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JohnS

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  1. JohnS
    I saw this from the Berlin Philharmonic earlier but I’m not sure how to copy the link: “The Philharmonie Berlin will be closed until 19 April – as a measure to counteract the spread of the Corona virus. However, the Berliner Philharmoniker and Sir Simon Rattle have decided to give their planned concert with Berio’s Sinfonia and Bartók’s Concerto for Orchestra anyway: without an audience, exclusively in the Digital Concert Hall. A first broadcast on 12 March will be followed by repeats on 13 and 14 March. Access is free.” A number of other recorded concerts are also available for free whilst the hall is closed.
  2. JohnS
    I do hope you’re wrong on this - there’s no linkage to the BBC Dance Season in the Radio Times Mayerling billing etc and as you say Mayerling doesn’t feature in the BBC Dance Season publicity which seems odd as it would surely be the first programme?
  3. JohnS
    Would be really good to know what the filmed performances will be but I don’t see any detail. Rather hoping for Dances at a Gathering/The Cellist, particularly given the BBC’s reporting of the latter.
  4. JohnS
    Many thanks for posts and photos from last night - I hadn’t booked for the original Osipova cast but would love to see this cast. The website is still showing Hallberg for later performances but I take it that’s incorrect?
  5. JohnS
    At least Young ROH is a bit more explicit, with dates of performances in the second link, including the Triple Bill 9 June: https://www.roh.org.uk/for/rohstudents https://www.roh.org.uk/for/rohstudents/booking-your-tickets But it does seem odd that there is no explanation of why Amphitheatre tickets are not on sale when accessing the booking page for 9 June and even odder for 13 June.
  6. JohnS
    This is odd because the Young ROH performance is 9 June with the Amphitheatre seats not on sale (Slips are). I had to search Young ROH to get the specific details of performances made available.
  7. JohnS
    I know the ending is not generally liked but I’d find it very hard to leave Swan Lake without seeing Act 4. There is much in Scarlett’s Act 4 that I find extremely moving - notably the Odette/Siegfried pdd. I also very much like to see the Swans give Von Rothbart his comeuppance. As I’ve said before, I find the ‘Giselle like’ ending personally very attractive and just wish the last few moments were a little extended (I think Odette’s spirit may only be visible for a couple of seconds and in some parts of the theatre may nit be visible at all). Having said that, I thought Bonelli incredibly purposeful in bringing Swan Lake to its conclusion at Friday’s matinee and that performance confirmed for me the validity of this production.
  8. JohnS
    News to me also. I see there’s a 60 minute master class on http://www.ballet.org.uk/creature which I will watch later but can anyone point to any interviews/articles that would be helpful?
  9. JohnS
    Quite agreed - I’m afraid I had the image of a certain No 10 Special Adviser come to mind but couldn’t quite work out who was modelling himself on whom. It is great when Benno gives the ‘All clear, he’s gone, let’s enjoy ourselves, and no more saluting’ and also when Siegfried at last says ‘No’ to Rothbart.
  10. JohnS
    Fabulous performance this afternoon, for me much more compelling a Swan Lake than last night’s. Takada is such a dream to see and she and Bonelli gave us real depth in their portrayals, supported by a consistently strong cast. Last night was luxurious but this afternoon provided the emotional roller coaster. Last night the audience were more enthusiastic but at times I thought Nuñez a little too keen to milk the applause. This afternoon Takada remained in character as Odette/Odile when acknowledging the audience, wonderfully supported by Bonelli. I thought there was more of a flow to the entire performance and the ending seemed the most fitting of performances I’ve seen to date including the first run. Bonelli seemed to have a little more time and I thought was more purposeful in what he was doing in those final moments. Lovely to see so many cast take their curtain calls at the end. It may be because it was a matinee or perhaps more likely because the performance was being filmed, I assume for Japanese television - what a fortunate audience they are as they will surely enjoy this most exquisite of pearls.
  11. JohnS
    Koen Kessels
  12. JohnS
    A luxurious Swan Lake opening night and much to admire, not least the fabulous Corps de Ballet. I do have a couple of quibbles. I thought the tempi were at times too slow, particularly in Act 2, and I feared the performance was approaching the point of becoming self indulgent. I would like to feel much more the pulse of the music and do hope other Odettes/Odiles will be a shade more measured. I thought the Neapolitan Dance could have done with a bit more polishing, and not just the tambourine playing. I know the ending is not generally admired. I have always liked it but had hoped Siegfried might respond more quickly to the exhortations from the swans so that the final moments were not so rushed. Perhaps singing ‘happy birthday twice’ might provide another guide - even once I think would make a huge difference?
  13. JohnS
    A few words in support of Robert Clark and the applause given to soloists and the ROH orchestra if I may. Robert Clark will have been practising with both casts for Dances at a Gathering, shaping the music to match individual dancers, and applause at the curtain call I think is a reflection of the intimate working and rehearsals that lay the foundations for a memorable performance. The solo pianist has the task of accompanying the dancers and ensuring safe delivery of the entire performance. He is not giving a recital where he is centre stage but supporting the dancers in their performance of the choreography. For my part I think he more than accomplished his role and can readily accept that at times there are blemishes. In The Cellist, we’ve been fortunate to hear Hetty Snell’s solo cello which has made a remarkable impression on audiences in supporting Cathy Marston’s realisation of Jacqueline du Pre’s story in dance. We see young Jackie/Jackie on stage who demand our attention but we hear something of her phenomenal talent and energy from Hetty Snell and the supporting orchestra. Fabulous to see bouquets in appreciation. With the audience focusing on what’s presented on stage, perhaps it’s only after the event that there’s a recognition of the telling contributions of others who support the dancers’ performance and hence in applauding soloists/conductor/orchestra, we’re showing an appreciation of the talents and efforts made by those not on stage.
