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Springbourne3

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Everything posted by Springbourne3

  1. Oh that’s such a shame - such a beautiful dancer and will certainly miss seeing her perform . Good luck to her in whatever she does post RB.
  2. This is fantastic to see - my mother used to rave about her - very nostalgic trip for me and thanks for posting Amelia.
  3. I think that it’s a bit of a weird mix - Winter Dreams in between two light-hearted ballets - maybe it was chosen just because of the word ‘Winter’ in its title during the Winter ballet season???😂 (I do wonder if this is the case sometimes!) Doesn’t seem to of been much thought regarding the suitability for the younger members of the audience - hence the early exodus of younger audience goers which is a real shame.
  4. What a ridiculous programme - fortunately we had a power cut here half way through, so I didn’t manage to see the rest of it (such a shame 😉)!!!!
  5. Trouble is her kind of remarks are misleading to the general public - she only went to one RBS Summer school as a child and decided that it wasn’t for her and she that she ‘didn’t like the people’ (??!) - but now it’s ok for her to say (not very truthfully) that she was ‘at the RB’ though! Oh dear Oh dear 🙈!
  6. Thanks for your reply Darlex - Yes, only Derek Rencher (whom I saw perform this role) and Saunders (who I haven’t seen). I think N Kish would be very well suited to the role of Elgar - an excellent suggestion 😊. M Nunez as Lady Elgar perhaps? Or C Calvert? I see James Hay as Troyte.
  7. My RB season 19/20 would be; Ashton’s Cinderella, Ondine (tribute to Fonteyn) and as part of a triple bill, La Valse, Coppelia, Would love to see Le Tricorne (Massine) again - one can live in hope! As has been mentioned previously, Enigma Variations - I’m sure with the current level of talent within the RB and choice of casts that this would offer, it would be absolutely amazing. I always loved Daphnis and Chloe and surely it’s about time the RB revived it? Other ballets - Monotones 1 and 2, Dances at a Gathering, Façade, Checkmate.
  8. Another interesting read and view of the various film clips from the above posts. The first live Nutcracker I saw was the Ronald Hynd 1976 production for the original London Festival Ballet - designs by Peter Docherty. I remember it looking as if you had opened one of those children’s pop-up fairy tale books at Christmas. In Hynd’s version Clara was performed by a young student from Arts Ed. School (Tring) and in this version she had an older sister, Louise, performed by a principal dancer. His version also involved Louise joining in with some of the dances in the final act as the current RB version does. Again, Hynd used children throughout the production (all from Arts Ed). I found the production quite magical at the time and remember that there were several great dancers in the company at the time such as Eva Evdokimova, Belinda Wright, Peter Breuer, Patricia Ruanne, Alain Dubreuil, Patrice Bart, Elisabetta Terabust, Kerrison Cooke, Peter Schaufuss, Freya Dominic to name just a few. I’ve always been a fan of Wright’s RB production so that is my other favourite. Not so favourite was the BRB’s one act production called the ‘Nutcracker Sweeties’ (1997? I think), music by Duke Ellington (the best thing about it!), costumes by Jasper Conran and was choreographed by David Bintley (not his best in my opinion). I thought it was awful and has it ever been performed again? Did anyone else see it? Just for interest I managed to find a clip of Hynd’s Nutcracker Act 2 performed by LFB in 1976 (it’s a bit dated of course, but has some fine dancing by the company - and children). Louise is danced by, but not 100% on that, either Eva Evdokimova or Patricia Ruanne and Terry Hayworth is Drosselmeyer - apologies in advance for the poor sound quality. I don’t seem to be able to upload the cast list 🤔 Happy viewing and looking forward to the start of the Spring 2019 dance season.
  9. That takes me back MAB - I remember the ‘Nags Head’ from my student days (late 70s early 80s) - we students frequently ‘hung out’ there just to catch a glimpse of the RB dancers.
  10. This is the Siegfried Act 1 solo danced by Nureyev that I remember (not sure if it was Sergeyev’s production either) - it’s beautiful anyway.
