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Ianlond

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  1. Belinda Hatley absolutely. Unfortunately, I was only able to see her towards the end of her career and I believe she had had many difficulties with injury. Her Giselle was lovely. I was much more emotional at the end of her last ROH performance (in Symphonic Variations) than Darcey’s at the end of the evening.
  2. I agree, it does seem a little like overkill to have her dance them all. And I say this as someone who very much appreciates her performances in many roles. However, as was discussed on another thread (I think!), she has had a very difficult time with illness & injury so perhaps it was thought it was overdue (although I still think giving her the Swan Lake live relay would have been enough).
  3. The Green Table, yes. Interesting that Matthew Bourne’s Swan Lake has been mentioned. Yes it’s danced to a score originally written for ballet but (assuming this is what Floss meant) is it a 20th Century ballet classic? Certainly, the style of movement - while influenced to a degree by ballet - isn’t the same. I could go on about this but won’t. It would however be interesting to think about which contemporary dance works should be saved for the repertoire (although not on this thread!) as there seems to be even less desire (?) to do this; when was a major work from the LCDT (London Contemporary Dance Theatre) era staged? As Naomi M mentioned, there are many works of mid and late century choreographers from around the world whose own companies are no longer active but possibly still deserve to be performed and do not fit into a ‘classical’ company’s repertoire. Sorry for taking this thread in an obtuse direction!
  4. Here goes.... Ashton: Symphonic Variations (it has to be this first; for me, it is THE best ballet, full stop). Scenes de ballet Cinderella Daphnis and Chloe (when will we see this again??) La Fille mal gardee The Dream Monotones (both of them!) Enigma Variations Rhapsody (then I’m torn between A Month in the Country, Les Rendezvous & Acts 1 & parts of Act 3 of Sylvia). Probably, Month then. Balanchine: Apollo Serenade Symphony in C Theme and Variations Agon Stravinsky Violin Concerto Liebslieser Walzer Jewels Symphony in Three Movements Ballo Della Regina (possibly) or Ballet Imperial/ Tschaikovsky Piano Concerto No. 2 Fokine: The Firebird Petrushka Les Sylphides (?) Robbins: Dances at a Gathering The Goldberg Variations The Concert In G Major Afternoon of a Faun (or Nijinsky, if possible). MacMillan: Mayerling Concerto The Rite of Spring (maybe - I prefer the Pina Bausch version but that really isn’t ballet. But then what is ballet...?) Song of the Earth Gloria Romeo and Juliet (I guess). Tudor: Dark Elergies Forsythe: In the Middle, Somewhat Elevated (certainly a 20th Century classic for me!) Quintett The Vertiginous Thrill of Exactitude Nijinska: Les Noces Les Biches (come on RB! These are really significant and need to be performed). Cranko: Onegin (not my thing but has earned its ‘classic’ status me thinks!) I am sorry to say I haven’t seen any other Cranko Petit: Carmen Neumeier: The Lady of the Camillias Nijinsky Bejart? Birgit Culberg Miss Julie? Hans van Manen? Mark Morris, Pina Bausch & Mats Ek but they, for me, are fine examples of Modern/ Contemporary dance rather than ballet, usually
  5. Wow....the idea of doing repeated double tours in opposite directions boggles my mind!
  6. Well, although Ryoichi Hirano has many excellent qualities (a fine and strong partner, stage presence, handsome (just my opinion!), & - as any dancer of his rank in a company such as the Royal Ballet - can ‘do the steps’) he is certainly not as complete a classical dancer as Vadim Muntagirov (few are!) or, in his prime, Federico Bonelli. Likewise, he doesn’t have the ‘fizz-bang’ technical ease that Steven McRae has (had?). William Bracewell, on the other hand, is young, a good partner, has had excellent stage experience from BRB, proved himself in the previous run and seems to have a very good classical line and technique. I wonder if he (Bracewell) will do the ‘double-double’ tours en l’air in Act 3 Muntagirov did. Does anyone remember if *any* other dancer did them last time??
  7. Pleased to see Joseph Sissens prominently cast in Onegin but sad not to see James Hay cast in....anything? At least he has the lead in Sleeping Beauty and, I assume, Benno. I think Fumi Kaneko should be great in Swan Lake but personally disappointed that Claire Calvert isn’t given an opportunity. I know many may disagree though, as it looks KOH does too 😉
  8. What a delightful ballet this is; genuinely funny at times, as well as tender & moving (I was strongly reminded of Fille, Two Pigeons & The Dream at times). Like bridiem I was in the second circle (row B too!) & although the front section was quite full, I think I spotted quite a few empty seats at the back. A shame, as it really was a very enjoyable theatrical evening even without the special guests, speeches and flowers for David Bintley. I do hope that the ballet is revived from time to time in the future.
