bridiem

33 minutes ago, Dawnstar said:

Oh dear, I'll be seeing him for the first time at his retirement performance. Not the best timing! I've already seen Bolle this season for the first time at what was likely his last ROH performance.

Well, I don't know - I would think 'in the nick of time' would be the reaction to this!

52 minutes ago, bangorballetboy said:

They are listed chronologically - the earliest in the day is at the bottom of that day's listing and it goes upwards from there.  

 

The calendar view is very well formatted for viewing on a smartphone, where each day is a drop down menu, so there's not so much scrolling there.

?? OK, I can see that now - but I'm afraid my visual chronology doesn't work from the bottom to the top. Why would it?!

I rarely look at the website on my phone, for obvious reasons - small screen, slower typing if want to book something, etc. Why have a hugely over-designed website and then (apparently) tailor it to people looking at it on a teeny tiny device??

2 minutes ago, FionaE said:

I shall be more brave ... I REALLY like the new calendar view 😉😂

https://www.roh.org.uk/calendar?date=2020-01

I hadn't seen it until now; I don't like it in fact, because a) it takes up too much space/too much scrolling (as with everything on this website), and b) the events each day are not necessarily listed chronologically. I wouldn't mind if the main stage was given automatic priority and then the rest chronologically; or all events chronologically, with the main stage highlighted (as it is); but neither happens, so you need to look through all the events and work out what's happening when. Surely a calendar should give priority to time?!

36 minutes ago, Xandra Newman said:

 

A faux-pas of the ROH/RB? How can we know? The question is: did they (or did they not) intentionally omit two of their British Principals (Yasmine Naghdi born in London and Francesca Hayward born in Kenya)? Why did they only use a picture of these two British Principals Lauren Cuthbertson and Matthew Ball? Is it a coincidence?? An oversight?

It doesn't bother me but it does not reflect well on the ROH/RB who are so keen to show their all-inclusiveness and diversity, certainly not in the current climate, and this ROH/RB campaign opens itself up for potential misinterpretation.

I presume they used these photos because Cuthbertson and Ball danced R&J together for the first time last year to great acclaim and these are all photos of that performance and the preparation for it. Cuthbertson is sometimes described as a typical 'English rose' (and was so described in one of the reviews of that performance), and Ball got quite a lot of attention as a new British principal when he was promoted (and is generally thought to be very good looking), so I can see why they might decide to use this couple (on this occasion) to promote a British company abroad. If they'd used photos of all the British principals that would surely have been equally or more offensive to many people, since it would be actively excluding the non-British principals. But given 'the current climate' and the nature of the campaign, and if it was going to be tweeted in this country too (which seems pretty pointless), the ROH should have realised this was a potential minefield.

However, my real problem with this campaign is its cringeworthy and illiterate nature. The RB/ROH has always been used for diplomatic and promotional purposes, but this campaign just makes everyone look stupid.

32 minutes ago, Jane S said:

Although it's always nice to see Fille I think the Ashton piece the new generation really needs/deserves to be doing is Scenes de Ballet.

I like to think that it needn't be either/or but both!

1 hour ago, prs59 said:

slightly off topic mewonders?

I don't think so - the post was about Coppélia casting and its role in Christmas programming at the RB.

And now Floss mentions it, yes - Beatriz Stix-Brunell would have been a wonderful Swanilda!

7 minutes ago, Peanut68 said:

And I’ve missed  it timewise today I realise!!!! Drat.... unlikely to be Coppélia for me & DD 😟

? The Friday Rush tickets will be released tomorrow 1pm including for the 2 Coppélias on Saturday.

I do agree that a lot of the choreography was not given full value by the manner of the filming; but I think there was still enough clarity for it to be seen to be exciting. I felt as if we were often watching the action as if we were outsiders looking in on the town and families going through this drama - glimpsing them through gaps in trees/walls/foliage/archways. It made it all feel very real.

I've no idea what ballet newcomers would have made of it (especially with no intro/synopsis/cast at the beginning), but I thought it was brilliant! Really powerful, and filmed in a really interesting and effective way. A bit like going on holiday with an old friend for the first time and seeing them in a completely new environment and so seeing them anew. I thought all the cast were terrific.

