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bridiem

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Everything posted by bridiem

  1. What a wonderful collection, and what a shame it's being broken up.
  2. Well I did get tickets for a Linbury programme last year (I'm a Friend which I suppose helped), but then wished I hadn't because of the appalling sightlines. So even if tickets were available I'd have to see how much they are for seats from which you can actually see anything.
  3. Thanks, Lizbie1. I remember now that one of the reasons I was confused was because there's a Dante Project performance on 14th May so it didn't seem likely the company would also be doing a programme in the Linbury. I suppose the Heritage programme won't involve many dancers.
  4. And yet not all dancers 'do' Instagram, stars or otherwise. Clearly there is a choice involved.
  5. The programme is rather confusing, in fact... In the article 'Coppélia' by Alastair Macaulay, he says 'Petipa's 1884 Russian version, revived in 1894 by his assistants Lev Ivanov and Enrico Cecchetti, became the basis of many Western stagings'. As far as I can see the article about Ivanov by Tim Scholl doesn't mention Coppélia (which I noticed last night and found rather odd). The article about Cecchetti (unattributed) says that in 1894 he staged 'a new version of Arthur Saint-Léon's Coppélia' (it mentions that he collaborated with Ivanov on other works, but doesn't mention Ivanov - or Petipa - in respect of Coppélia).
  6. Given my unfamiliarity with Coppélia, I bought a programme (for once) and so I was able to compare the longer synopsis there with the one on the cast sheet. I did wonder in advance if the 'wheat thing' would be understandable to those who didn't buy a programme, though as I watched I did think it might have become clear as it went on (just as the Giselle flower becomes clear, I think, even if you don't know what it means in advance) - but clearly not, here. It would only take an extra couple of lines in the cast sheet, so it would seem like a good idea to add it in. I did think that the programme (though very expensive, of course) is very good and I think well worth buying (for once...).
  7. I thought both the production and the performances were a total joy. Glorious music, a riot of colour on the stage with the most beautiful sets and costumes, wonderful dancing and characterisation; truly 'such stuff as dreams are made on'. No doubt assisted by having the most superb cast - Francesca Hayward, Alexander Campbell and Gary Avis deserve 'all the superlatives'. And Fumi Kaneko was a gorgeous Aurora, with Itziar Mendizabal a positively spiritual Prayer. Yes, the plot is as thin as air; but like air, it transports you to other realms. It's many years since I've seen Coppélia, and I wasn't sure how enthusiastic I felt about seeing it again. Now, it's right up there with Fille as the most joyous experience I can imagine.
  8. I don't get Dance Europe and I'd missed this completely. Matthew Ball has clearly been involved for some time. I wonder when and for how long he'll be away from the RB? I hope the film is good and a worthy tribute to Spessivtseva - the dancers involved are certainly top quality! I wonder why there's no mention of Diaghilev in the casting?
  9. You see Giselle rising above Albrecht, lovingly watching over him as he weeps at her grave.
  10. She doesn't disappear in the BRB production, and I absolutely love that ending. This one promises to be even more radical (literally). For me, the concept is powerful (Giselle's forgiveness and love so complete that she wishes only for Albrecht's future happiness). But as you say it depends how it's staged - will be very interesting to see if/how it works.
  11. As far as I can see the Giselle broadcast is at 3pm in fact, not in the evening.
  12. I think there might be a bit of shoe hysteria setting in now... I'm very glad that Takada and Hirano are back.
  13. Lovely to see the footage of Seymour and Nureyev. They were my first Aurora/Prince (only my second ever ballet performance, in November 1977) followed a few weeks later by Collier and Dowell with Seymour as Carabosse! Could any of the current Auroras also be a convincing Carabosse?! A certain Natalia springs to mind...
  14. Thanks for posting this, Xandra. I have somehow managed never to hear of/come across British Ballet Now & Then and it looks very interesting.
  15. I noticed that too, but I assumed that that kind of input comes from others in the company and that Samantha Raine's input is primarily technical. i.e. she's a ballet mistress, not a coach. Not sure if I'm right about that though!
  16. Actually I see the Makarova production was 2003, not 2004 - so not even a decade of the previous production.
  17. Really interesting - I watched the ROH programme when it first aired in ?1995, but I didn't remember it in any detail. I've just watched Episode 2 as posted above by Lindsay, and Episode 3 in which the production premières in Washington led by Darcey Bussell and Zoltan Solymosi (who both seem to have done a very creditable job in incredibly difficult circumstances). All horribly stressful and exhausting just to watch! The irony being that with the benefit of hindsight we know that the production, the overspend on which was at least in part justified by the fact that it would last 'decades', would in fact only last one decade before it was replaced by the (short-lived) Makarova production in 2004. The designs for the 1994 production were very dramatic but honestly - poor Aurora/Darcey having to come down a very steep, awkward flight of steps at her first entrance (as if the prospect of the Rose Adagio isn't bad enough!), and I laughed when Vanessa Palmer said wryly 'I feel as if I should be in a Dracula movie'. Quite. Makes me feel rather more kindly towards the designs of the current production. Great fun seeing the dancers rehearsing, chatting in their dressing rooms, flying to the US, etc - many familiar faces, including some who still perform now (e.g. Gary Avis!). It would be fascinating to know how different things might be at the ROH if such a documentary were to be made now in advance of a big new production. Though something tells me that any such documentary would be a bit (or a lot) less candid/open than this one was.
  18. It's not possible to ask someone to sit back in their seat (if they're leaning forward when a performance starts, as sometimes happens) without touching their shoulder (lightly). I've done this many times (and I then ask politely if they could sit back, and say thank you if/when they do). I'm probably lucky I haven't been knocked to the floor subsequently... Terrifying.
  19. So Helpmann was Carabosse as well as Florimund?!! I hadn't remembered that. So there must have been more changes to the text than I realised, since there are times now when both are on stage at the same time. (Did Ashton ever play Carabosse?).
  20. I don't know the answer to your question, Lizbie1, but that's one of my favourite moments too. It was especially beautiful on Tuesday evening as performed by Yasmine Naghdi - it was as if she was turning and bending almost in a trance of joy as her life opened up in front of/around her. Exquisite. (And a terrific Rose Adagio from Fonteyn on the video!).
  21. No, unfortunately not - I'd booked for Tuesday evening when Naghdi stepped in. But 'lumbering' was a bad choice of word in my previous post in any case - the fish dives I've seen in this run have been good; they're just a lot slower now than in the Sibley/Dowell clip. You can see them unfold, whereas they used to be a real and apparently reckless headlong dive.
  22. Wow! Now that explains to me why, although I'm still aware that they're difficult, I don't find the fish dives nearly as exciting as I used to. The dives in this rehearsal are a) much faster, and b) much deeper - real dives! Sibley almost ends up vertical. Makes today's fish dives, even when well done, look almost lumbering.
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