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ninamargaret

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  1. ninamargaret
    I saw Takada/Campbell during the previous run and would agree with the above comments. My only disappointment this run has been not seeing James Hay, whose,performance in the last run showed him to be, to me, the best of the current Lescauts. On the strength of this, and previous forum comments about his Florimund, I've booked to see his SB.
  2. ninamargaret
    I notice there is a programme on the BBC World service at 0900 on Thursday 7 November about Nureyev.Guests in the discussion include Julie Kavanagh and Thierry Fouquet.
  3. ninamargaret
    Wish I was there tonight - it sounds as though the Ballet Forum audience will be as colourful as the action on stage!
  4. ninamargaret
    To add,to my comments about last night's performance, I felt that Campbell very much resembled Dowell in his lovely smooth lines. Hayward really does seem to have made Manon her own - her first performance, with Watson, was good, her further performances, with several different De Grieux, have allowed her to really build on the role and last night was, I think, pretty definitive. A DVD is,definitely necessary! And to comment on previous queries about de,Grieux' hat, I can report that Campbell came on with it tucked under his arm!
  5. ninamargaret
    Agree totally about tonight's performance. All four were really excellent. Campbell and Hayward are so suited to each other they make the whole,thing look so easy. For me, it's one of the great partnerships. One small point - did Corrales and Magri actually stumble at one point in Act2? They seemed to get somewhat,tangled up towards the end of their pas de,deux near the card table. It was either a stumble or a very realistic piece of dance!
  6. ninamargaret
    I think I'm right in remembering that during one season Enigma was followed by Song of the Earth.
  7. ninamargaret
    So obviously the jacket is something I've seen several times before! And full marks to Avis for his performance and for not trying to make himself look like Elgar.
  8. ninamargaret
    I really enjoyed Friday's performance; just as well, as due to a muddle with dates I am seeing it twice more. Concerto was, I thought much better danced by BRB a couple of years ago in the Macmillan celebrations, although I loved Francesca Hayward. Not sure about Corrales - he seems to do all the right things but there's something missing. Enigma, which I hadn't seen for years, I enjoyed as much,as ever, although, and this is a purely personal reaction, the original,cast was very much in my mind. But this cast was excellent, particularly Alex Campbell, and of course Gary Avis. I don't think anyone will ever dance Elgar like Derek Rencher, who also looked uncannily like Elgar! Coated might find it interesting to read David Nice's article in the red programme,which explains the lady in the floaty outfit! And so to Raymonda, which I thought started a bit roughly but which improved greatly with the arrival of Cuthbertson and Bonelli. I thought they were both on great form, both their solos were gorgeous and the whole thing ended on a high note.
  9. ninamargaret
    My RSC Patronage didn't specify limits generally, but did put limits on productions likely to be popular - the David Tennant Hamlet was, I think, one of those. I would think a limit of four is perfectly reasonable, nine sounds daft, to me. And if it means that people can't club together and buy a more expensive level of membership that may even be good for the ROH coffers.
  10. ninamargaret
    As a Londoner, and long retired i have the luxury of choice, only hindered by a short purse! But if possible, I do like to go to a First Night, followed by seeing another cast later on. I find it's good to be able to make up my mind about a work within much prior knowledge, although the Insights that we have now are useful.
  11. ninamargaret
    LignIn the complete Ballet was done by Fonteyn and Nureyev with the Australian Ballet, I think around the late 60s.If memory serves me correctly it was performed in a large cinema near Victoria Station, totally unsuitable for balket. Needless to say, Fonteyn was exquisite.
  12. ninamargaret
    Without going into the rights and wrongs of the whole mess, I think a problem is that the ROH, and other theatres, need large numbers of Patrons, Friends whatever to swell their coffers. Inevitably, the more that give this support, the more tickets and benefits they want, and can justifiably expect. If I was a Patron paying several grand a year I would be pretty miffed not to be able to get tickets because some were being held back for the general public. You would have to be a particularly generous minded patron to say 'I don't mind foregoing my ticket so that Joe Bloggs can have it'. Some years ago the Donmar closed its' Supporters list because too many people wanted priority tickets - a very honest action, but I can't,see the ROH doing that. But I totally agree that greater transparency on the part of the ROH is needed, and a clear policy should be stated and adhered to.