1 hour ago, Irmgard said:

But this makes it about financial compensation and greed, especially when Coppelius asks the Duke for the second money bag!  The way both Swanildas I have seen offer him their money bag (which is most likely the fault of the production and not their interpretations) is as if to say "this will pay for the breakages" rather than apologising and consoling him for shattering his dreams!  In Ronnie Hynd's version, Swanilda and Franz kneel at Coppelius's feet to ask for forgiveness and do show genuine remorse and, if I remember correctly, Franz then receives a bear hug from Coppelius!  This is a very touching scene and again, gives the ballet heart, which for me is somehow lacking when Coppelius is only given the chance to play broad comedy.

Yes, it's true that it's all done in a slightly superficial way, but I think that the whole issue of Dr Coppelius's dreams being shattered in the previous act is not really highlighted in this production, so there probably isn't the leeway to then have great remorse etc in the final act. It's all light-hearted, throughout. Which I find quite a relief for a change! No need for a broken heart for once (ballet-going can be quite exhausting). But I agree that the pathos etc (and then the remorse/forgiveness) could be given more prominence.

1 hour ago, Irmgard said:

And it is my one criticism of the otherwise sparkling production of this ballet that there is no remorse, forgiveness or reconciliation between Coppélius and the two protagonists, Swanilda and Franz. 

16 minutes ago, alison said:

My problem with it exactly, with every cast I've seen thus far.

But Swanilda does offer her purse of money to Dr Coppélius as a gesture of remorse (though he doesn't need to take it because he's then given two purses by the Duke), and they then all smile happily, and he then waves enthusiastically down at them on their marriage. They're clearly all reconciled at the end. It's not played out in detail, but it's all there.

16 minutes ago, Fonty said:

It was also great to see so many children in the audience.  I do hope they put Coppelia on again next year, it was such a refreshing change from the Nutcracker, and the youngsters were loving it.

I'd be happy to have Coppélia AND Nutcracker next year!

19 minutes ago, Clara_f said:

Bridiem, I absolutely love your list, what a way to remember the decade! 

 

I'm a bit confused though about a lowlight being the prominence of Mcgregor when the first ballet you put as a decade highlight is Woolf Works? 

Exactly what Sim said! My general dislike of McGregor doesn't prevent me from loving this particular work (which is mostly very unlike most of his other work, I think).

Long as it already is, I can't let my Highlights list above stand without adding two glaring omissions: Gary Avis and Zenaida Yanowsky. I'm sure there are others, but I will now withdraw quietly.

8 minutes ago, maryrosesatonapin said:

On the subject of flowers... do you remember when we used to throw them rather than sedately get them delivered to the stage door?  I remember one performance by Nureyev where I was moved to rush out in the interval in search of a bouquet, and could only find a tiny bunch of anemones on a street stall.  Fortunately we were sitting quite close to the stage in a box, so I was able to throw my little offering down along with all the other magnificent flowers that people had brought.  He picked up my tiny bunch, looked up and grinned and tossed them over his shoulder contemptuously - too small!  I didn't mind one bit - I agreed with him.

Well that was very Rude of Rudi, if you ask me!

I'll start with the Lowlights to get them out of the way. Both my lists are in no particular order of priority or chronology.

Lowlights:

• the continuing prominence of Wayne McGregor at the RB
• the poor quality of most of the new RB works during the decade
• Project Polunin at Sadler's Wells, 2017
• the various issues with the ROH since Open Up (including the new Linbury sightlines)
• the revival of the full-length Anastasia (RB) (though Act 3 still brilliant)
• the ending of the new RB Swan Lake (which will deprive me of my essential SL catharsis at the RB for many years to come)

Highlights (only a few, when there have been SO MANY!):

