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Lizbie1

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  1. Lizbie1
    Hope this works:
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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?
  7. Lizbie1
    SO jealous!
  8. 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!
  9. 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.
  10. Lizbie1
    I'm curious: is there a reason why their working days can't simply start earlier on those days?
  11. Lizbie1
    But they could start on time.
  12. 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.
  13. Lizbie1
    I noticed a rather cool reception to the news that Hirano (and not Campbell) would be stepping in as a substitute Romeo on various dates; in past seasons the announcement that Iana Salenko would be partnering McRae has not been received with enthusiasm. And sometimes I think that Francesca Hayward will never be forgiven by some for being promoted to Principal before Yasmine Naghdi. There will be other examples which I noted at the time but have forgotten the details of. I don’t think I’m imagining things.
  14. Lizbie1
    I live and work well outside London and welcome earlier starts. Given that for many outside London the working day might start at 8 and finish at 4 or so, it’s perfectly possible, for example, to get to London from Bristol for a 7pm start, even allowing for getting across Town from Paddington and without making arrangements to leave work early. The same applies for e.g. Salisbury and Winchester. What gives me pause, rather, is the prospect of not getting home until well after midnight.
  15. Lizbie1
    And even if it’s not the last train, very often at that time of night there are only two trains or fewer an hour - and if I’m working the next morning (and in the shires and provinces we generally start work earlier than Londoners) that makes a real difference. One other thing: I can’t speak for this week but there has been overnight engineering work on some lines from Waterloo recently, which for me has meant journey times more than doubling after about 10.40. (I applaud as long as I can when exiting and often poke my head into the Grand Tier on my way down to get another burst in.)
  16. Lizbie1
    That’s why I worded my comment as I did. I meant that by having a rule against it which is not generally enforced, they have reserved the right to stop people from encroaching on others’ view or enjoyment of the curtain calls.
  17. Lizbie1
    Am I right in thinking that, technically, filming and photography aren’t allowed even during the curtain calls? If so, surely the ushers should intervene when it reaches nuisance levels.
  18. Lizbie1
    Sometimes it can feel a bit like that on here (though for other dancers, rather than Osipova)...
  19. Lizbie1
    Especially since I stopped buying programmes (thank you, ROH price increases!) I’ve got into the habit of not reading a synopsis unless I’m confused at the first interval - sounds like with Victoria my time has come!
  20. Lizbie1
    No! I was wondering whether that was the problem (I’ve encountered it myself).
  21. Lizbie1
    Ivy Lin, if and when you see Siegfried and Gotterdammerung I’d be really interested to hear what you think of Goerke in them: she has a lot to offer as a singer so I’d be pleased to hear if things are better than when I last heard her.
  22. Lizbie1
    Do you have a filter set for Summer?
  23. Lizbie1
    Ah - hadn’t thought it through, I was lumping them in together! In many ways I really liked her Ortrud, but if I hadn’t known otherwise I’d have assumed she was a mezzo.
  24. Lizbie1
    I can see up to and including the Red Shoes run (ends 19 Jan). Is the Osipova Pure Dance show a repeat of last time, or have they copied and pasted in error, I wonder?
  25. Lizbie1
    Interesting to read about Goerke: I thought her Ortrud last Summer at Covent Garden was not great at the top (putting it mildly) so I’m surprised her top was up to the challenge of Brunnhilde.
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