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ninamargaret

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Everything posted by ninamargaret

  1. ninamargaret
    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. ninamargaret
    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. ninamargaret
    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. ninamargaret
    Wonder why some people bother to go!
  5. ninamargaret
    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!
  6. ninamargaret
    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.
  7. ninamargaret
    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.
  8. ninamargaret
    And I could add another couple of names to the list!!
  9. ninamargaret
    Perhaps,they heard,the ROH orchestra,on a particularly bad night!
  10. ninamargaret
    me too - glad that I'm not alone!
  11. ninamargaret
    Yes, the complete insight is on YouTube.
  12. ninamargaret
    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.
  13. ninamargaret
    You could be right - it was particularly noticeable on the right side of the stage.
  14. ninamargaret
    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?
  15. ninamargaret
    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.
  16. ninamargaret
    I bet he was!
  17. ninamargaret
    it seems a part of our lives now that people photograph practically everthing. At a gallery they no longer look at the pictures, but photo them, they photo, or try to, performances, pets,food, each other,you name it! Do they ever look at these photos or are they the modern equivalent of hunters trophies?
  18. ninamargaret
    it isn't just here that audiences leap out of their seats to leave as soon as the curtain is down. I was watching a recording of Turandot yesterday via the Arte channel and as soon as the last notes finished there was a rush for people to leave, in many cases passing right in front of the camera and totally filling the screen. The cameramen got quite good at switching to other cameras but I thought it was discourteous to the cast and to the audience watching on film.
  19. ninamargaret
    Having seen Morera/Bonelli and Hayward/Campbell I rather feel that I have seen an older, softer, more traditional style with the former and a newer more dynamic style with the latter. Both valid, both showing the dancers giving beautiful performances and I really would hate to have to choose between them. Very grateful to have been lucky enough to see both - just don't ask me to choose!
  20. ninamargaret
    There were some postings here about the very short 'rags' worn by Manon. Out of interest, I played my Penney/Dowell DVD. She wears rags that are definitely the ragged version of one of her dresses, definitely knee length. All the dresses worn by the prostitutes are ragged versions of their previous clothes. So it seems as through there has been some redesigning over the years.
  21. ninamargaret
    i don't even bother to complete it - it's totally useless
  22. ninamargaret
    Last season they were scrolling cast changes in the screen behind the counter in the caff! It was impossible to read as it was at the bottom of the screen and hidden by staff serving. Have they stopped this? It still seems to me that they have not grasped the fact that some of their audience is interested in casts apart from the principals.
  23. ninamargaret
    A couple of years ago he did an excellent Symphonic Variations - one of the two couples. Agree he should be used more in leading roles.
  24. ninamargaret
    The lack of information about casting for the Lilac fairy etc seems to downgrade the importance of the roles, although,it must make life easier for those responsible for casting, particularly when so many changes are likely to be necessary.
  25. ninamargaret
    Saw them in Cinderella at some point, towards the end of Beriosova's career. Earliest ballet memory is Festival Ballet in Oxford where, to my excitement, I saw Markova dance the Dying Swan, Dolin the Ravel Bolero, they then both danced the divertissements from Nutcracker. All preceded by Chopiniana which was, I think, the original version of Les Sylphides, although I may be,wrong.
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