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bridiem

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Everything posted by bridiem

  1. bridiem
    Not quite the same, but I half heard an item on the Today programme on R4 yesterday, about San Francisco Ballet's new AI-related ballet. Honestly; the media are so shallow and impressionable. They ignore all sorts of artistically interesting happenings, but mention AI and they're all over it even if it's a company in San Francisco.
  2. bridiem
    It was Acosta. And how awful, both that someone should say that and that they should be so rude.
  3. bridiem
    The press release does I think run the risk of giving the impression to those not in the know that Acosta will be dancing Colas. (Because it says he 'is' one of the great interpreters of the role, rather than 'was'.)
  4. bridiem
    Yes - Santa or St Nicholas, aka Love.
  5. bridiem
    Speaking personally, I do believe that Giselle flies.
  6. bridiem
    He seems to be criticising both the production and the dancers; I think what he wants is something like the more naturalistic acting of the RB production and dancers. And I think it's true that that production is easier to respond to emotionally, because it's more in keeping with modern sensibilities and expectations. The challenge with the Skeaping production is to watch it with different eyes and a different heart, and with a degree of curiosity; the rewards for doing so are great. But if you come expecting a 'modern' production and being unwilling to adjust, you may struggle a bit.
  7. bridiem
    In some roles the casting does matter (at least to people like us!), but also for those booking more than one performance the aim is (probably!) to see different casts rather than finding you've booked the same cast twice.
  8. bridiem
    I'd be more inclined to say that it's always been a big part of human nature.
  9. bridiem
    This should have been a separate press release from BRB! Or at least given equal prominence.
  10. bridiem
    That's ridiculous. Surely anyone could have done it!
  11. bridiem
    Thank you, @Linnzi5, but there would be every point in you writing your thoughts so please do!
  12. bridiem
    What a terrific performance! For me, Bracewell's Des Grieux was at the centre of this tragedy. From the moment he saw Manon in Act 1, he loved her completely - eros, agape, the lot. All expressed in the most beautiful, lyrical, yearning solo. Whereas for Naghdi's Manon, there was excitement, curiosity, pleasure, and love of a kind; but only in Act 3 does she understand real love, and feel real love, and by then it's too late. The kind of arc that anyone's life could take - the tragedy of realising too late that you've taken the wrong path, with disastrous and sometimes fatal consequences. In Acts 1 and 2 she and her brother are really exercising their power, including over Des Grieux; by Act 3, Lescaut is dead and she's lost everything. Bracewell was absolutely mesmerising; aghast at Manon's behaviour with Monsieur G.M., overflowing with love for her in the various pas de deux, desperate to put things right. But he's betrayed by Manon as surely as Giselle is betrayed by Albrecht. And in the last act here, it's Manon who is filled with regret and horror, and Des Grieux who supports her and loves her to the end. So in spite of the tragedy, there is still love at the end, which is the only possible redemption. Luca Acri was a marvellous Lescaut - ruthless and amoral. Anna Rose O'Sullivan danced superbly as his Mistress, but I do find that role quite unsatisfactory - no real character arc, and fairly repetitive choreography. And this time I found the drunk pas de deux, although brilliantly done, jarring in this context. Gary Avis was a loathsome Gaoler, bringing to mind Amon Goeth in Schindler's List. He didn't want Manon for herself but because he saw that she had a protector; he was asserting his power over not just her but also over Des Grieux. And in the end, the only way DG could fight back was by doing literally that - fighting back and killing him. The end of Act 3 was magnificent, from both Naghdi and Bracewell. Complete abandon, as if in a world of their own; except that we were privileged enough to be witnesses. Superb.
  13. bridiem
    Yes, this is the real point. Whatever they do or don't do about access tickets, the booking information/availability on the website should be clear and unambiguous for all bookers.
  14. bridiem
    Quite. No doubt access seats are offered not just out of the kindness of the ROH's heart but to fulfill funding requirements etc, which would surely be breached by releasing them so far ahead.
  15. bridiem
    ENB have tweeted this cast change, so it's definitely Frola.
  16. bridiem
    But if access scheme members can book online they must have to log in separately if they are able to see the seats that are available only to them; so surely the number of seats available could also be visible only to them.
  17. bridiem
    Perhaps; but if they're not available for online booking, surely it should be possible to remove them entirely from the online booking function? (At the moment they leave them in when citing the number of tickets left but then remove them when you get to the seat plan. Doesn't make sense.)
  18. bridiem
    I sit in the Amphi and I'm tall and I find the legroom OK compared to many other theatres.
  19. bridiem
    Whatever the reason/s are, this is clearly not how it should work.
  20. bridiem
    To be honest, that doesn't make sense to me. If you're not registered as an 'access' person (whoever that might be), why does it show any tickets being available to you at any stage? The system should be consistent from one stage of booking to the next, and it clearly isn't.
  21. bridiem
    If you go to the thread 'ROH Spring 2024 Booking' in the News forum, the last few posts cover this same query/problem...
  22. bridiem
    I think MAB's meaning was that it could only apply when it is his production rather than a different one that is being danced.
  23. bridiem
    In that case they should not be included in the number of tickets left, because they're not actually available.
  24. bridiem
    Tweet from BRB about a Facebook event: Join @BRB and our alumna @DarceyOfficial for a livestream from the studio on 24 January at 19.00 She’ll be coaching company dancers including alumni Gabriel Anderson and Haoliang Feng in the iconic Rose Adage from The Sleeping Beauty.
  25. bridiem
    Yikes!
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