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bridiem

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Posts posted by bridiem

  1. 3 minutes ago, LinMM said:

    Well unfortunately another triumph it looks like I will be missing. I seem doomed to have a winter without any ballet ( either watching or doing!) 
    Having not had a sign of a cold for over a year…. I’ve now got a really bad cough and cold which has come on over the weekend!! I can’t see it improving enough in time for me to come up to London tomorrow and not cough consistently throughout the performance 😬 so looks like sadly I will be missing tomorrows Manon. 

     

    So sorry to hear this, LinMM! I hope you can get to the 7th and/or 8th performances.

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  2. Impossible, really, to believe that this was Kaneko's début as Manon. She clearly knew exactly what she wanted to do with the role, and did it with no holds barred. I agree with @MildConcern that she wasn't nearly as dazzled by the finery as some Manons; she was acting mainly out of loyalty, or even obedience, to her brother. In fact, for the first time tonight I saw (and felt) the parallels with Von Rothbart and Odile; Manon constantly confers with Lescaut (an excellent début from Joseph Sissens) and then returns to use her powers to dupe Monsieur G.M. But (unlike Odile) her heart really isn't in it - it's with Des Grieux. She's already given herself to him. Kaneko is so beautiful and elegant that her downfall in Act III is all the more shocking to see; from heady perfection to abject humiliation. Devastating.

     

    Unlike @MildConcern, I actually found myself a little frustrated with Muntagirov in Act I; I felt as if he was holding back a bit, or not fully engaged. But he more than made up for it in Act II with a beautiful, yearning, despairing first solo and plenty of passionate engagement with Manon, and in Act III where he flung himself into the drama with complete abandon. The final pas de deux was positively operatic in its grandeur and intensity. Stunning. 

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  3. 5 minutes ago, Fonty said:

    I am not clear what the AD for the RAD actually does?  

     

    When the last AD was appointed, his role was said to be 'providing artistic leadership, creativity and expertise to all areas of the Academy’s work, maintaining its artistic integrity and leading on the development of its artistic, education and community initiatives on a global scale'. I assume that is still broadly the remit now.

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  4. 13 minutes ago, capybara said:

    This announcement has caused me to reflect on Alex’s performances. Conclusion: he seemed to be able to ‘deliver in spades’ across an incredibly wide range of rep., with characterisation being a particular strength.

    The amount of pleasure you have given me, Alex, is MASSIVE. 
    Thank you soooo much 🔥👏🌸

     

    Seconded! He has so many qualities that have made him such a special dancer: purity of line, technical strength and cleanliness, musicality, dramatic skills, sincerity, unobtrusive and sensitive partnering, and a rare kind of showmanship that is theatrical without ever being showy. He approaches all his roles with such intelligence, and produces performances that are consistently interesting, beautiful and (when required!) moving. A very rare talent.

     

     

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  5. 10 minutes ago, Rob S said:

     

    Looking at the instagram post the same post was simultaneously placed on each organisation's account...although there's nothing yet on the ROH website

     

    Thanks, Rob S. Not sure why Instagram should be considered the right place for such an announcement, but at least they did both announce it. (I only check Instagram occasionally since I think of it as a site for photos/videos rather than news.)

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  6. I have to say that I am quite heartbroken at the thought of not seeing him dance (and act!!) any more. He is still at the height of his powers and as his Lescaut last week showed he is a really superb dance-actor. But he has been very under-used in recent years so I'm not surprised he's been looking elsewhere, and this does sound like an excellent opportunity for him. Of course it's good to stop dancing before you decline, but it does make it very hard for your audience! I hadn't booked for 8th March but have just gone online and booked the last seat in the Amphi - restricted view and if I can find something better before then I will, but at least I will be there! The RAD are, I think, very fortunate to have acquired his services and I wish him happiness and fulfillment in his new role.

    • Like 17
  7. 39 minutes ago, Linnzi5 said:

    Maybe I'm being obtuse here. But 'New Choreography' to me means new pieces of dance, not seen before? I.e. premieres?  It doesn't state new or young choreographers, does it? I genuinely am asking if the premise is for new, original works or is the premise to showcase young and new choreographers? 

     

    bangorballetboy was referring to/confused by a post of mine saying that the festival was aimed at young/upcoming choreographers, which (admittedly) is not what the title says.

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  8. 1 hour ago, ChrisG said:

    Hayward and Sambé this afternoon. No words - just sublime!

     

    Absolutely. Sublime. Both together and individually. Hayward a highly reluctant gold-digger, positively skittish in her ecstatic love for DG; Sambé in complete thrall to his adored Manon and unable to believe the disaster that befalls them. Both of them danced unbelievably beautifully and expressively, as if with one body and one heart. And a tremendous supporting cast again (Campbell, Magri, Avis, Edmonds et al). Sublime.

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  9. 1 hour ago, bangorballetboy said:

     

    I’m a bit confused by this.  The clue for me is in the name: “Festival of New Choreography”.  With the greatest respect to them, I wouldn’t call November, McNally, Binet, Bond, Zucchetti or Powell-Main particularly young and they are all well established choreographers.

     

    OK - I suppose the terms 'young' and 'upcoming' are relative (and I must admit that I hadn't even registered that Zucchetti was participating). But I do think that Lang has a significant reputation and could/should have been commissioned for a main stage work before now.

