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ninamargaret

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  1. Obviously it's a more efficient system than the one in SB many years ago which often got stuck and moved in fits and starts - hardly seamless!
  2. where I was in the stalls circle all the adults were very well behaved, although after The performance had ended i was amused to hear a lady sitting behind me saying that she must go home and read the story - she'd forgotten it! can I also say hi enjoyed Romany Pajdak's Countess- can quite understand why the Prince didn't find her appealing! And Matthew Ball, in the awakening scene was priceless, managing to look very noble and Prince like, but just a little bit goofy!
  3. i was, of course,disappointed not to see James Hay, particularly basic remember good comments about him in the last run of SB. And I admit to not being wholly enthusiastic about Matthew Ball. But I had certainly changed my views by the end of the performance. I loved O'Sullivan's Aurora - a very slightly tentative Rose adagio but from then on she just blossomed! A gorgeous Act2, with both dancers actually seeming to enjoy dancing with each other.I must admit that my heart sank when I saw the huge party of very young children near the front of the stalls, but they behaved very well - rather better than some adult audiences!
  4. No way can I remember the actual words considering it must have been over 30 years ago. But it was when he produced Otello for ENO, which had a late 19th century setting. Obviously he didn't always stick to it as his Merchant of Venice and Hamlet at the Donmar showed. But that's what,the man said!
  5. I enjoyed several of his productions, including his imaginative and moving Mass in B minor, but I was especially interested in his comments, at an ENO event, that setting a play/opera in the period in which it was written made sense. Seeing some of the more recent productions with their insistence on 'relevance' makes me remember his sane and sensible comments. What a sad end for someone with such a brilliant mind.
  6. just had rwo emails from ROH advising that Sambe is being replaced by Calvin Richardson in The Cellist on28 Feb and 4March, and Richardson by Sambe on 17,18 and25 Feb, and 2March.
  7. JohnS's comments about mime very interesting. I thought the mime passages were excellent, but then I am lucky enough ( and old enough) to have benefited from some of the sessions given by the RB's Ballet for All and early TV programmes where it was thought useful to show how mine worked. Alexander Campbell particularly good at it - his Nutcracker performance on DVD shows this. I think it is often forgotten that there are always members of the audience who have not seen the ballet before, maybe a little extra help is needed.
  8. You could be right - it was particularly noticeable on the right side of the stage.
  9. Greatly enjoyed last night's performance. It goes without saying that Hayward and Campbell were both lovely to watch, although i do sometimes wonder if Hayward could project the character a little more. Carabosse always one of my favourite characters and I got the impression Forskitt really,enjoyed the role. Super Bluebirds from Magri /Corrales and a particularly pretty white cat from Sophie Allnatt. One small point about Corrales - his marvellous soft jumps were spoilt by quite noisy landings. Is this because of some technical problem, shoes, or what?
  10. Haven't seen Coppelia for more years than I can count, and this encouraged me to regard it with a little more respect! What an excellent coach Benjamin is and what good material she had to work on. I've enjoyed Magri since she showed up as being the most interesting performer in the Twyla Tharp ballet a couple of years ago. And Corrales always worth watching. Good to see something about the amazing,work out in by the costume dept.
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