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    Classical music, ballet (of course!),gardening, animal welfare, giving German/English lessons to refugees

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  1. I may be a bit late to respond to this topic, but only was aware of this thread now. His Swan Lake has to be the top of my list for the simple reason that it's so seldom performed. To my knowledge it was only on in Hamburg and Munich. I've seen it in Munich several times and every time have enjoyed it esp with Lucia Lacarra as Odette. And was always overwhelmed by the end. My attempts to see it in Hamburg were thwarted by a municipal strike and then by Corona. Then followed by Lady of the C. and then Midsummer Night. I am not impressed by the later works which I've seen - Othello, Streetc
  2. The video showed was of the first night. I saw the same cast at their 2nd and 3rd performances and was overwhelmed by their wholeheartedness, more so in the 3rd than in the 2nd performance. So it seemed that it took a couple performances for them to get truely into their stride.
  3. Right! I'll be glued to the PC, come Saturday night. I've seen him 3 times as Rudolf and everytime, it was mind-blowing. The sets too are lovely.
  4. I've as yet to see a live Performance and have only watched the recorded one. I'm one of those who hate too drastic fiddling with our beloved classics, thus I approached the modernised Giselle with trepidation. Disiked it on my first viewing, but once I got onto the story, it somehow got under my skin with repeated viewing. I grew to like the myriads of gestures in the story-telling, e.g. how Hilarion stroked Giselle's belly tenderly in the mad scene, as though to say "I'll look after your baby, too", or Myrtha jerky movements resurrecting Giselle, as though giving birth, etc. - although I'm
  5. I can only echo annamk's opinion. Having seen it twice the last Season and again on the 28th Sep opening the new Season, I thought the Company had time to Digest it and found the latest Performance intense and truly compelling. Not used to seeing Friedemann Vogel's perfect line dissolve into a drunken stagger, but the expressiveness from start to finish was Wonderful.
  6. I've only seen him once in Onegin in Munich with Osipova and, based on that, have joined the ranks of those thinking him overrated. Lifts not done well or changed to a lower technical Level(?), lack of expressiveness in dancing, moments of poor timing in pdd, esp. the Mirror pdd. Maybe I've been spoilt by the likes of Evan McKie, Jason Reilly, Friedemann Vogel and Shklyarov in this role. To be fair, I'll have to see him in other roles and fully recovered to form a well-rounded judgement.
  7. For those interested, here's a link to a detailed review of Stuttgart's Mayerling by Gerald Dowler: http://www.classicalsource.com/db_control/db_concert_review.php?id=16477
  8. I was at 4 ballets in the Ballet Week in Munich mid-April, 2 of them with prominent guest stars - “Lady of the Camellias” and “Onegin”, which turned out to be below my expectations. On the 12th April, Marguerite was danced by Anne Laudere, partnered by Edvin Revazov, both from the Hamburg Ballet. She was fine, but Revazov, coming from Neumeier’s emsemble, was disappointing. I thought him inadequate, both technically and dramatically. Especially in the final black pdd he could not match the intensity and urgency of the
  9. Where can I find the video now? I saw it in YouTube some time ago, but it appears to have been taken off now. A crying shame, as it's one I'd like to see over and over again.
  10. Now that my excitement over the new Onegin dvd after upteen barren years has subsided, I thought that I could jot down my impression. I’ll not pretend to be objective, being an unashamed fan of Friedemann Vogel and Elisa Badenes. Olga was the perfect role for latter, with her soubrette personality; brimming with life in the earlier scenes and dancing with a hitherto unknown enjoyment in the flirt with the man about town, effortless dancing that made us forget technique. The same cannot be said of her Lensky, David Moore. His Act I solo/pdd I find lacking in exuberance, with feeble l
  11. Do try to make it. I love the original SL woven into Ludwig's story and ironical use of Petipa's choreography. E.g. when to the music/dance of the Black Swan in the 3rd act is used for a white swan to seduce the King,, but with good intentions behind it, plus myriads of references to the original bt in a different context. Next to the tormented Ludwig, I find Siegfried like an immature teenager.
  12. I've seen him in Giselle and Spartacus in Munich and found him as a dancer and artist totally overrated. But since the Zelensky takeover the Munich audience seem to cheer everything and everyone indiscriminately. I'll be attending Spartacus in April and hope fervently not to see him there. I won't know how to boo him and cheer for the rest. Just sorry that he's getting such a lot of attention and other dancers deserving more don't get it.
  13. I have to disagree on one small point. Alexei Popov, I thought, was dance-wise slightly disappointing, with some trouble in partnering and lifts, though he acted convincingly, displaying passion in the duel challenge. For me, the Lensky to top all is Friedemann Vogel in Stuttgart, though now having been given the Onegin role, will alas be scarcely called on to dance Lensky.
  14. Though it may be not of immediate interest to most members of the forum, I do want to share my views on Cranko’s Swan Lake, which I saw in Stuttgart in Dec. Saw 3 casts: On the opening evening Alicia Amatriain/Friedemann Vogel, both under par that evening, Ami Morita/Alex McGowan, making commendable debuts, , Elisa Badenes/David Moore, the best Odette/Odile of the 3 and David Moore convincing, though not an outstanding bravura dancer. An unusual version with a focus on Siegfried as a lonely soul. In the 1st act happier with the ordinary folk, but not being truly part of them, utter
  15. Yes, an intriging topic. I'm not a teary person, but there were memorable moments which brought a lump to my throat. Being non-U.K. -based my choices are quite different: Lucia Lacarra as Marguerite in "Lady of the Camellias", the whole of Neumeier's "Illusions - like Swan Lake", a stupendous re-make of "Swan Lake" by Neumeier, which touched me much deeper than the original, esp. the end when the king gives way to his fate accompanied by waves of Tchaikowsky's music - spine-tingling. Also Alicia Amatrian as Tatiana, Friedemann Vogel as Lensky and again in Bejart's "Bolero". I could go on ad na
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