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bridiem

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Everything posted by bridiem

  1. bridiem
    Yes - if he was a fellow dancer I could understand it since it could induce exasperation or envy! But for a reviewer, it is indeed baffling.
  2. bridiem
    Yes, débuts! (And no doubt débuts in some other roles too.) Should be exciting and I hope you enjoy it.
  3. bridiem
    On one occasion in Act I, she was turning so fast it was almost a blur, and I think she put in one turn too many so she did finish up a split second behind the music. This was right at the beginning, and I put it down to excitement and enthusiasm to do her utmost best. Other than that, I thought she was superbly musical throughout.
  4. bridiem
    Ah, I see - or rather, I didn't see. I just saw Carabosse herself slither behind the bed, but it wasn't clear that she'd expired. That's a blessed relief! Thanks, Sim.
  5. bridiem
    Lucky audience indeed. Superb dancing at all levels, and a real sense of the company's total commitment to this ballet. You'd never have guessed it was the first show of the run. Yasmine Naghdi was a breathtaking Aurora. All the technical challenges dealt with with complete insouciance and a brilliant smile. Matthew Ball a handsome and supportive Florimund. Kristen McNally a terrific Carabosse, rejoicing in her evil and all but licking her lips as she cast her wicked spell. Fumi Kaneko a serenely beautiful and gracious Lilac Fairy. And so many other riches. No-one does regal like Elizabeth McGorian. Hayward and Sambé as Princess Florine and the Bluebird flew through the air and flitted and sparked like truly magical creatures. I normally find Puss-in-Boots and the Cat, and Red Riding Hood and the Wolf, a bit tedious; but they were performed with such verve tonight (by Paul Kay, Ashley Dean, Romany Pajdak and Nicol Edmonds) that they were hugely entertaining. I thought all the fairy solos were excellent, as were Hay, Magri and O'Sullivan as Florestan and his sisters (once more, Hay and O'Sullivan seeming like a perfect match). And Thomas Whitehead a convincing, fussy, indignant Catalabutte. He and the King (a lovely performance by Christopher Saunders) could both however learn something about not passing the buck: the King is happy to land Catalabutte in it when Carabosse demands to know who is responsible for not inviting her to the christening; and Catalabutte is quick to point the finger at the women who had the knitting needles, knowing it could seal their fate. What rotters. I still find many of the costumes for this production a bit garish, and the effect of the forest growing isn't as effective as in other/previous productions. And I'm not happy with the ending in respect of Carabosse - she appears to have been defeated by the Lilac Fairy en route to the palace, but she then pops up again and creeps over to Aurora's bed, only slinking away behind it when the Prince approaches. But where does she go? She needs to be seen to be defeated once and for all, and that doesn't seem to happen (although it says in the synopsis that she is 'finally vanquished' - but that isn't made clear on stage). I was left with the horrible sensation that she and her rats (which were amazingly rat-like) might rise again. I also preferred the ending where tribute is paid ultimately by all to the Lilac Fairy, whereas here it is Aurora and Florimund who are given the final reverence. But all in all, a great performance abounding in magnificent dancing.
  6. bridiem
    Like those surveys you get after a hospital appointment - would you recommend us to your friends?! (At least they don't ask if you enjoyed it.)
  7. bridiem
    Kaneko, McNally, Hayward, Sambe (don't know how to do an accent on my phone!). Great performance - just leaving.
  8. bridiem
    All the right notes, just not in the right order?! Sounds fascinating.
  9. bridiem
    Whatever the reason, I'm very glad she's now speaking to us in English! She's as vibrant in English and she is in Russian.
  10. bridiem
    Thank you for reminding me of the slow, shallow lift, Nogoat - I also found that incredibly moving and I'd never really noticed it before last night. The whole truth of love and life expressed through one simple, slow, careful, precious movement. Amazing.
  11. bridiem
    I assumed that the Odeon would be cheaper than the Curzon, but I see it's actually more expensive. Maybe that partly explains the emptiness!
  12. bridiem
    The Curzon. (I don't know if it was on at the Odeon too.)
  13. bridiem
    Just to add that if a DVD is released of this, I will buy it INSTANTANEOUSLY!!