  14. JohnS
    Many thanks for the reminder - had forgotten booking opened for the Royal Ballet School’s Annual performance today.
  15. JohnS
    Agreed - a really convincing performance last night and I thought she was very impressive in Raven Girl some time ago now.
  16. JohnS
    I very much enjoyed tonight and thought Beatriz Stix-Brunel and Calvin Richardson excellent. As Cathy Marston has clearly devised the. ballet with young du Pre sisters at the outset and a returning young Jackie at the end, I’m afraid I can’t see how their roles could simply be cut to allow for Cesar Corrales to perform. Tough on him I agree but I thought the final performance of The Cellist this run was astonishing and fully deserved the standing ovation, pretty much across the stalls when Hetty Snell came on stage and from what I hear in the Stalls Circle as well. Good to see Dances at a Gathering with a different cast and thought Anna Rose O’Sullivan particularly good, making the most of her Blue role. This really is a fabulous ballet and has made for an extraordinary double bill which I know wasn’t planned but I will remember with great affection.
  17. JohnS
    Very good to read the posts of last night’s performance and of the cinema relay, with such positive responses to both ballets. I very much enjoyed the cinema encore and thought the introductions good, with interesting contributions from choreographer, dancers, and cellist. It would have been helpful to have had some comment about the set reflecting the inside of a cello as I don’t think it was mentioned at all. The relay did underline for me how very dark the opening of The Cellist is and a bit more lighting would be welcome. Good to see some of the detail from the close ups - young Jackie’s Paul Tortelier LP. Very much looking forward to seeing the second cast on Wednesday.
  18. JohnS
    I’ll never forget Jon Vickers’ ‘Gott! welch Dunkel hier!’ - as if the entire audience were flung to the back wall.
  19. JohnS
    Thanks all. Having read Tim Ashley’s Guardian review I’ll go to the cinema relay. Good to have had the health warnings about the production and I see Radio 3 are broadcasting Fidelio on 28 March (must be a recording as that’s Francesca Hayward’s Swan Lake debut so I’ll catch up on BBC Sounds).
  20. JohnS
    Bennet Gartside put this on Instagram: https://www.instagram.com/p/B9AsW1KgEhM/?igshid=22s2amftjhxx
  21. JohnS
    Apologies for quoting my own posts. I now think I must have been mistaken about the ROH circulating the first Nuñez/Bonelli pdd extra footage of Dances at a Gathering. I came across the opening Campbell solo but am not sure of its origin: https://www.facebook.com/passionballet.topf.ru/videos/137311647554477/ The ROH has issued this pdd Nunez/Bonelli (their second - I can no longer find their first pdd) https://www.facebook.com/royaloperahouse/videos/596720457547832/
  22. JohnS
    It’s been a great run of Onegins and I do very much hope we will see it brought back without too long a wait. We’ve seen a number of final performances - Avis, Gartside and Soares. I trust we haven’t seen Bonelli’s final Onegin, nor for that matter Morera’s Tatiana by omission this run. We’ve seen some impressive debuts - Clarke, Naghdi, Hayward, O’Sullivan, Sissens, and Bjorneboe Braendsrod. We’ve also enjoyed some tremendous performances where the entire cast have seemed so well matched: for me the first night cast with Clarke and Osipova; that casts’ second performance, with Clarke and Nunez; and Bonelli’s/Naghdi’s final performance. And last night’s memorable finale with Soares was such a fitting way to end this run and bring down the curtain on his Royal Ballet career, with Mendizabel’s Tatiana. I’ve been really impressed with how believable the sisters have been - Osipova/Hayward; Nunez with Takada and Hayward; and Naghdi/O’Sullivan. It’s made the dual scene more compelling and the anguish Onegin feels as he crumbles before us at the end of Act 2. Perhaps it’s my not remembering previous Tatianas/Olgas but I don’t recall being so convinced by sisters in previous runs. I was very taken with Ball’s and Sissen’s Lensky and their Olgas - Hayward and O’Sullivan. Like many I prefer an older Gremin and we’ve been spoiled by Avis and Gartside. But of course they have been dancing Gremin for many years and I wonder when they made their debuts whether there were similar comments about the desirability of an older Gremin. Having sad that I was certainly impressed by Bjorneboe Braendsrod last night. Onegin works when we see a sympathetic character who Tatiana would feel genuinely conflicted over in Act 3. Both Bonelli and Soares imbued their Onegins with real depth and their final scenes with Naghdi and Mendizabel were astonishing. And I’ll look forward to seeing how Clarke develops his Onegin in future runs.
  23. JohnS
    Goodness - very sorry to read your post as I’m sure we all realise how much you were looking forward to this and all the problems over tickets. I was thinking of only going to the cinema relay but might not bother now.
  24. JohnS
    Many thanks for all the photos and to Bridiem for her fabulous post. For Onegin to work as a performance, we have to have sympathy with his character and Bridiem wonderfully explains how sympathetic Thiago Soares portrayal was. What a great way to bring the curtain down on a career that has given so much to the Royal Ballet and brought such pleasure to audiences over many years..
  25. JohnS
    Yesterday I saw the ROH circulated the full Nuñez/Bonelli Dances at a Gathering PDD, a real gem which I’d been keen to post here. But I had difficulty copying the link and can now no longer find it - seems to have vanished although that may well be a reflection of my IT ineptitude. But did others see it and is anyone able to share it?
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