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bridiem

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Everything posted by bridiem

  1. No, I don't think they need a thematic connection. But there needs to be some sort of coherence, I think, especially in a double bill, and I can't really see it with these couplings. For me Song of the Earth is not an opening ballet anyway - it's too rich, heavy, serious. I would want it either central or last on a bill. And La Sylphide needs to be watched with a completely different mindset. But maybe it will be fine in practice! I'll be delighted to see them both anyway.
  2. Surely the participants in a gala should only be listed if they are definitely going to perform (barring injury or illness of course)? If their appearance is speculative/not confirmed the publicity should list them as 'possible' participants or similar (or not list them at all). Otherwise people are booking (expensive) tickets on false pretences. (Not talking about myself - I haven't been to a gala for years.)
  3. Very interesting rep; my only reservation is that I can't quite imagine how the works on the double bill will go together. Song of the Earth and La Sylphide?! Maybe it will be fine but it really doesn't strike me as an obvious match. It's many years since I've seen Le Jeune Homme but I'd have the same thought about that combination. But can't wait to see them anyway!
  4. I think that men are rather extraordinary beings too; and there are very few full-length works built around a dramatic male lead in the way that Mayerling is, whereas women already have a wide spectrum of possibilities.
  5. I too would love to see My Brother, My Sisters again.
  6. Reminds me of the University Challenge in 2015 when a team was asked three ballerina-related questions, and in the end the only answer they gave to all three was 'Margot Fonteyn'. (See the Raven Girl thread.)
  7. Off with your heads!! Unless of course there's a kindly Queen lurking, to plead for mercy on your behalf...
  8. Not treason at all, TothePointe! I actually agree with much of the above, but in the end I just allowed myself to be swept away by Osipova because of her incredible dancing and vivid personality. It was however like watching an exotic orchid amidst a bed of roses - no insult intended to either; just not a convincing blend and so for me not a convincing performance as a whole. But I'm still very glad to have seen it!
  9. There would be nothing wrong or immature in his views if he showed any awareness of the fact that, as Saodan said, ballet is a collaborative art form, and that going it completely alone (especially from a very young age) is pretty well impossible and very unlikely to result in artistic growth. Someone like Sylvie Guillem clearly did understand these things, and combined company membership and solo ventures with great intelligence (and she was hardly a conformist 'employee' - I'm sure she found the RB frustrating at times, but she also used the company to her own great benefit).
  10. I don't think a ballet tourist is someone who travels to see ballet; it's a tourist who includes 'going to a ballet' (or 'going to an opera' or 'going to a play') as part of their trip to London (or wherever else they may be). And, as someone who works in central London, I don't think there is now such a thing as a 'tourist season' in this city; it is full of tourists all year round.
  11. Surely it's just an observation; it's perfectly possible to get a sense of what kind of audience it is at each performance (whether or not the sense is actually correct).
  12. I think that's key - if they didn't have the lights on the curtain, people wouldn't get the subliminal message that it's some sort of pause/intermission.
  13. Only whilst they're in the company. I'm sure there are times when the RB fails individuals, as all employers do (even good ones). But I wouldn't say that there's extensive evidence of lack of care.
  14. I hope that by 'hoi polloi' you simply mean 'the many'. In which case, yes - I think ballet is unlikely ever to be a fully mainstream art (though I'm not sure I understand why). But for all sorts of reasons I think it's really important to at least try to widen its appeal.
  15. In fact I really enjoyed Mendizabal as Princess Florine. I thought she was very elegant, expansive and gracious.
  16. I suspect that there has always been an interest in such things; social media is just a new channel for satisfying it, though I agree some of the publicity is very lightweight. And if streaming insights means that many more people can see them that's fine with me. But although I found the video about dancers preparing their pointe shoes fascinating I also thought that publicising to the cinema audiences the fact that the RB spends £250K a year on pointe shoes was positively embarrassing. It made even me, a hardened ballet fan, think - WHAT??? (It was interesting to hear Beryl Grey at the live
  17. That's true, Fonty, but I wouldn't say that this princess was actually indecorous (though others might disagree). It strikes me as a reasonably benevolent Court that might tolerate a degree of exuberance in its beloved princess.
  18. Reminds me of a performance I went to there many years ago, when latecomers kept being admitted during a Merce Cunningham piece that was being performed in SILENCE!! So the ONLY sound that could be heard was the whispering and shuffling of the latecomers and ushers etc. Completely ruined the performance. In the end it was so farcical that I Ieft the auditorium myself, very angry and upset, to protest with the staff outside and I then went home. I wrote to the theatre afterwards and they offered me a free ticket or credit voucher or some such. But that was the exception at the time; now, it see
  19. I didn't think she seemed too young, Fonty; just incredibly vivid, ecstatic etc. Must have been a handful for her parents (though they did look as if they were quite fond of her).
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