  11. I finally managed to watch this production - albeit on BBC4 on Christmas Day - not quite the same as seeing it ‘live’ at the ROH - but better than not seeing it all. I quite like the little ‘prologue’ at the beginning in which Odette is captured by Von Rothbart and turned into the swan - but the lighting was so dark you could hardly see what was going on - why so dark? The Act1 scene set was beautiful with the gothic style palace gates and beautiful backdrop of forests which gave a real feel of depth and ancient woodlands surrounding the palace. The introduction of Von Rothbart (Bennet Garside) as a dual character role - part dark moody ‘goth’ like member of the court and part evil decaying raven-like magician - gave continuity to the story. Strangely, Benno arrives in a bright coloured costume and this completely overshadows Siegfried’s arrival afterwards in much darker colours which just blend into the background....if you weren’t familiar with the story you may well be led to believe Benno is the Prince! Particularly when Benno and his sisters dance for most of the first act and Siegfried hardly moves. This Pas de Trois was beautifully danced by Campbell, Takada and Hayward and was a highlight of the dancing for me. I think I preferred it as it always used to be known as the ‘peasant pas de trois’ (probably no longer politically correct to call it this though) when the ‘peasants’ danced for their Prince. The rest of the act was beautifully presented by artistes of the RB - the male dancers in particular looked in fine form in their uniforms with beautiful jumps and far-reaching aresbesque lines in the Valse section - I love this magical Tchaikovsky piece it brings tears to my eyes every time. Muntagirov’s quiet, thoughtful Siegfried and his beautiful technique was sheer beauty - deep felt sincerity and understated refinery. Nunez entranced with a huge grand jeté and I love that she gently shakes the water off her head as she port de bras (saw this done by some ballerinas years ago but seems to of been lost in more recent productions) - it’s so ‘swan-like’. The corps of swans made a great entrance - great attack and footwork but the lighting seemed so dark again. Beautiful ‘Cygnets’ performed by Hinkis, Gasparini, Padjek and McCrae danced with great speed but always keeping the precision and perfect co-ordination of feet and heads. The two big swans were also beautifully danced with great sweeping jumps and aresbésques across the stage (Calvert and Magri). I also liked that the Swans were back in those gorgeous tutus again - giving a much better view of all the footwork going on. Bit of a negative for me was that sometimes the swan corps looked a bit messy at times. The Ballroom act looked stunning costume and set wise - but Benno and his sisters again? Glorious dancing however (Hayward in particular making everything look so easy) but....all those beautiful princesses (Hungarian, Polish, Spanish and Italian) hardly moved at all which was disappointing considering their grand entrances (and talent!) made you anticipate that we were going to see something of them - but no they mostly ‘dressed’ the sides of the stage. Loved the Czardas - Padjek as the lead was a stand out with her sharp head movements and true Hungarian style/feel - always want to see more of her! Tristan Dyer was also very good in this too. The Polonaise was again, beautifully danced and Bracewell had just the right air of pride and precision as a lead dancer. Sambé and Hinkis exploded into Ashton’s Neopolitan Dance - another highlight for me. Can Nunez get any better? I thought her Odile was absolutely faultless - her technique is pretty much perfect and it looks like she doesn’t even need to think about it - pure class. What a great artiste she is. Moving on to the final act - I like the pas de deux that has been added to this act and it really suited Nunez and Muntagirov’s lyrical qualities - that combined with their acting skills gave a very poignant final parting duet. No I don’t like the ending - give me Odette and Siegfried united forever after they plunge into the lake in the ‘love conquers all’ theme. All in all a great production but too much Benno - but of course this is just my opinion. As a TV production there was no clear explanation of which act was what - or where - subtitles would of helped to explain this.
  12. Merry Christmas and here’s to another year of this glorious art form 🍾🥂cheers!
  13. Very interesting read re - all of the above posts! My female artiste would be my newly found admiration for Fumi Kaneko in everything she does - beautiful, precise and strong strong technique. I’m looking forward to her future upcoming RB débuts. My male artiste would be Shale Wagman (ENB) as he was outstanding in the male variation from the Act 1 Pas de Trois in ENB’s recent ‘Swan Lake’ tour. I also have greatly admired everything Les Ballets de Monte Carlo have done this year - and they have some great dancers in the company too.
  14. This was a double treat for my birthday weekend (ENB on Saturday and RB Nutcracker last night and my husband is not really a ballet fan but he really enjoyed both ballets - it seems I’ll get him to become a ballet fan yet 😄). What an opening night of ‘Nutcracker’ - as soon as I hear that Tchaikovsky Overture I always feel so emotional 😭! I’ve seen Wright’s production since it was first performed by the RB and I’ll never tire of it as it’s just so magical - fantastic to see the man himself enjoying the curtain calls at the end too. I enjoyed Anna Rose O’Sullivan and Marcelino Sambé’s partnership - she has really developed as an artiste over the last few seasons. Lots of new students from WL dancing with enthusiasm and having fun as the various children in Act 1 - well done to them. Gary Avis is my favourite Drosselmeyer I have to say. The snowflakes were full of energy and sparkle - great work from the corps again and those lovely smiling RBS students as the angels. In Act 2 I preferred it when Clara and Hans Peter didn’t dance with the various divertissements - I liked the previous three ‘Ivans’ Russian dance and the three male dancers in the Chinese dance - it feels slightly like C and HP are getting in the way at times (just my opinion). The Arabian was beautifully danced by M Hamilton and R Clarke, D Donnelly and ?T Dubreuil (I think) it wasn’t listed on the cinema cast sheet and I missed the end titles - I think Hamilton dances this role the best out of all the other Arabian dancers I’ve seen - the role is so suited to her physical qualities. Loved Fumi Kaneko as the Rose Fairy - another artiste who has really developed over the previous season and she’s fast becoming a favourite of mine - looking forward to seeing her as Kitri. M Nunez and V Muntagirov were just sublime as the Sugar Plum Fairy and her Prince - faultless in their classical technique and they both looked so relaxed and happy on stage. Vadim’s landings from every jump were as light as a feather into perfectly crossed fifth positions - just phenomenal. Marianela was gracious and beautiful as ever. What a treat to see such fine classical dancers dancing together. All in all a great opening night.