  9. Symphonic Variations (Ashton) - I could happily watch this multiple times in one evening and never get tired of its genius. Certainly every season. The Dream (Ashton) although perhaps its magic would wear off after a while. Apollo & possibly Agon (Balanchine) Maybe L'Allegro, il Penseroso ed il Moderato (Mark Morris) - a dance I love
  10. In which I thought she did very well indeed, looking every inch a future principle. Firebird: an intriguing, strange ballet but the powerful ending gets me every time. I thought that Yasmine Naghdi was great as the Firebird, demonstrating superb control & command towards the end. Lovely to see Edward Watson back on stage, with Christina Arestis. Month: love the ballet, but not wholly convinced tonight for some reason. I’m not sure that Matthew Ball has the length of line or adagio quality of movement for this Dowell roll, although dramatically he was good. Francesca Hayward & James Hay were both a delight, bringing a lightness of touch, speed & flexibility of movement ideal - it seems - for Ashton; the highlight for me. Also lovely to see Romany Pajdak in a soloist roll! Symphony in 😄 as I overheard someone say, like the pop of champagne! A great way to end, although perhaps the first two movements were overall stronger than the second two? Vadim Muntagirov was (surprise!) outstanding & I really enjoyed Fumo Kaneko’s debut, actually more than I did seeing Natalia Osipova last time it was performed. Claire Calvert (despite a slight slip on the tricky backwards arabesque hops) & Beatriz Stix-Brunell both luxuriously supporting as soloists. Good to see Cesar Corrales & impressively Joseph Sissens (who has the most beautiful line!) as lead soloists too, although a few heavy landings from these two men. The second movement was a thing of beauty; I think Sarah Lamb really glows in this roll. Alexander Campbell was really great in the third movement; extremely accurate & beautiful, soft landings. Yuhui Choe was very appealing but at times seemed to demonstrate a lack of turn out & extension, especially compared to Anna Rose O’Sullivan. James Hay was again his brilliant, classically refined and virtuoso self in the final moment, partnering Francesca Hayward. While she didn’t do anything wrong, I wasn't convinced she was fully on top of the choreography & she seemed to be struggling a little on the fouettes & some turns towards the end (I think she may be a ‘left’ turner? Which would make this all the more understandable). But a super way to end on a high, with a loud roar from the audience. be
  11. I too hope Claire Calvert is given the opportunity to dance the lead in Swan Lake; she seems to have the amplitude of movement and beauty of line to do this. As others has said, she also seems to be interesting dramatically, with (IMO) the ability to project pathos. But of course there are only so many shows ...
  12. I find it deeply puzzling as to why the RB continue to relegate its Ashton legacy (surely its greatest legacy?) to a handful of performances. Coming to ballet from a contemporary dance background, I completely understand the need for new work & am impressed they will be exploring Cunningham. Look forward to the new McGregor full length, as well as revival of Scarlett’s Symphonic Dances. But it seems that some really significant Ashton works (Daphnis/ Cinderella especially) are in danger of being forgotten. Does there *have* to be both Manon and Onegin (glad though I am to see the latter back on ROH stage)? It might be more interesting to have another look at Prince of the Pagodas if there must be a MacMillan full length. (But why must there? There doesn’t seem to be the same requirement for Ashton). Have we not also recently seen Concerto (admittedly not danced by the RB itself)? There are other MacMillan one act Ballet’s which have been seen less recently. I wonder when we will see some Najinska again. Perhaps a triple bill of DeValois, Marston & Najinska? Glad to see Coppélia (although both as a performer and audience member have always found it a bill dull, actually). But glad that it’s still in the active repertoire. Maybe this is what happens when ticket revenues begin to be of greater concern but surely we should strive for such a company to be more than that? Sorry for any spelling errors!
  13. I believe Monica Mason once described considering an ‘all white’ mixed bill (my wording may well be incorrect) of Symphonic, Chroma & possibly Symphony in C. I could see either of those with Monotones. Personally I think I would like: Chroma, Monotones II/ Symphonic Variations/ Symphony in C. Actually Apollo would work very well too.
  14. I’d love to have a go at Symphonic Variations - a killer but such dance heaven! Ideally the ‘side man’ role who does the ‘look at the sky’ pirouettes; I’m not sure if it was Brian Shaw or Henry Danton who originated this part. Perhaps Monotones. Or Dutiful Ducks by Richard Alston, possibly so I can pretend to be as good as Michael Clark (if only!)
  15. Claire Calvert? She’s of course done quite a lot already but I could see her doing Swan Lake perhaps, Monotones, slow movement of Symphony in C. Is is her ‘age’ (30 I believe) against her? (Not that I’m suggesting it should be!). Certainly James Hay, Reece Clarke - amongst others - I can see making it to Principal.
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