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Lizbie1

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Everything posted by Lizbie1

  1. I agree that it’s just a simple human error. However - and this is speaking from experience - you’d expect a very public-facing website to have an approval system built into it (called workflow) which is designed so that you can’t normally publish changes without someone else checking your work. This isn’t the first time I’ve suspected that this isn’t the case with the ROH website. I don’t blame whoever made the mistake, but I do think it’s another symptom of a sub-standard website build.
  2. I should clarify that I meant this look seems particularly in vogue as practice clothes at NYCB: I can only recall seeing it once in photos of class/rehearsals at the RB but quite often at NYCB. I suppose it’s just what the cool kids there do?
  3. Oh - one very frivolous question I have about the Peck is: what’s with the tights-over-leotard look? I get that it’s a “rehearsal clothes” thing, but it seems to be particularly popular at NYCB, or at least that’s my perception. (I can’t say I’m an admirer.)
  4. Wow - congratulations Ivy Lin, and lucky Bachtrack! I meant to reply about how much I enjoyed reading your NYCB review a couple of weeks ago a really honest review of what sounds like a mixed bag of performances. The Kyle Abraham ballet looks terrific from that clip (and I speak as one with zero knowledge or appreciation of hip-hop). Completely agree - from what I heard - about the Sufjan Stevens score for the Peck, which is somehow offensively bland.
  5. He's a known Wagner fan (as a number of senior politicians have been).
  6. As I understood it she has a “working under contract” status with the Bolshoi, as does Kaptsova.
  7. I’ve only been once and don’t have any real tips to offer, but I found it very friendly and unstuffy and there’s no need for full-on black tie (unless you want to of course). The bar is staffed by local volunteers (I think!) and has very good cake!
  8. Since last night’s upgrade, instead of giving the title of the next unread topic in a forum at the foot of a thread it now just says”NEXT UNREAD TOPIC”. I can’t say I particularly prefer one over the other but I thought I’d mention it in case others do mind.
  9. Doesn’t Strauss fall out of copyright next year? Or am I muddled? (Copyright really confuses me!)
  10. Of the ladies it's Shipulina (as a probable farewell) and Krysanova I want to catch and fortunately they're both appearing in both Spartacus and the Bright Stream, which are the two ballets I'm going to fork out for. I just need to decide which performances of each: anyone got any advice?
  11. I wanted to add: I seem to do nothing but moan about the ROH (as opposed to the RB) recently and I don't like having to! It just seems as if over the last year the box office/marketing decision makers - whose jobs, lest we forget, are to look after the interface with the public - have been doing a first rate job of burning the good will which they once had in abundance. I don't know whether that's down to changes in personnel, policies or strategy, but I hope it's not irreversible.
  12. Or offering partial refunds to those who've already booked? For sold out shows, exchange isn't really an option, and it seems a little unfair to say "take it or leave it" when a seat was booked in good faith.
  13. Has Open Up increased running costs, though? (Genuine question!) And if it has, to what degree has this been offset by increased revenue from catering etc?
  14. I suppose it's because the ROH orchestra (unusually) has more than one leader - and maybe that's why their title is concert master? Still, though I can understand listing them when there are significant violin solos, such as with Swan Lake, I expect very few people book on the basis of who'll be playing them.
  15. I've found the whole site a little glitchy in the last few days. Nothing major, just occasional error messages which are resolved if I come back five minutes later.
  16. I find the charge against Scarlett of being derivative of MacMillan interesting: from what I've seen (Swan Lake, Asphodel Meadows, Symphonic Variations, No Man's Land), I'd put the influence of Ashton higher, specifically in the emphasis on epaulement and (recently) deep bends. (Cunning Little Vixen I'd class separately as he was working within the constraints of providing choreography for student dancers.)
  17. Wow - maybe they had made some rather silly assumptions about ballet-going women. (I am amazed at some of the business conversations I overhear on the train: when you consider how certain industries cluster geographically, there can easily be a competitor listening in.)
  18. TBH it’s what I’d have done had I been able to go today. I didn’t dislike Cunning Little Vixen but there wasn’t anything to draw me back. Two Pigeons on the other hand...
  19. Many thanks to toursenlair for alerting me to this super little exhibition: I was in the area today and managed to catch it. As the Michelin guide would put it, it’s well worth a detour. It’s not a big exhibition (about a roomful all told) but what there is is delightful and of good quality, and spans the range of the Ballets Russes’ famous designers. The information plates are particularly good, not bombarding is with information but giving just enough to explain while letting us seek more information if we’re intrigued. There’s also a 2 hour film from 2005 playing, featuring the then-surviving dancers: I wish I’d had time to watch it properly as the snatches I caught were lovely (and, my God, how handsome was George Zoritch?). There are a few original costumes on display as well as a gorgeous outfit of Markova’s. A couple of the men’s costumes were accompanied by a terrific quote from Anton Dolin explaining male dancers’ ‘support’: “It’s three handkerchiefs for Coppelia, and five for Swan Lake, and for Scheherazade, which was very sexy, we just didn’t bother.” Do go if you’re nearby: it’s on until 27th April, it’s free and there’s no indication that the Ballets Russes part of the exhibition will tour (the collector is local).
  20. But some great NB, BRB, ENB and SF Ballet action coming up at Sadler’s Wells, even if you’re not tempted by the Bolshoi!
  21. It’ll be my longest break from opera and ballet since I started keeping track properly a few years ago (off season excluded). I’ll be catching Osipova/Muntagirov near the end of the run though.
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