama and pathos, moving depiction of all the relationships and especially that between Victor and the Creature, and great performances. I found the music interesting and sometimes effective, but at times it was too much like an accompaniment rather than something that actually drove the action on, and for me that sometimes led to passages that were a little unfocussed. But there were also times when it sounded like an old Hollywood film score (which is intended as a great compliment!). In fact I thought that the whole ballet was very cinematic, and in some ways very old-fashioned: a great story told with intelligence and panache within a carefully worked out structure. And choreography used to convey relationships, emotions and incidents, not to display extreme athleticism and physicality for its own sake. I hope I will be able to see it again since it's difficult to take in so much in one viewing. But the dancers were wonderful, with McRae both moving and frightening as the Creature, Morera giving the role of Elizabeth such poetry and depth, and Bonelli effectively conveying Victor's desperation. Alexander Campbell really stood out too for me as Henry - such personality, and such terrific dancing!
  15. bridiem
    That doesn't fill my heart with joyful expectation... However I must remember Mayerling, which could of course carry the same health warning (though not sure if it does).
  16. bridiem
    Sounds as if you wept a whole lake of tears, Janet!
  17. bridiem
    Clearly a lot of people think that Nagdhi is not just beautiful but also exceptional (a view to which they are entitled). Many other dancers also get praised, so I'm not sure what the problem is.
  18. bridiem
    Yes, I thought the dancers were superb and what a great advertisement for ballet! Very small stage that must have been tricky to negotiate but they were all brilliant. (And Catherine Tate's comment after the R&J pas de deux was good too - 'when I see what they do with their bodies, I think they must be from a different species' or words to that effect. I hope a lot more people now realise how amazing they are, and ballet is!
  19. bridiem
    I didn't see Osipova this time round because of her injury; and of course no two performances are the same anyway. But I think I understand what you mean, capybara. I think that Osipova is like an old (not literally!) Hollywood star - whatever character she's portraying, she's always ultimately herself. A bit like Nureyev, who was always Nureyev. But I find her so fascinating and her dancing so blazingly intense, individual and impressive that I don't mind that. She (like Nureyev) sweeps all away in front of her. But there's also a slight sense of fragility, or even sometimes inconsistency, that for me just adds to the drama. I understand why it might have a different effect on others, though. I agree about Matthew Golding, but wasn't fortunate enough to see Nunez as Myrthe.
  20. bridiem
    That's a real shame, capybara. I think it all depends on how criticism is expressed - i.e. not cruel, dismissive, destructive or simply rude. I read very few such comments on the forum and ideally there would be none. It's like reviews/critics - there are some reviews that are simply nasty and personal. But thoughtful/appropriately expressed criticism should always be welcomed (even if it's in respect of one's own favourite dancer/s! And even we don't in fact agree with it).
  21. bridiem
    I wanted to share with the forum a very special part of my niece’s wedding last weekend: she and her soon-to-be-husband walked up the aisle together to the finale music from The Firebird. As the familiar notes started very very quietly and slowly, the congregation turned to the back of the church and waited to see the bride and groom, and we waited and watched as the music grew slowly and gradually, and the volume rose, and they started walking forward and the music swelled again, and the magnificent sound reached its full pitch of glory as they arrived at the sanctuary. I’ve always loved the ballet and the music, and of course since the finale depicts the wedding of Prince Ivan and the Tsarevna it was highly appropriate. It was incredibly powerful and effective, and (for me at least!) unbelievably moving. And I will never be able to watch The Firebird again without this (joyful) association!
  22. bridiem
    I've just been to the Encore showing at Wimbledon Odeon. Wonderful to see the close-ups (and the backcloth which I never see much of from the Amphi). Nunez and Muntagirov absolutely stunning, again! I found the presenter very patronising, but exciting interviewees and rehearsal footage, including several comments I'd never heard before: Peter Wright saying that the sword takes control of Giselle, and chases her - very interesting concept!; and Nathalie Harrison saying that one of the 'poses' of the Wilis is as if they're holding the babies they never gave birth to, from marriages that never happened. Unbearably moving. Not a very large audience, but clearly very absorbed. These screenings really are brilliant. Oh and another thing that really struck me was Muntagirov right at the end - his expression of exultation, relief, love, joy. Not grief or shame, now; he is experiencing the joy of redemption AFTER the guilt and agony. Which was so beautiful. If Albrecht is still only grief-stricken at the end, it doesn't convey the whole point of the ballet.
  23. bridiem
    That last point is interesting. It implies that the RB must ensure that it's showing world-class dancers, regardless of whether or not they are RB dancers or have come through the company or school. Shouldn't the company be respected for producing such dancers, rather than just employing them? If it is in a slightly fallow period (which is perhaps arguable), perhaps it should show the best it does have and be judged on that.
  24. bridiem
    I was a bit nonplussed by this. Nice to see Ferri 'out there' in the real world, so to speak; but is it really the use of Boot products (or any other products!) that has kept her body so strong and supple? I think not. She's a tremendous advert for ballet training, and for sheer artistry regardless of age; but not for beauty products.
  25. bridiem
    Floss said: 'Finally there is Firebird. There are excerpts of Firebird available on DVD with Fonteyn and Somes and the complete work danced by Leanne Benjamin is also available. I thought Benjamin was extraordinary in the role because of the way in which she portrayed the bird's wildness, its fear and its power. Those in a position to know said she was the best since Fonteyn . I managed to see her several times in the role at the theatre and she was certainly the best that I have seen and some of that comes out in the recording.' Completely agree with you about Leanne Benjamin as the Firebird, Floss, and I'm glad to hear that others do too. And you've reminded me what an amazing character dancer David Bintley was. eg Widow Simone. I should have added him and David Drew (and no doubt others) to my favourite male dancers list, since they are just as rare and precious as the great male star dancers. (Edited to indicate Floss's quote - messed up the Quote function.)
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