  15. Thank you - I cant find much info apart from that Cranko originally choreographed it in 1949 for SWTB and it was the complete B and the B tale within one pas de deux.
  16. That’s great - it’s all comIng back to me now - Cranko choreographed it early on in his career in the 1940s I think? Thanks so much for the link.
  17. Aaaaaaaaaaah ‘Hobson’s Choice’ 💖 love it like ‘Pineapple Poll’ - incidentally re ‘Beauty and the Beast’ does anyone remember the B and the B pas de deux that SWRB used to do - I saw Doreen Wells and Henrik Davel perform it a few times - the music was from Ravel’s ‘Mother Goose’ suite but I cannot remember who choreographed it though (1970s era).
  18. Myself and my husband attended yesterday’s packed matinée of ‘Swan Lake’ - we sat in the middle and a few rows back from the front in the grand circle at the Bristol Hippodrome. It was a full house for ENB’s penultimate performance in Bristol. We had a good view of the stage from our seats. I very much like this Derek Deane production with the opening scene that shows how Odette was kidnapped and transformed into a swan by Rothbart - magically transformed on stage too which brought some gasps from the audience. In this performance Odette/Odile was danced by Shiori Kase and Rothbart by Daniel Kraus - who literally tore around the stage with his huge wings flapping somewhat wildly. After this brief scene we were transported to outside the palace gates. Peter Farmer’s designs of rich muted dark greens, golds and reds and the sets reminded me of old paintings with slightly faded autumnal colours. Joseph Caley’s entrance as Siegfried was greeted with applause and he played the role with a quiet and elegant regality - beautiful lines in his aresbesques and soft controlled landings to his jumps throughout. Michael Coleman mad much of his role as the Prince’s Tutor - you felt his affection and concern for the young Prince in Act 1. The pas de Douze waltz was beautifully performed by the artistes of ENB and with the swirls of those beautiful velvet costumes was a pleasure to watch. After this, Shale Wagman, Julia Conway and Francesca Velicu performed the pas de trois - both women were technically secure and had a beautiful lightness to their dancing - they made it look impressively easy. (I heard an audience member state just that). Shale Wagman, for me, was one of the stand out dancers of the performance. He is a new company member having won the gold medal and Nureyev Prize at this year’s PDL - his variation was outstanding and brought cheers from the audience - I think he will go far as he is already being given soloist roles within the company (he also dances the Neapolitan Dance in this production too). It will be interesting to see where his career will take him. Act 2 was outstanding (apart from some audience members noisily trying to get back to their seats during the overture - we were asked to remain seated after Act 1 as there was a quick 5 minute break before Act 2 but the orchestra was drowned by the noise of those that chose to ignore this advice which ruined the atmosphere a little). Shiori Kase really suited the role of Odette - lyrical, technically secure and beautifully mimed sections - fiercely protective of her swans. She took the Odette variation at quite a slow pace initially holding her balances very strongly en pointe before melting into the next step - beautifully musical too - pulling out all the stops for the final sequence of turns en diagonale. The corps of swans was again, very impressive - well rehearsed and working as one with immaculate lines and positions - well done to them. I liked the two big swans of Tiffany Hedman and Isabelle Brouwers - using all the stage and working perfectly together. The cygnets again, were perfectly co-ordinated with beautiful footwork and heads - they were rightfully spontaneously applauded at the end. Cygnets - Alice Bellini, Francesca Velicu, Jung Ha Choi and Emilia Cadorin Act 3 (with those fanatastic Peter Farmer muted colours again) flowed well with the various divertissements - all danced very well. Erik Woolhouse really stood out with his presentation of the Spanish dance - I would of just watched him dance this on his own as he drew your eyes to him. I love the Ashton Neapolitan dance and it was danced with great ‘joie de vivre’ by Adriana Lizardi and? this dancer had replaced Shale Wagman and I’m not sure who it was unfortunately but he was very good! The Black Swan pas de deux was a highlight with Shiori Kase bringing gasps with her amazing balance and double fouéttes - Joseph Caley was slightly outmatched by her stage presence I thought. Finally, Act 4 was a little disappointing when Odette and Siegfried jumped into the lake - instead of jumping off the parapet which was centre stage they disappeared off into the darker side of the stage so that it was difficult to see them - if you were not familiar with this part of the ballet you may of missed this completely. Odette jumped and then I could see her stand up and run off into the wing - which destroyed the effect of her disappearing into the lake - that’s my only criticism of this production though. The corps were again, beautifully together in this act and the finale tableau with the mists rising and the sight of Odette and Siegfried flying over the lake was truly fairytale. The applause was long and loud at the end with people rising to their feet when the ENB Philharmonic conductor, Orlando Jopling, joined the dancers on stage - couldn’t fault the orchestra either. In my opinion, ENB has currently one of the best productions of ‘Swan Lake’. Looking forward to the RB’s opening night of ‘Nutcracker’ next......
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