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Everything posted by Sebastian

  1. (Too late to correct my typo so am reposting, admins feel free to adjust accordingly) The 1973 recording of John Cranko's 1962 production for the Stuttgart Ballet Company has just become available online. I won't link to it here but it is (at present) easily found by searching YouTube for "Romeo et Juliet, Stuttgart Ballet, Cranko, Complete".
  2. The 1962 recording of John Cranko's production for the Stuttgart Ballet Company has just become available online. I won't link to it here but it is (at present) easily found by searching YouTube for "Romeo et Juliet, Stuttgart Ballet, Cranko, Complete".
  3. Sarah Wise wrote an article for History Today (August 2010, Vol. 60 Issue 8) which looks promising if you can find it: "The Woman in White, A Novel for Hysterical Times". Incidentally Wise went on to do a book, "Inconvenient People: Lunacy, Liberty and the Mad-Doctors in Victorian England", which reinforces the point about the cliché of the mad woman in white. Sorry about your foot, by the way.
  4. Incidentally, another play from 1682 - John Banks' 'Vertue Betrayed' - has the heroine Anna Bullen, not going mad in white as such, but rather led to her execution "all in White" (as the text has it). Anna Bullen, married in the play to Henry VIII, is based on Anne Boleyn.
  5. In 1774, the 19 year old Sarah Siddons won her first success as the wronged wife, Belvidera, in Thomas Otway’s 1682 play 'Venice Preserv’d' (Belvidera, it perhaps goes without saying, ends the play mad and then dead). According to contemporary sources collected in Hogan's “The London Stage” Belvidera traditionally wore a white dress for her mad scenes (though this was changed when Siddons played Belvidera again in 1782 - see Hogan, 5.1, 577 and 579). Perhaps “The London Stage” has examples which date from earlier even than 1682. The collection - covering 1660 to 1800 - has the attractive subtitle “A Calendar of Plays, Entertainments & Afterpieces, Together with Casts, Box-receipts and Contemporary Comment". Compiled from the playbills, newspapers and theatrical diaries of the period, it dates from the 1960s and is helpfully available online.
  6. A couple more clues: in 1785 Mrs Siddons played Lady Macbeth's sleepwalking scene, not in traditional black but in white satin, which the press characterised variously as being so as to show that Lady M was mad at this point, and justified by her being in night wear. And here is Ophelia in white satin, albeit at the end of the 19th century: http://www.english.emory.edu/classes/Shakespeare_Illustrated/ET.Ophelia.html
  7. Linda, well done for beating 1786! If we can now find whatever Sheridan had in mind (Ophelia's mad scene, perhaps?) we might yet trace this tradition to its source. In any case here is the relevant section (from Act III):- Puff. Now she comes in stark mad in white satin. Sneer. Why in white satin? Puff. O Lord, sir — when a heroine goes mad, she always goes into white satin. — Don’t she, Dangle? Dangle. Always — it’s a rule. Puff. Yes — here it is — [Looking at the book.] “Enter Tilburina stark mad in white satin, and her confidant stark mad in white linen.” “Enter Tilburina and Confidant, mad, according to custom.”
  8. Here is a yet earlier example of a "woman in white": Nina is the eponymous heroine of Dalayrac's Paris opera of 1786 and then Milon's ballet adaptation of the same name, first performed, also in Paris, in 1813. Not only does Nina go mad, along similar lines to her many successors, but conveniently we have an illustration of the singer who created the role, Madame Dugazon, in her costume:- Any advance on 1786, I wonder?
  9. Bumping this up, just in case. Happy to reduce the price, given that it's tomorrow!
  10. Having been unable to get to any screenings of Coppelia, I am hoping to catch a repeat screening soon. However the Bolshoi website, although it promotes Coppelia, doesn't seem to list the show, not even the ones yesterday: https://www.bolshoiballetcinema.co.uk What am I doing wrong? I am sure the information is online somewhere but can't find it.
  11. Apologies, only just seen this question. They are administratively the same organisation, but despite being in the same city, different people are allocated to the two venues and the corps are separated: https://www.wiener-staatsoper.at/en/artists/ballet/
  12. Now can't use my ticket for the (nearly sold out) matinee of ENB Sleeping Beauty at the Coliseum on Saturday 16th June. I bought it ages ago as part of a package so only £14. E-ticket so easy to send. Please PM me as well as posting here.
  13. Just to add what I already posted elsewhere, the conferences continue, with one in St Petersburg in November: https://serd.hypotheses.org/1684 By the way, is anyone going to be at the one at the Bakhrushin this coming week?
  14. An update on this year's Petipa conferences. Here is the link for one to be held in November in St Petersburg: https://serd.hypotheses.org/1684
  15. Just realised I could in fact get from this Wednesday's Swan Lake & Me Insight (6 June) to the first night of ENB Sleeping Beauty at the Coliseum so if anyone has a ticket they can't use any more, I'd be very grateful for it. If you can help please send me a PM as well as posting here. Many thanks!
  16. Thanks annamk. However my problem was not one of overlooking the links: for a couple of weeks each time I made a booking I would look very carefully for the link, but not find it. So then I made the booking as if for paper tickets but then contact the box office to ask them to change it for an e-ticket. This was getting tiresome, hence posting here to find out if there was a more general problem. However my last booking was fine - the link was back - so I hope the problem has been fixed now.
  17. Might I ask if other people have had trouble getting e-tickets for Covent Garden? A couple of times recently I got to the end of the booking process but no button for choosing the e-ticket option was provided. Both times I had to contact the box office to ask them to change my order to e-tickets (which they helpfully did). Am I the only person to suffer this issue with the booking process?
  18. Most interesting. Do you happen to have any information on where this important paper is to be published? I would very much like to read it.
  19. I will do a test and report back! But my antique opera glasses (which are pretty big) are as much about being decorative as functional.
  20. I inherited a gorgeous pair of opera glasses from my family but have not brought them to the West End for many years, for fearing of losing or damaging them. Recently I have been relying on a "monocular" which, though it is good for some kinds of show, doesn't give everything one would like. So, having just purchased what seem to be very good and compact opera glasses (for under £7) I thought I would pass on the tip: https://www.ebay.co.uk/itm/Compact-Roof-Prism-8x21-Foldable-Pocket-Binoculars-Birdwatching-with-Carry-Case/302608331982 Other ebay sellers seem to be offering the same product but I can only vouch for this supplier (with whom I have no connection, I should add). I tried out the different lighting conditions of yesterday's Giselle matinee and was very pleased: these glasses are a practical small size and the price seems pretty much unbeatable. The only concern I have is that the magnification is almost too strong. The focussing - I used the most helpful though not really English instructions - taught me a trick I never knew in decades of using binoculars. Hope this helps someone.
  21. An interesting writer who has tackled related questions is Clair Hughes. Her "Dressed in Fiction" (Berg, 2005) covers the development of dress in some, primarily, novels of the 18th and 19th century. To my particular question Hughes has little to add about origins - indeed she writes "The source of this stereotype has not been traced, as far as I know" - and says little about this particular white image before the 1819 "Bride of Lammermoor". But in her concluding chapter - The Missing Wedding Dresses - she writes (quoting Fiona Robertson's introduction to the 1998 Oxford edition of the Scott novel): I like that phrase about emotional liberation!
  22. A week ago there was an interesting interview with Sadler's Wells boss Alistair Spalding on the Radio 3 programme "Private Passions". It is still available here: http://www.bbc.co.uk/programmes/b09p2fdz
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