  13. ninamargaret
    Alison's comments about the way Bonelli seems to show the whole character of De Grieux seems to me to be true. It's probably more difficult for a dancer who is used to conveying character through dance to have to convey a character through stillness and I think Bonelli does this. Will be interesting to see Alexander Campbell next week - I was very impressed by his De Grieux last run.
  14. ninamargaret
    Couldn't agree more. Yes, they made a slightly mature De Grieux and Manon, but their performances were so much in tune with each other - they just seemed to be on the same emotional level. Really beautiful. Which is more than can be said for Gary Avis's gaolor! Probably one of the nastiest characters ever seen on the ROH stage! And after seeing him on WBD both as a coach and,a dancer I wondered how he could be so repellent?
  15. ninamargaret
    Topping up WBD with Manon tonight! And total confusion - I've been convinced all day I'm seeing the triple bill tonight, which I'm seeing,Friday.
  16. ninamargaret
    It's not only the ROH alienating audiences. I've supported the RSC since around the mid 60s. You may have read that they have cancelled,BP's sponsorship, which was used to allow,16-25 year olds,tickets for £5. According to the RSC this is,because they have listened to their young audiences and consider that BP's sponsorship is a barrier to their younger audiences. I have cancelled my Patrons membership,roughly equivalent to Friends, as it seems that as an elderly theatre goer I am no longer valued or wanted. I am not really,wanted at the ROH unless I can pay huge sums for a high level Friends membership. Can see the day coming when theatres only want young, well heeled audiences.
  17. ninamargaret
    I've emailed Customer Services about the poor information given for Onegin and also for the triple bill. They have replied that my comments will be passed on to the Royal Ballet Company and their IT dept. The information is so poor its 'laughable. To go back to Onegin. My choice is Bonelli and without detracting from Naghdi, who I am sure will be excellent, wish Morera had been with him. But lovely to see Sissens and O'Sullivan - it has the makings of a great cast. I've seen Soares as Onegin, can't quite see Muntagirov as Onegin and am not a fan of Osipova, so am seeing the Bonelli cast twice.
  18. ninamargaret
    Tried to look at the casts for the Concerto triple bill. They are totally hopeless! For one performance of Concerto we have two female leads, no male, and for,another two male but no female. For Enigma at at least one performance the orchestra leader is playing Elgar. Should be interesting!
  19. ninamargaret
    Saw Campbell in this last run and he was,to my way of thinking, quite perfect. I think he is one of the very best partners in the RB at the moment and I'm looking forward to seeing him in a couple of weeks time.
  20. ninamargaret
    Agreed, but I think there is a certain section of the audience that likes the idea of seeing Kaufman because he's famous, just as people will go to the Bolshoi because they've heard of them!
  21. ninamargaret
    i think it's,yet another example of the 'celebrity cult'. I suspect Fidelio with a less glossy cast would have had far fewer people shelling out megabucks!
  22. ninamargaret
    if that isn't 'elitism' what is? And I suspect that what I call ordinary Friends haven't got much of a look in either. Bet Viagogo is running it' s grubby hands with glee.
  23. ninamargaret
    I found it slightly odd that it was advertised as showing Enigma being rehearsed, but showed a picture of Concerto just before it started. But an enjoyable programme, especially seeing Zuchetti being coached by Wayne Sleep.A very short programme, lasting just under an hour. I did wonder if there had been an intention to show something of Concerto and it had them been dropped.
  24. ninamargaret
    For more years,than I can remember, designers have come,up with splendid sets that are fine for an audience sitting about 15 rows back and bang in the middle. Ballet probably a bit more tricky in that sets tend to be pushed more to the,sides to allow space for dancers, but in the main the poor paying audience frequently gets a raw deal.
  25. ninamargaret
    I hope we're not getting to a situation where it's only performances with guest stars that sell out. Obviously good for the box office, but hardly good to the 'home team'.For my money, I'd rather see any of the regular casts - they are all excellent and I would happily see any or all of them .My two performances come up later, and I can't wait!
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