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  1. I only saw Spartacus, and hadn't seen the Bolshoi live for many years, so will not comment on the current quality of the company in comparison to other years. But I do wonder if, given the current excellence of the RB we are slightly more critical than we were? Also, the Bolshoi style, with its high extensions, high leaps and,reliance on technical excellence may be less to our taste than it was?
  2. Strange how cats vary in their hunting habits. I had a lovely long haired tabby who had been a stray, and in the 7years i had him he didn't catch a thing.He did once being in an ancient and dessicated bird that he had found and looked very proud of himself!
  3. Thanks for all your comments and explanations - it all makes sense and I fully appreciate any regulations that protect orchestral musicians. I do, however find it off that the protection doesn't extend to visitors, or for that matter, the audience. And after Spartacus i found the ROH's warning about the loud orchestra in Manon etc slightly amusing.
  4. Interesting thread, broadly in agreement with most suggestions. Would like to add extra pleas for the Tudor ballets mentioned and Nijinska's Les Noces and Les Biches. Also Van Manen's works should not disappear, Four Schumann Pieces certainly worth keeping.
  5. Can anyone explain to me why the Bolshoi orchestra playing Spartacus at full power is no danger to those sitting in the extreme side stalls circle seats, whereas Manon and the Concerto Triple bill both have warnings about loud music on the booking page, and the side stalls seats near to the orchestra are not sold? Similarly, the recent Welsh National Opera production of War and Peace opened up the extreme side stalls circle seats, whereas Marriage of Figaro, a far gentler affair, didnt. I thought this policy was to protect the orchestra, so maybe it's only the ROH orchestra that is in need of protection, in which case why warn the audience that Manon may be a bit too loud?
  6. I admit to a certain weakness for Spartacus. it's totally over the top, something I don't think the RB ever could, or should have done. A story done in bold, primary colours, unsubtle, and to me totally thrilling. I greatly enjoyed today's matinee, although agree with Lizbie1 about Shrainer. After the first act i commented to my companion that Crassus appeared to be rather understated but I wondered if this was deliberate and intended to emphasise the rather more decadent Romans as opposed to the heroic Spartacus and his gang. Tsvirko I loved - lovely lines, strong partnering and oh! those jumps! Unfortunately my only visit to the Bolshoi, but we'll worth it.
  7. very sorry to read this. I didn't know John at all, but appreciated his comments and wisdom in the forum. All my sympathy to his family and friends.
  8. Interesting article in the Friends magazine about the role of Onegin as played by both Soares and Bonelli. Their different approaches to the role go a long way to explain how interpretations of the role can differ and may also point to how Muntagirov may interpret it. Could be interesting to see.
  9. Well, the Mail has done better than The Times which doesn't mention her at all, in spite of there being two,articles about the cover.
  10. Thanks for this, Stevie. I've got it on order from Europadisc, my usual supplier and it's £22.36. Must admit I have never had a problem with Amazon, but I find this particular instance strange.
  11. The mystery deepens. I received an email from Amazon inviting me to pre order the Blue Ray version. Opus arte's web site doesn't list it. My usual CD/DVD supplier has taken an order from me - wonder if it will actually appear?
  12. The recent big screen showing of Marriage of Figaro is on You Tube, but I think the Mayerling i referred to was not like the usual ROH showing - no introduction, no interval talks, not even cast details. Had every appearance of being a bit under cover, although the actual film quality was fibe.
  13. I find it disconcerting and faintly unsettling. The creatures are neither animal nor human. I saw the original, and also have it on DVD and the cats were far more catty than these weird and rather unpleasant creatures. The actual dance looks,impressive, but I find it strange that no credit is given to Stephen McRae.
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