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bridiem

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Everything posted by bridiem

  1. bridiem
    Well I have a lot to compare it with, DanJL, and I also thought it was outstanding! Nunez and Muntagirov not only dance magnificently, they have a bond of such strength and intimacy that the whole tale becomes a new sort of tragedy. Albrecht may have been duplicitous, but his love was real and his despair at Giselle's death is real. And their bond is restored and as strong as ever in Act II; no Wili could break it. No wonder Myrthe - a warrior queen performance from Magri, leading her ghostly cohort who moved as one - cowers before it. And at the end, the flower is not just a memory of Giselle but a symbol of their love which has endured beyond the grave and will sustain Albrecht for the rest of his life. Brilliant.
  2. bridiem
    Any corruption clearly happened on Tuesday morning... (and Chrome works fine for everything else, which is a bit strange).
  3. bridiem
    Thanks, and to oncnp. I will probably try this, but clearing cookies is a pain because cookies are useful! And I resent having the inconvenience when the issue is/was clearly not of my making.
  4. bridiem
    But why would my cookies suddenly be a problem since Tuesday morning?
  5. bridiem
    As the performance will be! I'm sure you'll have a wonderful time.
  6. bridiem
    In case you (or anyone else) is still having problems: I still couldn't sign in to my account (since Tuesday morning), so I emailed the Box Office yesterday and they have replied suggesting I try using a different browser. (I know I could have tried this anyway, but silly me I assumed that at some stage the ROH website would right itself, and Chrome is where I've bookmarked the site.) Anyway I can indeed sign in via Firefox. I asked in reply why there is now a problem with Chrome since I have made no changes at my end and it must therefore be related to the problems on Tuesday morning (for which no apology or explanation has been offered).
  7. bridiem
    Oh no, I'm so sorry to hear that!
  8. bridiem
    Osipova really is a Giselle like no other. As soon as she steps out of her cottage, you know this isn't going to end well. She doesn't just love Albrecht, her whole being revolves around him. Her intensity is all-consuming. (Even her admiration for Bathilde's dress is off the scale.) So when Albrecht's betrayal becomes clear, her life is over even before she stabs herself. And in Act 2 she's more grief-stricken than any Giselle I've seen - although she's saved Albrecht by the end, she's still dead and so can't stay with him. I don't get the sense that this Giselle will rest in peace, though she has at least escaped the Wilis. So I experienced it as more of a tragedy and less of a tale of forgiveness and redemption than usual. I thought that Reece Clarke danced absolutely beautifully (including those unbelievable entrechats six! They went on and on and on...) and certainly looked the part, but I hope that he will develop the dramatic side of the role more in time. I thought that Lukas B. Braendsrod was a very convincing and interesting Hilarion - in his way just as handsome and charming as Albrecht, and so a very plausible 'rival' to him for Giselle's affection. Terrific performances from Mayara Magri as Myrthe and Claire Calvert and Melissa Hamilton as Moyna and Zulme, and the Wilis were wonderful. Sir PW must have been very proud!
  9. bridiem
    No, you're not!
  10. bridiem
    Thanks, capybara! I thought it was but suddenly wondered if I was wrong.
  11. bridiem
    I can't now remember - is this Reece Clarke's debut?
  12. bridiem
    So, no Myrthe tonight! Should be interesting to see how that pans out... 😄
  13. bridiem
    Thank you for posting this, EVWS! Just watched this and it was brilliant!
  14. bridiem
    @Nogoat I actually agree with a lot of what you say, but strangely enough I find that the momentum of the work carries me forward and grips me anyway, as strongly on the second viewing as on the first. With my head I can see all sorts of shortcomings, and they sometimes even annoy me; but I also see such talent, such scale, such brilliance on the stage that I succumb anyway. Which probably says more about me than about the work!
  15. bridiem
    I can't sign in either so I can't access my account, but I somehow managed to book this morning anyway.
  16. bridiem
    I managed to book (through Chrome) in the nick of time and then literally ran out of my flat... I hope everyone else gets in soon.
  17. bridiem
    I've just emailed the Box Office to suggest this.
  18. bridiem
    Some of us planned our day around the 9am time and have to go out at 10am...
  19. bridiem
    Yes, I was there! It was wonderful. But there was no 'official' marking of the occasion on stage.
  20. bridiem
    Just received an email from ROH - Booking open! Except none of it works... So why send the email?!
  21. bridiem
    I've seen a small number in recent years, but I wasn't sure if it always happens now. And I suppose I'm thinking further back to much loved dancers e.g. Lesley Collier, Fiona Chadwick etc where it would have been lovely to have had a proper on-stage appreciation of them.
  22. bridiem
    I read this as not being able to exchange tickets in the last 24 hours, not that you can't return them. ?
  23. bridiem
    I hope the on-stage farewell is now/becomes a tradition for all departing principals (or long-standing dancers). I generally prefer to be at a distance too; but I do end up glued to my opera glasses for long periods in order to see faces properly. I sometimes have eye-ache by the end of a performance!
  24. bridiem
    It is indeed a wonderful video, Sim! I think the first night Myrthe is in fact Mayara Magri. I'm not currently due to see Nunez in the role, but I'm sorely tempted to book more performances in order to see more Myrthes!
  25. bridiem
    It was very emotional, and impossible as the work progressed not to make the association between Dante and Edward Watson. As Gary Avis/Virgil retreated in love before Beatrice took over as Dante's guide, he was saying farewell not just to the poet but also to the dancer. Sarah Lamb/Beatrice was not only guiding Dante into Paradiso but Edward Watson into his new future. The whole company was dancing not only in the presence of the poet but in the presence of, and with, a clearly much loved colleague and friend. And at the end, Watson danced on his own bathed in the light of heaven at the end of a stellar performing career. Absolutely wonderful performance by the whole company, and great tributes in person and on film after curtain down.
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