Sebastian

Many years ago I studied this opera as part of an undergraduate course. This insight into its mathematical secrets has not helped me grow close to what even those who like it find a bleak and exhaustingly demanding work, and some years back I gave up going to see it.

However it is only fair to point out that some people have a completely different relationship with the work. Here is a recent personal response to this ROH production by an online writer. That anyone can be sentimental about Wozzeck amazes me but this is clearly a sincerely held view:

https://boulezian.blogspot.com/2023/05/wozzeck-royal-opera-19-may-2022.html

4 hours ago, Emeralds said:

Durante replaced her at short notice, and was, as always, impeccable, beautiful and elegant in the role with a new partner. 

+1

1 hour ago, Fonty said:

Does the synopsis still say she is celebrating her 16th birthday, I can't remember.  

To be clear, the original source material, the Perrault story, has Aurora at 16. However when Vsevolozhsky and Petipa produced the ballet in 1890 they changed her age for her first scene to 21.
 

I do not know a source which tells us when (and why) her age became younger again in subsequent British productions.

Returned to the box office.

Bouncing up these cheap but good tickets for this Wednesday Naghdi/Ball. If no interest I’ll give them to the box office on Monday. 

On 17/05/2023 at 14:15, LinMM said:

I know it’s not a nice thing to do but a little bit harsh to condemn somebody to death for being a cad!! 
Giselles Forgiveness in the ballet  makes more sense to me as from there you can move onwards and upwards as the saying goes….and hopefully not get caught out again. 
Best to see things through and LIVE and learn! ( next time around for Giselle lol!) 

Albrecht has a chance to learn too from being saved when he could have been killed…so also progressive ….if he takes the opportunity of course! 

Also worth remembering - as Giselle’s mother does - that the Wilis are on the look out for just such men. Some years ago we had an interesting discussion here about the Wilis and who they are. Here is my last post on that subject, maybe interesting to look back:

https://www.balletcoforum.com/topic/14339-english-national-ballet-mary-skeapings-giselle-london-coliseum-2017/?do=findComment&comment=200100

Only one ticket left now - TROVATORE 29th June - BB1 £19

On 09/05/2023 at 10:03, Sebastian said:

More sold. So this is now what is available:

 

- One ticket CC1 for Aida 20th May

 

- One ticket BB1 for Trovatore 29th June

For clarity, Aida seat is £17, Trovatore £19.

More sold. So this is now what is available:

- One ticket CC1 for Aida 20th May

- One ticket BB1 for Trovatore 29th June

The dress rehearsal ticket has gone now. The Aida pair on 20 May and the Trovatore on 29 June are still available. 

The 29 May ticket has gone now. The pair on 24 May are still available. 

Ticket spoken for now

1 hour ago, SheilaC said:

The link that Amelia so kindly posted of excerpts of ballets recreated by Pierre Lacotte contains several clips of the very young Osipova dancing The Pharoah's Daughter.

…including the last one in the compilation (which I nearly missed as it is separated from the others).
 

Here is the Forum link, plenty to study here:

https://www.balletcoforum.com/topic/27359-pierre-lacotte-1932-2023/?do=findComment&comment=403808

Sadly I now can’t attend this performance.

Cinderella Osipova/Clarke Wednesday 3 May 7.30pm

SCS D38 £12 

Aida, 20 May, 7pm / Angel Blue, Francesco Meli, Elīna Garanča, Dimitri Platanias
Amphitheatre Upper Slips, CC-1 and CC-2, £17.00 each

Trovatore Rehearsal / 30 May 2023, 11.30am
Amphitheatre, D-80, £25.00

Trovatore, Thursday 29 June 7.30pm /  Rachel Willis-Sørensen, Gregory Kunde, Ludovic Tézier, Jamie Barton
Amphitheatre Upper Slips, BB-1, £19.00

Please PM as well as posting here

Here is a recent article from the New York Times about, among other things, Ratmansky’s reaction to the recent production:
 

https://www.nytimes.com/2023/04/25/arts/dance/alexei-ratmansky-mariinsky-pharaohs-daughter.html

This article is behind a paywall but that is usually not too difficult to deal with. The article is headed “The Star Choreographer Alexei Ratmansky on Russia’s Cultural War”. 

All tickets now gone

Just noticed this short passage from that lovely book Borzoi by Igor Schwezoff (beloved of a certain generation of balletomane). Perhaps of interest:

These tickets have now gone

An update on ticket sales at the Coliseum. Here is a (broadly) positive review of the current run of Die Tote Stadt / The Dead City:

https://www.spectator.co.uk/article/the-operas-a-masterpiece-but-the-production-doesnt-quite-come-off-enos-the-dead-city-reviewed/

Sales in the Balcony have been so poor the ENO have been closing it. Seems the campaign to save the company is not being matched by much public enthusiasm for this show. 

22 April now spoken for. The matinee on Saturday 15 April is still available. 

Sending you a PM now

I have just returned from London’s Wallace Collection, where we were treated to an early chance to see some of the new work by Mauro de Candia “Carnival of the Animals”, performed by Professional Trainees of the ENB School (now led of course by the incomparable Viviana Durante). Most impressive.

it is likely that this unusual, entertaining and thought-proving piece will have a life beyond the School. In any case it is one of three new works premiered in this upcoming programme at Sadler’s Wells, two performances on Wednesday 29 March:

https://www.sadlerswells.com/whats-on/english-national-ballet-school-mixed-bill-2023/

Recommended.