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Lizbie1

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Everything posted by Lizbie1

  1. Lizbie1
    Just to demonstrate your "one man's meat" remark: I too am just a fan (I neither have any kind of background in ballet, nor did I grow up on Ashton), but I have never found Ashton's work other than utterly accessible - for starters, I can't think of a better introduction to ballet than his Fille and judging from the audience's reaction on the several occasions I saw it performed at the Bolshoi I don't think that's just down to local taste and tradition. No one is suggesting "wall to wall Ashton" (though come to think of it, I wouldn't object strongly), but as to size of audience, I don't think he's a notably slow seller: the recent Sylvia and the mixed bill last summer sold out with plenty of time to spare, and, unlike a lot of the newer repertoire and commissions (including the fabled Woolf Works), not at depressed prices. The Fille in Autumn 2016 was I think slower to sell, but IIRC that was a long run probably put on too soon after the previous one.
  2. Lizbie1
    Sorry if I'm being slow, but I don't think we're in disagreement: the programmes which I'm least keen on are, as you say, the least financially successful anyway. I'm not proposing that they are replaced with anything even less popular!
  3. Lizbie1
    But it's the new choreography and mixed bills - other than when they put on all-Ashton programmes (and that would extend to Diaghilev repertoire if they ever get round to programming some again) - and new choreography I find least inspiring, especially when compared with ENB's offerings. I have few if any gripes with the 19th and 20th century three-acters.
  4. Lizbie1
    I'm afraid I was underwhelmed by it when I saw it. (I'm aware this is a minority view.)
  5. Lizbie1
    I realised last night that, if you discount the MacMillan joint efforts, while I'm seeing six ENB programmes this season (AK Giselle, R&J, Nutcracker, Jeune Homme/Sylphide, Voices of America, Sleeping Beauty), I'm only going to four of the RB's (Sylvia, Giselle, Manon, Swan Lake). I reckon in part this can be attributed to a quirk of ENB's touring schedule, but I suppose the main reason I'm seeing a far higher proportion of their shows is that there's a general thinness about the programming this season (and maybe in general?) at the RB. For the avoidance of doubt: I'm not talking about the the quality of production or performance of either company, but their ability to come up with an engaging season, particularly when you consider the repertoire and resources which the RB has at its command. Am I alone in thinking this way? (p.s. I've left out NB and BRB because geography means I get to fewer of their shows than I'd like: I would say, however, that BRB would be up there with ENB if it were a little easier for me to see them and if they were doing their midscale tours this season.)
  6. Lizbie1
    I may be mistaken, but didn't Tamara Rojo's Giselle documentary touch on lighting?
  7. Lizbie1
    The Coliseum is just as quick if you head through the South Bank Centre, across Hungerford Bridge and through Charing Cross Station.
  8. Lizbie1
    I haven't had them since I finally signed up as a Friend a couple of years back (presumably because the Friends magazine is seen to replace it). Does that explain anything?
  9. Lizbie1
    I don't think anyone on this thread is complaining about forum members not leaving London (though as I said, BRB and NB occasionally "go to the mountain", as the saying goes) - I do think that some "national" critics have a duty to broaden their horizons however.
  10. Lizbie1
    It's almost invariably her for ballet, yes. (I'm not her biggest fan I'm afraid.)
  11. Lizbie1
    But only a little! The Times for example 1) devotes more space than any other newspaper to ballet and 2) covers all the other art forms extensively on a national basis; yet Debra Craine seldom sets foot outside London: the only reason recent-ish exception being I think being Hull for - you've guessed it! - the RB. It may be that personal circumstances dictate that she can't get away from London, but her editor should be coming up with an alternative answer. (I got quite hopeful when they carried a review from Southampton by another critic before Christmas, but I don't think they've repeated the experiment.) And forum members are at liberty to see BRB and NB in London as well
  12. Lizbie1
    One of my favourite clips - and here's Fonteyn floating:
  13. Lizbie1
    I wonder if they'll be at the Edinburgh Festival as well.
  14. Lizbie1
    Thirded. When you consider that the Russian seasons are completely unsubsidised and at the Hochhausers' own risk the prices don't seem that high. And I don't think they get enough credit for ensuring that a good proportion of seats, though higher than we're used to from subsidised companies, are within reach of most: many would be tempted to offer a far higher starting price for all but the worst seats. She's pretty amazing isn't she? I've not seen any of the Bolshoi cinema relays, but really enjoy her skill and knowledge during World Ballet Day. I first noticed her in an interview she had with Kevin O'Hare for the RB's Bolshoi visit: for a Russian she was conspicuously knowledgeable as well as curious about British ballet and it remains the best interview I've seen with KO'H as a result. Well worth seeking out if you have some time to spare.
  15. Lizbie1
    I'm not sure I'd single that out as the least realistic aspect of a production of Swan Lake
  16. Lizbie1
    Possibly it's just me but I don't find it a massive leap from "late 19th century sanitised pseudo-medieval" to just "late 19th century". More shocking IMO would be an attempt at "authentic medieval" (which would probably also risk looking rather Monty Python). I do take the point that it may not afford that much of a contrast with the most recent production. I still think the best position is to wait and see, however!
  17. Lizbie1
    I'd consider Muntagirov a more obvious Des Grieux than Watson, personally.
  18. Lizbie1
    And I may be mistaken, but weren't there relatively slim pickings in terms of available tutu roles in the couple of seasons before her promotion?
  19. Lizbie1
    Hope to see you there!
  20. Lizbie1
    Are you still going to tomorrow's matinee? I still am and would very much like to meet! All others welcome I'm sure
  21. Lizbie1
    Same here on all points! A quick exit can mean the difference between getting home at midnight and getting home at 2am, or in the case of overruns missing the train altogether. As I'm not disrupting the performance itself I make no apologies for it: it's already difficult enough for us provincials to see the ballet in London, seeing as ROH's idea of making concessions is throwing in the occasional matinee for a select number of productions. (If only they could be persuaded to offer early starts rather than pushing them back as late as they dare...)
  22. Lizbie1
    Might Osipova have specifically asked to work with Matthew Ball?
  23. Lizbie1
    Casting going up as I type! http://www.roh.org.uk/productions/swan-lake-by-liam-scarlett
  24. Lizbie1
    Gorgeous!
  25. Lizbie1
    Sure but they normally divide them equally regardless.
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