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Everything posted by Dawnstar

  1. Oh, I didn't realise that. From the audience they all look the same. (I have zero practical/technical knowledge of ballet, so I read this area of the forum to try to find out something about it.)
  2. This is probably a daft question but if so few people can sew nowadays then why is it pointe shoe manufacturers haven't been forced by demand into supplying shoes with the ribbons already sewn on?
  3. I did have a look but they all seem to be mid week, so even the ones that could be fitted in before a performance aren't before any of the performances I'm going to, as I'm mostly booked for Friday/Saturday performances.
  4. Get well soon @LinMM I really enjoyed it this evening, especially Act 2 which was basically a farce but with added dance. I particularly loved Skvortsov's sending up of La Sylphide. I know a number of pieces nowadays have men go en pointe but this was the first time I've seen it live & I was impressed by how good he was. I thought his & indeed everyone's comic acting was very good, especially as the Bolshoi doesn't really have a reputation for comedy (or arguably even for acting!). Unlike Spartacus, this one I could imagine the RB doing, though I doubt they will. Chudin reminded me a bit of Muntagirov, in that he came over as inherently nice & I can't imagine him playing any villainous characters. I thought both Nikulina & Shipulina were very good. The latter seemed to have more presence, but I don't know if that was partly because her role had more character acting & I tend to judge dancers more on their acting than their dancing (yes, I know I have my priorities wrong).
  5. I'm sure some are being held for guests, press, etc. but with there being 4 performances in a nearly-400 seat theatre surely they wouldn't hold the best part of over 1500 tickets?! It's not that I partiularly want to see this programme - I think it'll be too modern for me - but that I'd love to know why in general some Linbury productions have been so difficult to get tickets for since the re-opening. If it is going to continue then maybe they should mark off the perofrmances as not for public sale, like they do for the schools' performances. It seems wrong to advertise a performance as if tickets will be available to the general public if in fact they won't be.
  6. I was looking at main stage performances rather than Insight events. I never go to the latter as I don't feel I can justify a trip to London for them.
  7. Isn't Premium 2 Friends the highest level? If not many tickets were available to the highest level of Friends & few or none were held back for public booking then who is actually getting the tickets for these performances?
  8. I had a look this morning at a few performances where I hadn't been able to get what I wanted during the Friends booking, expecting there to be more availability because of the extra 20% of tickets. However none of the performances I checked seemed to have any more tickets available than last night. I am very puzzled by this. Can anyone who has been looking at both Friends & public booking for a while confirm if there are usually visibly more tickets available when the latter opens?
  9. I only decided to get Friends membership the day Friends booking opened & by the time I had visibility of tickets that evening all the performances were already sold out. Perhaps someone who had access as soon as Friends booking opened can say if there were tickets available then or if they had all already gone to the higher levels of Friends? Linbury lack of availability seems to be much more a problem now than it used to be before the refurbishment. I saw a couple of things in there back around 2015 & don't recall any problems getting tickets when general booking opened. However now almost everything in there seems to sell out & returns also seem to be very infrequent. I spent several weeks checking every day for returns for Berenice back in the spring before finally managing to get a ticket on the day of the penultimate performance.
  10. I had a vague idea that the Russian Orthodox church still had a certain amount of underground activity during the Soviet era but I suppose any contact with it would depend on an individual's family background. I've not seen that painting before & if I'd seen it without explanation I would have assumed that it was depicting the Crucifixion (though with more victims than usually depicted). I suppose that the Crucifixion is so iconic to Christianity that one forgets it was a generally-applied Roman death penalty.
  11. By "background" do you mean the Soviet society in which it was composed being anti-religion or is Grigorovich known to have been personally anti-religion? If the latter then yes that would rule it out but if the former then maybe it could have been him subtly disagreeing with the official line? The staging at the end of the ballet, with Spartacus lifted up "on the spears" and then the final tableau also seemed to be to reflect religious imagery of the Cruxifiction & Ascension, but that may just be my interpretation. Having seen Spartacus at the ROH, I've been musing on what it would be like if the RB took the piece into its rep. While I can imagine quite a few of the RB's female dancers in the 2 leading female roles, I'm not so sure about how the RB men would be suited to the leading male roles. The best fantasy casting I can come up with would be Bonelli as Spartacus & Hirano as Crassus. Anyone else got any fantasy casting ideas?
