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Sebastian

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  1. What a nice thing to say Lizbie1, how good you remember!
  2. Might I add a few words from the perspective of a copyright holder? My company owns the copyright in several hundred hours of archive television programming, some of which is valuable and may indeed become more valuable as the years roll on and people move from life into history: https://www.openmedia.co.uk The opinions of my colleagues on the subject of YouTube run across the spectrum, from digital anarchy ("there is no point in protecting anything, that is so 20th century") to the pragmatic ("if people steal our clips and spread them around, that's good advertising") to legalistic exactitude ("anyone who uses our IP without a licence is breaking the law"). I need to strike a fair balance in a world where almost everyone is getting accustomed to finding almost everything online within a few minutes of searching. We tend to ask YouTube to take down poor quality copies of our material which end up online, as we have come across a fair few media companies who sadly try and exploit our footage without our permission (footage they rip from YouTube). Whether we like it or not, we are bound by the contracts which govern this content, much of it produced in another era. But we have our own YouTube channel, continue to release clips on a regular basis for free and, if someone has a particular research interest, we try and help out with copies for a small fee, subject to various legal restrictions. Hope this helps provide a little context. I don't however pretend to speak for the BBC or other such large operations.
  3. Might I add a few words of Clement Crisp (from the wonderful new collection of his work)? Here is a short extract from his 13 August 2007 review of Don Quixote in the Financial Times: Let us not exaggerate, but six stars seem to be in order...Not since Plisetskaya and Maximova have we seen so adorable a Kitri, and never one so divinely destined to claim the role as her own. This Kitri can do no wrong.
  4. Dance as soft power - ie cultural diplomacy - is an unusual subject. This recent discussion - a series of short essays - of a book about Martha Graham from 2020 might be of interest: https://issforum.org/roundtables/PDF/Roundtable-XXIII-6.pdf
  5. I am always grateful for the threads/posts tagged "Books". This thread hasn't got such a tag yet so might someone explain how I can do this (or does an admin have to add the tag)?
  6. Jonac, just to let you know that I sent you a PM (private message) on February 18. Having just checked the message box I see my note to you is marked “Not read yet”. You might like to have a look in your messages (the envelope icon on the top right of the screen).
  7. I watched this excellent film last night. It's as enjoyable and instructive to a beginner like me as it will be to experts.
  8. There has been some discussion here: https://slippedisc.com/2021/01/breaking-rattle-extends-with-london-while-signing-for-munich/ https://slippedisc.com/2021/01/is-brexit-the-reason-for-rattles-move-to-munich/ https://slippedisc.com/2021/01/after-rattle-where-does-the-lso-turn/
  9. With apologies for the late notice, here are details of a talk at 12.30pm today which might be of interest. https://courtauld.ac.uk/event/online-addressing-images-niall-billings?dm_i=AHZ,77B12,ML3UKL,T6NJ7,1
  10. The great cellist was also no mean conductor, if that's what you mean Alison: https://youtu.be/UA2R2QR19Bs
  11. Just to report back briefly for those who were not able to join, David Nice's fascinating talk - illustrated with many musical and dvd examples - overran and in the end lasted a full three hours. Very worthwhile. From a host of insights - including where Tchaikovsky's music may contain a hidden reference to Aurora's hundred-year sleep - it is perhaps worth picking out one point, as it has been raised on this Forum more than once in the past. Which is the best recording of the music? David Nice replied that he had once done a BBC Radio 3 "Building a library" episode on this question, when Mark Ermler’s Covent Garden performance came out on top. This is however not currently available, so now he would be torn between Vladimir Jurowski's live recording and John Lanchbery’s Philharmonia CDs. I presume he did not mention Andre Previn's recording as this omits two numbers from the last act (Tom Thumb and the Sarabande). He also repeatedly praised Rostropovich's recording of the Sleeping Beauty Suite. In any case, a seasonal treat for those who were (virtually) there.
  12. Following two Zoom terms on Russian music and a pre-Christmas special on The Nutcracker, the well-known British music critic David Nice is offering a two-hour exploration of Tchaikovsky's score for The Sleeping Beauty. Tomorrow (Wednesday 30 December) afternoon, 2.30-4.30pm UK time. £10 per household. If interested, please email David on david.nice@usa.net
  13. An article about the Nutcracker by the British film-maker Margy Kinmonth appeared online this week, on the "Russian Art+Culture" site. Her article draws on her film "Nutcracker Story" and the Bolshoi transmission tomorrow with Semyon Chudin and Margarita Shrayner. Here's the link, in case this might be of interest: https://www.russianartandculture.com/bolshoi-ballet-cinema-the-nutcracker/
  14. That is a very interesting question DVDfan. Might I recommend that you search the old discussions on here, as some of the highly informed comments on this point in the past have been very illuminating. You might also like to read this post: https://www.balletcoforum.com/topic/21941-sleeping-beauty-fairy-and-other-variations/?do=findComment&comment=308332 From my personal POV, my first Royal Ballet Sleeping Beauty was in 1963, so distance no doubt lends enchantment. However I did have the privilege in recent years to be able to compare a number of Sadlers Wells / Royal Ballet films of the Sleeping Beauty from the 1940s to the present day (including watching some recordings not widely available). This gorgeous experience left me in no doubt about changes over the decades: the company slowed down, in broad terms, from certainly the end of the 1970s onwards (perhaps even from a bit earlier, that’s for experts to comment on). But, yes, I agree: I feel things got better in recent years, perhaps since the arrival of Koen Kessels as music director.
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