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Saodan

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  1. For the sake of clarity, today was Fumi Kaneko's debut as Aurora, but was not Reece Clarke's debut as Florimund. He debuted in 2017, performing twice with Lauren Cuthbertson. Gutted to miss the show, family gets in the way sometimes!
  2. Stalls Circle Standing D35 for 9th November 7pm evening performance of Sleeping Beauty. Face value £11 and it's an e-ticket. PM me and leave a message here if interested.
  3. I'm not sure if this will answer your question, but this rehersal from World Ballet Day last year is my go to for understanding the first pdd. Durante and Mukhamedov rehearsing Jurgita Dronina and Isaac Hernández of ENB. Mukhamedov seems to be asking for a slide and not getting it!
  4. As no one else has had a go... If we are looking at the same picture: the two on the extreme right of the group are Charlotte Tonkinson and Giacomo Rovero. The lone dancer on the stairs is Leticia Stock. At the top of the stairs is Isabella Gasparini. I can't identify the man with her, sorry! His face is in shadow.
  5. Stalls Circle Standing D35 for 26th October Concerto Mixed bill. Face value £6 and it's an e-ticket. PM me and leave a message here if interested.
  6. Just heartbreaking. A horrible thing to witness. It looked so innocuous, but McRae's distress was palpable. I hope the injury is not so bad as O’Hare’s somber tone would suggest. Credit to all at ROH for the way they handled the situation. Bigger credit to Reece Clarke for stepping in and Takada for trusting him in difficult circumstances. It seems churlish to comment on the performance itself, but things were shaping up so well. The start seemed slow to me, the music felt snail’s pace, but McRae was really coming alive in act 2. Takada is surely one of the best MacMillan dancers in the company, such nuance and detail. Hay showing once again that he is criminally underused, the quality of his dancing and the depth of characterisation is a feat to behold. Clarke seems like he has deepened his interpretation since last run. I’d like to see him given a public show, but wonder if the height difference with Takada might be a bridge too far. Thoughts remain with McRae. I hope he makes a full recovery and is back on stage when he feels ready.
  7. Does anyone know if they have done something different with the lighting this run? Last night it seemed like there was a greater use of "atmospheric" coloured lighting to make the scenery more vibrant. It was quite effective in places, I thought, although on occasion I felt that the lighting was darker than I remember, some of the pas de deux for instance. Looking at my cast sheets, the lighting designer for this run is Jacopo Pantani. Last run it was John B Read. Maybe a redesign?
  8. Stalls Circle Standing D39 for 5th October 12pm Matinee (Lamb/Muntagirov). Face value £9 and its an e-ticket. PM me and leave a message here if interested.
  9. This is the website - https://www.romeoandjulietballetfilm.com/ It looks incredible
  10. https://www.imdb.com/title/tt10662310/ Looks like this is the result of the filming in Budapest last summer. Surprised, but pleased, by the casting. I wonder if the plan is still for it to be broadcast by the BBC on Christmas Day or whether the cinema has taken precedence.
  11. As James has said, they did one performance of Romeo and Juliet on tour in Japan in 2016. They also did Perdita and Florizel in Winter's Tale on tour in Australia in 2017. Hayward was replacing Lamb.
  12. Kish was in the first ballet I saw, a tv broadcast of his 2014 Swan Lake with Yanowsky. Unfortunately, my 4 years following the company coincided with his injury problems. Nevertheless, I was fortunate to see his Creature, Des Grieux, and Siegfried among other things. I’m sad that he is retiring. Like others I had been impressed by his recent character work and was hoping to see him develop in these roles. I hope he achieves all he is aiming for with his studies, and I will continue to harbour the hope that he may return to the stage at some point in the future. Thank you, Mr Kish. I will be forever grateful for the role you played in introducing me to ballet.
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