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Lizbie1

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  1. Lizbie1
    FWIW I understand there’s an upper limit of 9 tickets (per performance, I assume) so while probably over-generous, it’s not limitless.
  2. Lizbie1
    I don’t think it’s unreasonable to expect printed material to be available, and it’s not just the old or staid who like it - or at least the likes of Screwfix and Argos don’t think so!
  3. Lizbie1
    It’s probably worth posting here as well as in the Opera forum that Wayne MacGregor will be directing and choreographing Gluck’s Orpheus and Eurydice for ENO this autumn. Studio Wayne MacGregor will be providing the dancers. https://www.eno.org/whats-on/orpheus-and-eurydice/ (NB at the time of writing the website appears to be on the blink.)
  4. Lizbie1

    ENO 2019/20

    Lizbie1 replied to Lizbie1's topic in Opera & Music

    It takes all sorts
  5. Lizbie1

    ENO 2019/20

    Lizbie1 replied to Lizbie1's topic in Opera & Music

    Call me conservative but with a limited budget I’ll be skipping the Birtwistle and Glass (I find his operas stupefyingly dull) in favour of the Gluck and Offenbach. I wonder whether they considered the Monteverdi? Other than that, I’ll almost certainly be at Luisa Miller and possibly the Rusalka.
  6. Lizbie1
    To keep us occupied while we await the ROH announcement, here’s the ENO one: https://www.eno.org/whats-on/eno-2019-20-season-launch/ Features Wayne MacGregor directing/choreographing Gluck’s Orfeo ed Eurydice.
  7. Lizbie1
    I’m pretty sure everyone does so, whether they recognise it or not. All I’m saying is that Darcey Bussell is, as well as being a prominent figure, human, and I don’t think we should attach much import to what she said on a single occasion at which none of us was present and able to give any wider context.
  8. Lizbie1
    Is it possible we’re overthinking this? I know I say all sorts of rubbish when I feel under pressure to say something interesting - thank God no-one would want to publish it!
  9. Lizbie1
    It’s difficult: I paid the minimum £25 ticket price (plus the time and inconvenience of travelling up) and - thanks to this forum over the years - had fairly low expectations so I think I came out about even. As someone else said, the surprise appearance of Ed Watson meant the evening washed its face for me. However, had I paid considerably more for my ticket and expected the advertised line-up to reflect reality I’d probably be pretty hacked off. It does seem plausible though that the organisers were let down by the Mariinsky and Bolshoi management and I agree they did as good a job as could be expected of cobbling something together under the circumstances.
  10. Lizbie1
    That sounds very unpleasant, but lest we tar them all with the same brush I'd like to mention that when grabbing a bite to eat before the evening performance I shared a table top with a couple of (male) Sunderland fans and their young sons and they were very polite - one insisted on giving up his seat for me.
  11. Lizbie1
    I had to leave before the end - what happened at the curtain call?
  12. Lizbie1
    It seems clear to me that Jan’s reasoning was not that this Giselle garnered good reviews because Akram Khan’s previous works were highly praised, but rather that this track record demonstrates his talent and skill.
  13. Lizbie1
    A few thoughts from me: 1. Krysanova’s turquoise Raymonda tutu was gorgeous 2. Bravo to whoever was in charge of the pause button for Bernal’s number 3. It’s perhaps just me but there seemed to be a preponderance of interchangeable pas de deux by interchangeable contemporary European choreographers to interchangeable music. Whatever you think of McGregor (in my case: not a lot) but last night highlighted that his is at least a distinctive and instantly recognisable voice.
  14. Lizbie1
    Hope this works:
  15. Lizbie1
    It was a pdd from Wayne McGregor’s Qualia - and very fine Watson looked, too. It occurred to me, watching it, how much better Watson makes McGregor look than anyone else: for starters the “crotch splitting” extensions he manipulates his partner into no longer look borderline abusive to me as they do in lesser hands. I also had the melancholy thought that this might be one of the last times I see him dance.
  16. Lizbie1
    Good point - I was talking about seeing it at Sadler’s Wells. I haven’t seen the recorded version: only live performance does it for me, generally speaking.
  17. Lizbie1
    I found Leigh Witchel’s review a characteristically interesting counterpoint to the overwhelmingly positive press - and audience reaction - this Giselle has received, but to me it mostly illustrates the dangers of providing or reading detailed programme notes. Unencumbered by the commentary contained therein, I found it a gripping, beautifully choreographed and very moving work.
  18. Lizbie1
    Two wrongs don’t make a right etc, but it makes a change from the (IMO) gratuitous abuse of and violence against women to be found in MacMillan and some other contemporary choreographers.
  19. Lizbie1
    I don’t know about MacMillan, but surely Exhibit A when discussing the Greatness of Shakespeare is that he allows us to have flashes of sympathy for his villains?
  20. Lizbie1
    SO jealous!
  21. Lizbie1
    But...doesn't it work out as the same number of hours between (10 till 10.15 vs 10.30 till 10.45)? I'm confused!
  22. Lizbie1
    But that's kind of the point - dancers sometimes attract adverse comment because of who they aren't, not because of any shortcomings of their own. If we're not happy with their casting (and I too think the casting of Hallberg as Belaiev is a wasted opportunity), we can't blame Hallberg or Salenko or even McRae or Osipova - the decision lies squarely with Kevin O'Hare, who I think it's fair to say has proven himself pretty adept at progressing his own dancers' careers.
  23. Lizbie1
    I'm curious: is there a reason why their working days can't simply start earlier on those days?
  24. Lizbie1
    But they could start on time.
  25. Lizbie1
    I think sometimes it’s the absence of “looking forward to seeing X instead” posts which I notice. I know what you mean about guest artists, but I don’t recall much objection to Shklyarov being parachuted in, or Ferri appearing in Marguerite et Armand.
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