• Woolf Works, RB 2015 - thrilling, including the return of the sublime Alessandra Ferri
• the 'previous generation' of RB dancers: Cojocaru, Kobborg, Rojo, Benjamin especially and the sadly short but wondrous period of Polunin as an RB dancer
• the 'new generation' of RB dancers, including Osipova - especially Muntagirov, Hayward, Campbell, Sambé and so many others
• someone who spans the two 'generations': Sarah Lamb, the most exquisite, beautiful, moving dancer
• Akram Khan's Giselle, ENB
• Akram Khan dancing anything
• Lest We Forget, ENB 2015
• BRB Giselle 2019
• Rojo's directorship at ENB (though it also marked something of a lowlight given her loss to the RB repertoire and less frequent performances)
• the live screenings of performances - brilliant initiative
• Kevin O'Hare's directorship of the RB (with some reservations, but in general I think he does an excellent job)
• Hofesh Shechter - Political Mother, 2010
• the MacMillan Celebration at the ROH 2017 - the leading UK companies sharing the ROH stage, especially Northern Ballet in Gloria
• David Bintley's knighthood
• reaching my personal landmark of 1,000 live ballet/dance performances earlier this year
• and last but definitely not least: joining this Forum in 2015 - it has completely re-booted my ballet-going (I went to 8 performances in 2010 compared to 38 (plus live screenings) in 2019 - almost back to the heights of my early years of ballet-going!) and the stimulation, learning and entertainment it gives me all the time. So a huge THANK YOU to all the members and moderators!

7 hours ago, alison said:

Have a search for our "bouquets" thread: it may have been discussed there.

 

Didn't Anna Rose O'Sullivan only get the one bouquet for her debut, too?

Yes, she did.

I thought Magri was a lovely Swanilda. I wasn't wholly convinced by her acting in the very early stages, but as the performance went on she inhabited the role more and more and was very sweet, likeable and amusing. I thought she rose impressively to the technical challenges and she has a beautiful amplitude to her movement. Corrales was a suitably flirtatious Franz and formed a good partnership with Magri; and when he could let rip with the Act III solo he did so with great vigour. I also liked Thomas Whitehead's Dr Coppélius and found him more moving than Avis or Gartside (but they had other virtues - I think all three have been brilliant!). Claire Calvert danced the Peasant Girl with style and precision, but with no apparent connection with her partner (Franz); and she was a secure and confident Aurora in Act III. Romany Pajdak seemed a little more comfortable as Prayer and again danced with great beauty. I do find my eye constantly drawn to Annette Buvoli now; I can't wait to see her in more roles. Anyway the performance went down a storm with the audience, and justifiably so.

12 hours ago, HopelessMummy said:

In fact, was Jewels this year? Or last? 

I think it was 2017!

6 minutes ago, NinaNina said:

Hi would love RB to retire Nutcracker and replace it with a new production that fits a world class company and venue.... something to equal the new Swan Lake would be lovely.... surely it’s about time for a new Nut at ROH???

I hope not! I love the RB's Nutcracker. (And if a new production equalled the new Swan Lake, there's a danger that would mean some sort of dodgy ending...).

31 minutes ago, bangorballetboy said:

 

Sorry, Pajdak was both the peasant girl (i.e. the one who dances the czardas with Franz) and Prayer at the matinée (I commented at the first interval that Padjak made the peasant girl a character rather than just a role).  IIRC, Buvoli was the second to appear of the lead peasants (so many peasants, it gets quite confusing).

Oops, sorry - I misread the cast change notice and clearly wasn't paying full attention at that point! I remember thinking that the peasant girl was good, but it's a relief sometimes NOT to be glued to my opera glasses...

My vote would go (unfortunately) to the RB's new work/new music programme in the Linbury in February. It was dire, and exacerbated by realising on my first visit to the new Linbury that the sightlines were terrible. (Though given what we were looking at, perhaps it was a blessing to be unable to see so much of it.)

1 hour ago, Odyssey said:

Unsurprisingly, BRB have made this headline news on their website. It’s accompanied by a nice quote from Sir David.

https://www.brb.org.uk/post/arise-sir-david

Lovely tribute, and lovely and characteristic comment from Sir David. I do feel that it's a great shame (to put it mildly) that he did not receive this honour while still director of the company.

7 hours ago, Peony said:

Megan grace Hinkis is not one of my favourites either but what I will say for her is that she appears to be a very dependable dancer, I’ve never seen a mistake, a trip, wobbles etc. 
does anyone know who the lead female in the character dance in act 1 was? Was it annette Buvoli? Whoever it was I thought they really shone!

Yes, it was Annette Buvoli  (a late replacement for Romany Pajdak, who had originally been scheduled to do both peasant girl and Prayer. Perhaps there was a reason unknown to us for Pajdak not being able to do both).

If I had to choose only one performance, and in spite of the fiercest competition possible, it would be: BRB Giselle (Hirata/Morales). The most exquisite and poetic production, perfectly danced.