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  10. I thought it was highly likely that at least some critics would not like Twinkle. It was neither edgy nor groundbreaking; it was quietly rather than showily creative; and it was charming rather than challenging. It also used classical technique without seeking to distort - or deconstruct, or reinvent - it in any way. In fact, it was positively counter-cultural in its respect for and mastery of straight-down-the-line classical ballet. And it used traditional and familiar classical music. But for me, all those things marked it out as something rare and wonderful. And in many ways also marked it out as the bravest work on the programme. (It does, however, have a rather silly name... but I suppose it is at least memorable!).

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  11. 17 minutes ago, Mary said:

    Of course Jessica Lang is not a new choreographer but an established one who has worked with ballet companies round the world including BRB.

    Wouldn't it be great if she became an associate choreographer for one of the UK companies for a year or 2 and gave us some more work made on the dancers. She really does use the ballet form, to be danced to music not against it, and to real, live music, not a 'soundtrack' - all designed with much style and wit. I can see her making something very lovely for Muntagirov  - and that is long overdue. If I win on the premium bonds that's what I'd spend the money on!

    'Dream on'.

     

    Yes, completely agree - in fact I did think that she should have been commissioned in her own right and not as part of a 'festival of new choreography' which is otherwise clearly aimed at young/upcoming choreographers. 

    • Like 5
  12. 8 hours ago, Roberta said:

    Current difficulties with staging La Bayadere can be found in this article from last year.  It is a brave AD who gambles with the adverse publicity and possible demonstrations when faced with accusations of religious insensitivity.  In Wales, it was cancelled.  https://www.walesonline.co.uk/whats-on/theatre-news/cardiffs-new-theatre-drops-culturally-25631887

     

    Well let's hope there are some brave ADs around.

    • Like 8
  13. 20 minutes ago, JohnS said:

    Having renewed my Friends subscription I took the opportunity to ask if Ashton casting would be published before booking opens - 20 February for me but I imagine already open for Patrons. I was told Ashton casting is still changing and that casting will be published as soon as possible. The reply continued: ‘We do not wish Patrons to book for a certain cast which will then not reflect who dances in that performance.’ I don’t know if that means it’s better not to publish anything in case it’s wrong but I think I’d prefer to see something even if it ends up not being 100% correct. Surely we accept that casting information is based on best available information and casting can change?

     

    So they seem to be saying that the options are a) booking blind (and risking getting duplicate or less preferred casts) or b) not booking at all until the casting has been published. Neither satisfactory, from anyone's point of view. The booking dates are published very far in advance (by the ROH, not some unknown third party), so the company does know by what date at least the most significant casting needs to be decided. This requirement should be built into rehearsal and scheduling plans. (And yes, I know it's easy for me to say, and I know running a big ballet company is very complicated. But it still needs to be said. Unless the idea is that casting doesn't matter, which of course no-one really believes.) 

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  14. 19 hours ago, zxDaveM said:

    I also saw the Linbury's 'Dark With Excessive Bright' Monday evening. Enjoyed the experience a lot. Getting that close up to watching ballet dancers almost in slo-mo dance mode was something I'll not forget. At one point, Melissa Hamilton walked in front of me in the 'public gangway' and stopped, awaiting her queue to move into the dance space (we were in the walkway), and was so close she could have been wearing my shoes! 🙂 I didn't want to move in case I got in the way, so it was a long hold of breath, I can tell you!

     

    Good thing you didn't step on her toes, zxDaveM!!

    • Like 2
  15. Talk about leaving the best til last... I thought that Twinkle (in spite of the name!) was incredibly beautiful. An absolute joy. Lyrical, fun, gorgeous music, beautiful expressive choreography, wonderful performances from the cast led by Bracewell and Kaneko; I didn't want it to end. Lovely having Kate Shipway doing her pianistic tour de force in full view and as part of a cleverly designed set. I thought it was interesting that in the short introductory film (which preceded each of the works), Jessica Lang said that she always works with the type of dancer/s in front of her - their style is her starting point. And she used the classical technique and sheer beauty of the dancers in front of her to superb effect. Whereas two of the other choreographers imposed their style on the dancers in front of them - and extremely well they danced the works, but they could have been dancers from any other company with any type of training. Whereas Twinkle shone and glittered and displayed the multi-faceted beauty of classical ballet and of classical ballet dancers to joyful effect.

     

    For me, Boundless (Gemma Bond) started well but I found myself losing interest after a while. I found a lot of the choreography overly busy (whereas Jessica Lang had the courage in Twinkle to have many moments of great and striking simplicity), but I thought it was at least a serious attempt to make a serious classical work, and as such should be applauded.

     

    The influence of Crystal Pite on at least the first part of Never Known (Joshua Junker) was clear, and not necessarily a bad thing. I thought this was a competent example of this kind of contemporary choreography, but not something that I would particularly want to see again.

     

    For What It's Worth (Mthuthuzeli November) started well with a beautiful, lyrical solo for Mayara Magri, but the choreography did become rather repetitive and this was my problem with the rest of the work too. It was bright, colourful and pleasant to watch, but I couldn't see much more than that.

     

    Judging by the whoops from the audience, the Junker and November pieces went down best (but who knows the composition of the audience); for me, the other two were more impressive. I would happily see Twinkle brought into the main repertoire.

     

    • Like 10
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