  12. Yes, it's the second one down that I meant. Although it looks slightly different to how I thought it was done last night as I thought he was holding her body rather than one of her legs. I may be mis-remembering though. In case anyone is interested:
  13. I saw tonight's performance, both my first time seeing the piece & my first time seeing the Bolshoi live. The piece itself I found did tend to be rather over-blown & bombastic in places, and at a couple of points almost felt like parody, but also had some very impressive parts. It must be great for the male corps to have so much to do. Anyone who thinks male ballet dancers are effete should be made to watch it! I was very impressed by the performances, especially Tsvirko in the title role who seemed to spend nearly as much time mid-air as on stage. The sheer number of jumps he had to get through was deeply impressive. I know Crown Prince Rudolf is often cited as one of the most demanding roles for a male dancer but Spartacus must be equally so. Vingradova, who I'd not even heard of before, I thought was lovely as Phrygia. The Act 3 pdd was breathtaking, especially one lift where she was doing full splits upside down over Tsvirko's shoulder. Ovcharenko was very powerful as Crassus. Smirnova was the only one of the 4 leads who I'd seen on video, in the livestream of Bayadere earlier this year. In that I found her excellent technically but glacial emotionally, so I couldn't really imagine her as the courtesan Aegina. However tonight I thought her acting was very good & convincing. There were a couple of minor glitches with Act 2 lifts - one per couple - but other than that I thought the technical side of things was excellent from all. Does anyone know whether there being 12 soldiers who refuse to fight with Spartacus is a deliberate reference to Jesus' betrayal by the Disciples?
  14. Oh, I'm not doing that. I intend to see him, assuming I can get a ticket.
  15. I totally agree with the above. There's also the whole flirts with friend's fiance & provokes friend to challenge him to a duel issue plus the tries to persuade married woman to desert her husband issue. I personally don't think he can be viewed as a particularly admirable character. I've seen I think 7 different baritones in various productions of the opera and only one of them managed to make me feel much sympathy with the character at the end.
  16. I saw him do both but I'm still not sure what he'll be like as Onegin. It's not an age thing - the character is supposed to be young. I think it's just that he always seems so nice that I can't imagine him playing a character who is rather an anti-hero. Whereas having seen Ball do a brilliant Tybalt I've already seen that he can do not-nice characters. I wonder whether the ubiquity of Hallberg at the moment is one reason why there is only the one new male Principal, even though two have left? Since Hallberg is basically occupying the equivalent of a Principal's allocation of roles.
  17. At least she has got second cast in the new Marston. Which is more than Hamilton, Mendizabel, Calvert or Choe have so far, as unless I'm missing something I can't see any of them listed at all among the Winter 20 casting. The younger female First Soloists seem to be doing rather better than the older ones this coming season. When I saw Ball doing the Apparitions with Cuthbertson at the Fonteyn Celebration I thought he had a very Onegin vibe in that so was rather expecting him to be cast in the role. However I guess he's got plenty of time, given the role seems to be cast older. I can't quite imagine Muntagirov as Onegin but certainly intend to get a ticket to see how it works out. (NB Opinions on Onegin suitability are based more on seeing the opera than the ballet, as I've only seen the ballet on video.) Frankly I think she'd eat him alive!
  18. 'Junior soloist' sounds to me like the sort of rank that should be given to up-and-coming young dancers. However looking at ENB's website the 3 dancers at that rank are all very experienced so calling them 'junior' anything seems rather odd to me.
  19. Magri/Sambe & Kaneko/Bonelli do actually have another performance each but they're a School performance & Welcome performance respectively so I didn't include them in my list, given it's not as if I or, probably, anyone else reading this thread will be able to attend them.
  20. Thanks @JNC & @LinMM I can see most of the casting for the new Marston/Scarlett by going in to each performance individually via the calendar but it's not currently showing up going in to each performance from the overall production page. Goodness only knows why this is the case! At present there is no second cast up for the Scarlett, hence the blanks below. (Pure speculation but I wonder if maybe Campbell might do the McRae role in the second cast? Given he's currently looking chronically underemployed. Again!)
  21. Thanks. I didn't realise she hadn't done it before. Did she do Olga previously, like Naghdi did, or did the previous runs coincide with her periods off injured/ill?
  22. Who is the other new Tatiana? I know Naghdi is but I'd asumed that Nunez, Osipova & Cuthbertson had all already done the role before.
  23. I'd completely forgotten the existance of that double bill. I find it difficult to take much of an interest in it until they inform us what the two pieces are going to be, which presumably they'll do before booking opens. I see that now the casts for Onegin & Swan Lake are up on the overview pages for each production so I guess my spreadsheet screenshots above are now surpless to requirements. It's too late now for me to remove them but if a moderator wants to do so please feel free to.
  24. @Lizbie1 I'm not sure the typo is the problem, as I tried using your link with the typo corrected & still got a Page not found message. To be honest, I'm a tad disappointed with some of the casting. The leads I most want to see in Onegin don't line up with each other, i.e. Nunez & Cutherbertson and Muntagirov & Bonelli are the ones I'd most like to see but none of them are opposite each other & I'm not sure I can manage to see 4 different casts. I'm disappointed Lamb isn't doing Tatiana. Some of the Gremin casting I find rather puzzling. Clarke & Mock? I would have expected the former at any rate to be doing Lensky. I think Hayward & Corrales might be my first choice for Swan Lake, after their R&J, though I don't know whether they'll be as incredible in something more purely classical. Do we really need Hallberg occupying a leading role slot for the fifth time in a year? O'Hare might as well just make him a permanent principal. No sign of Campbell in either piece. Will he be stuck doing Benno again? No sign of Morera either.
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