  14. bridiem
    I saw the live screening in Wimbledon - the cinema was pretty well full. What a brilliant performance of these three magnificent works! The company now on top form in all three. I loved Anna Rose O'Sullivan and James Hay in the first movement of Concerto, and Naghdi and Hirano were unbelievably beautiful in the second, with Mayara Magri bold and bright in the third movement. Seeing Enigma Variations close up was wonderful - every nuance and detail clear, and a really moving performance. Christopher Saunders was touching as Elgar, with Laura Morera intensely musical and quietly dramatic as his loving wife. Hayward was a scintillating Dorabella and Acri a thrilling George Robertson Sinclair - so fast and nimble! The general rejoicing on the receipt of the telegram, before Elgar has seen it, was so beautiful - all his friends rejoicing, dancing, rising, spinning, in the knowledge of the happiness he was about to be given - their selfless love and artless affection distilling the whole essence of the ballet. And Raymonda was absolutely brilliant, with Osipova a less mysterious but more exotic princess than Cuthbertson, and Muntagirov beyond perfect as Jean de Brienne. Dazzling all round.
  15. bridiem
    So if it's Macmillan's choreography, I wonder what 'reimagined' means (apart from redesigned)??
  16. bridiem
    I've received an email about Coppélia: Our records show that you are due to attend a performance of Coppélia. We are contacting you to let you know about the following cast changes: Thursday 28 November, 7.30pm Wednesday 4 December, 7.30pm Saturday 4 January, 7.00pm Due to injury Steven McRae is replaced by Alexander Campbell as Franz.
  17. bridiem
    Fascinating! I'm so sorry about your ankle, Ivy Lin.
  18. bridiem
    What lovely photos and testimonials! Good for him.
  19. bridiem
    Gailene Stock was awarded it in 2016 and Jay Jolley in 2013. I remember reading about these at the time and I've just googled and can see those but can't see any others mentioned - these were both publicised by the RBS rather than the RB. It would be good if the RB publicised these awards themselves. (Or maybe they do, but if so not very effectively!).
  20. bridiem
    Yes, and I think 20% should be the minimum level held back. (Even if that means I can't get all the tickets I want when I book as a Friend.)
  21. bridiem
    Definitely my perception too - especially his arms and hands. (And hair!!! It was flopping rather too much, exacerbated by his tendency to give a final little flourish with his head after finishing a tricky step, a habit I don't like.)
  22. bridiem
    I positively hated Marguerite and Armand, and then I saw it with Rojo and Polunin... Mind you, I still have some reservations about it. I've gone through phases with Enigma Variations; it was the first ballet I ever saw and so occupies a very special place for me, but for quite a few years thereafter it didn't really grip me (except for the music). It's only in recent years that I've really begun to appreciate it again. But yes, casting can make a huge difference, and so can the changes in one's own life and perceptions.
  23. bridiem
    What a shame, MJW! I hope you enjoy the screening.
  24. bridiem
    I echo your words 100%, maryrosesatonapin. I am stunned by the beauty of this production and of the performances tonight. Perfect indeed in every aspect. Magnificent sets and costumes and Hirata and Morales were - perfect. The whole company were magnificent. Samara Downs was an icy Myrtha, with just the tiniest hint of a smile as the wilis dealt with Hilarion. Absolutely flaming terrifying. A horse. A waterfall. Flying wilis. A ruined cathedral. Marion Tait prefiguring the wilis as she gestured furiously for Albrecht to leave at the end of Act I. Albrecht's long, slow walk of shame early in Act II. A fantastic series of entrechats from Morales. Simply exquisite dancing throughout from Hirata, and every aspect of Giselle's character so clearly portrayed. Kit Holder a wonderful Hilarion. A superb peasant pas de deux from Parma and Chou. And at the end, a vision of a peaceful, loving Giselle at rest in eternal life and watching over her redeemed Albrecht. I too am speechless with wonder and gratitude.
  25. bridiem
    I'm glad you did get a reply, JNC. But at the risk of labouring the point, the problem is that it (and Alex Beard's earlier statements) are in direct opposition to what several members of this forum (and so presumably others) were told by ROH staff on several different occasions. So, either both/all the staff involved were wrong; or, the policy was rapidly changed when the controversy became clear to the ROH. Either option (and I lean towards the latter) reflects very badly on the ROH, as does the lack of transparency (to use a polite word) about what has been happening. But, I do think/hope the ROH will now have to be a lot more careful in future about this issue, which is all to the good.
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