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bridiem

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  1. 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.
  2. bridiem
    Nice tribute to the Ballet Association in an email just received from the ROH: THANK YOU TO THE BALLET ASSOCIATION This week we celebrated the 10th anniversary of the Frederick Ashton Foundation with an Insight exploring the genius of Frederick Ashton. And thanks to The Ballet Association we were able to film it to share with our Friends and Supporters next month. Keep an eye on our social media and website for the date. The Ballet Association was formed nearly 50 years ago to support the Royal Ballet Companies and School. The Association has regular meetings with dancers, choreographers, etc., and various events including an annual dinner, visits to the Royal Ballet Upper School, Birmingham Royal Ballet and Elmhurst Ballet School, and, in recent years, a studio rehearsal with the Royal Ballet. The Association regularly sponsors the Royal Ballet’s Draft Works programmes. This season the Association has also supported the Ashton Rediscovered performance in the Linbury Theatre, so enabling it to be streamed. Information about The Ballet Association, including a membership form, can be found on their website www.balletassociation.co.uk
  3. bridiem
    Yes, she was stunning. I assume that it's too early post-injury for her to be cast as Myrthe yet, but I really hope she will be able to revisit the role next time.
  4. bridiem
    Yes - the Ballet Association is effectively the supporters' club for the Royal Ballet, whereas the London Ballet Circle has a more general remit. See About Us - The Ballet Association
  5. bridiem
    Interesting post, RosiesDream! I suppose in classical musical terms it's like the difference between an orchestral or instrumental work and songs/opera where there are words/a story. But they're all classical music. Same with ballet - some ballets have 'words'/a story whereas others simply convey a mood or images. I agree that some abstract works can look similar if they're not very good or original, but the good ones are definitely distinctive.
  6. bridiem
    And a great ballet conductor.
  7. bridiem
    Thank you for these interesting reviews. I was originally intending to book for this (if possible) but the amphi prices for Romeo and Juliet blew my budget. But I'm glad to hear other people's impressions.
  8. bridiem
    I do love this forum. Only here could we start off with Romeo and Juliet and end up with The Exorcist. 😄
  9. bridiem
    Such conditions would go far beyond the existing conditions/guidelines for membership of the forum, which seem to me to be perfectly adequate.
  10. bridiem
    Usually involving the suggestion that 'it must be something wrong at your end'.
  11. bridiem
    🤣🤣
  12. bridiem
    Both left and right look completely unattainable to me!!
  13. bridiem
    Thrilling, gripping, moving, weird, mystifying, ugly, bursting with energy and at times achingly beautiful. The darkness, the love and the light embodied in these brilliant dancers, to a monumental score and with spectacular designs. A hugely ambitious work and hugely enjoyable. Edward Watson terrific as Dante - questing, suffering, learning, loving; Gary Avis wonderful as Virgil, guiding his charge with a stern but loving authority; and Sarah Lamb, the epitome of beauty and clarity, quietly showing Dante his - and our - ultimate destination. The sections are surprisingly uneven in length - Purgatorio and Paradiso are both only about half as long as Inferno, which I think is a shame. And there are a few times when I found the choreography a bit less lyrical than I might have hoped and the 'storytelling' aspect slightly obscure. The music is to my ears a complete smorgasbord of styles, influences and direct quotes from other composers; but it's exciting and hugely powerful, and matched in force by the choreography. The designs are simple but evocative and effective. A major achievement for the company and all involved with the production.
  14. bridiem
    So was I! One of the highlights of all my years of ballet-going.
  15. bridiem
    Absolutely, capybara! Opinions are subjective and influenced by all sorts of things that will differ from person to person. And only a small number of people have posted any doubts here, whereas Naghdi and Muntagirov got a great reception last night and so clearly thrilled the vast majority of the audience.
  16. bridiem
    Yes - the announcer's request is steadfastly ignored by those not already wearing masks. But I'd rather the dancers didn't get involved in the whole mask-wearing issue. And I suspect those who ignore the current announcements would ignore them too. As far as I'm concerned, at the moment wearing a mask when asked to do so is simply a matter of courtesy.
  17. bridiem
    They're not the auditorium announcements. I don't hang around in the foyer so I haven't heard any announcements there.
  18. bridiem
    I've been very profoundly moved by Muntagirov in dramatic roles in the past, but I felt last night that he was 'performing' Romeo rather than really inhabiting the role. I didn't know if I felt that because I was very distracted anyway; I thought it could be my fault for not engaging properly. But his dancing was magnificent, as was Naghdi's. I felt something similar about her, though (hence my doubt about my judgement); I rarely actually believed in her as Juliet rather than as a brilliant dancer dancing Juliet. But I did find the last act moving. And I thought the new harlots were all terrific.
  19. bridiem
    Great. So we now need to check in two different places to see if the cast sheet is up. 😝
  20. bridiem
    That's so funny, Borzoi! But I do understand - even if you really love ballet, there are times when it does take a real effort to go through the whole palava of getting to a performance and getting home afterwards and etc. There have been a few occasions on which I've chickened out; but when I force myself to go, I'm almost always very glad in the end that I did. Having said that, I now remember a performance by Houston Ballet many years ago at Sadler's Wells - it was Peer Gynt. I'd been very tired and quite reluctant to go, but I did force myself, and I thought it was just awful. It was when some large artificial camels came prancing on that I drew the line and made for the exit.
  21. bridiem
    In any role where a story is being told or a character portrayed, I find Osipova almost disturbingly brilliant. Her intensity blazes off the stage and her body is thrown full tilt at the choreography with not the slightest hesitation or inhibition. That can make for (and has often resulted in) the most thrilling performances possible. She's an absolute phenomenon and I feel so lucky to have experienced her.
  22. bridiem
    I agree that those could be seen as more natural pairings, but I felt that with Bracewell's Romeo there was an element of him playing the 'lad' because his life had no focus - he was just joining in with messing around with his friends; but when he saw Juliet, he instantly recognised what he was missing and matured before our eyes into a serious and passionate young man. And Kaneko's Juliet saw past the laddishness to the real person underneath, and knew this was it. Together they would fly through life, supporting each other, growing together, and bearing each other's burdens. Except that, tragically, they didn't.
  23. bridiem
    Exactly how I feel, JennyTaylor. Just sublime. Incredibly moving and incredibly beautiful. Bracewell doesn't dance to the music, he dances with the music and so the choreography sings as it should. Real, profound artistry. How is it possible that he's not a principal?! The sheer beauty of Kaneko's dancing, the light and shade, and the melting, yearning, ecstatic partnership with Bracewell. Just brilliant.
  24. bridiem
    Great, thanks Richard LH - I was afraid this wouldn't be up before I leave in the morning. (I find the spacing on the lists a bit tricky - it was only when I thought Bennet Gartside was down to do Nurse that I realised I was reading the wrong lines...).
  25. bridiem
    Tubular Bells/Mike Oldfield?
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