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loveclassics

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  1. loveclassics
    Are we restricted to female costumes? Only I think Lila di Nobile's costume for the prince in Sleeping Beauty (2nd Act) is a huge improvement on the usual white/silver/gold combo which is rarely flattering. Frankly, many male costumes look like oversized Quality Street chocolates. Linda
  2. loveclassics
    Thanks for the info about Lewes. I'm based in West Sussex but some of my family are in East Sussex so I'll pass the information on to them. Linda
  3. loveclassics
    Reading all the reviews of Swan Lake made me determined to see the cinema broadcast at least since I was too busy with family issues outside London when booking opened. But I was disappointed to see on the ROH website that I would have to go to Worthing or Bogner to see it as I'm still detained in darkest Sussex during the summer. Luckily a neighbour of my mother told me that Swan Lake is actually being shown in Littlehampton, only 5 minutes away and I've manged to get one of the few remaining seats. I think the ROH should review and update its information and for any others who can't get to the ROH, I recommend you check with all your local cinemas just in case. I'm thrilled I can see the new production, especially since it seems I'm going to be in a capacity audience - so unlike my local cinemas in London which have had far too many empty seats in the past. But maybe cost is a factor - my senior citizen ticket cost me all of £13.00 with just a 60p booking fee plus 2-for-1 offers. There are some advantages to being on the coast after all (not to mention having a pre-show drink on the beach). Anyone fancy joining me? Linda
  4. loveclassics
    Love it! Only thing missing is a reference to the performer's 'spacial awareness' - the phrase of far too many gymnastic events. Linda
  5. loveclassics
    I love Ondines's floaty sea-green outfit - would make a lovely nightie and negligee (sorry, don't know how to do accented e). And Palemon's bride has a gorgeous gold gown - very glam. Linda
  6. loveclassics
    Budapest is a popular choice for film makers. Not only are the facilities excellent, with plenty of studio space and highly experienced technical staff, the usual red tape involved with location filming has been minimised to attract directors. It's cheaper too by about 20-30% and best of all, the government gives a substantial tax refund if 80% of a film's budget is spent in Hungary*. For a cash-strapped BBC it's a no-brainer. *Information supplied by filminginhungary.com
  7. loveclassics
    Well that makes more sense. Thanks for the update, Bruce. Linda
  8. loveclassics
    Really? I would have thought Bolle was perfect casting for Des Grieux. I don't know his age, of course, so maybe he's just not young enough anymore. Though I have seen, shall we say 'more mature' men tackle it very successfully. It's not that technically difficult is it? Apart of course from the exciting pdds but that surely that depends more on both partners being in synch with the risks involved. Linda
  9. loveclassics
    Des Grieux is not exactly a shining example either. Cheating at cards, murder? Provocation perhaps but still .... Linda
  10. loveclassics
    Obviously, I need to get out more! Linda
  11. loveclassics
    Reading the different opinions on this thread is fascinating. When I first saw Manon about 13 years ago I was bowled over by it but that may be due to the performers. I was lucky enough then to see a more mature couple who had the danced the roles for so many years together that they transcended the material. Seeing it again later with different dancers frequently showed the faults in the story and production: the misogyny, the heavy-handed humour, gratuitous sexual violence and Macmillan's tiresome bordello fetish. Why does he make his whores so repulsive? How on earth do they make a living? I can understand why this particular ballet is rarely staged by other companies. In the US, the critics are not in favour: one eminent New York critic has referred to it more than once as 'a steamy little shocker' and I don't think the Russian companies have staged it since the first disastrous attempt years ago. I can't remember which company it was but I did see one recorded clip of the bedroom pdd and it was hopeless. The dancers seemed to be under the impression that they should ingratiate themselves with the audience to mitigate the other, more sordid, aspects of the story. It's a reasonable approach I suppose but they shouldn't have to make up for the flaws in the rest of the ballet. Nevertheless I think I will try to see the cinema transmission in May if I can get a ticket (and, more importantly, somewhere to park) in Brighton. I now realise just how difficult it is for ballet-lovers outside London and I'm only in the South East! Linda
  12. loveclassics
    BBC4 recently repeated a programme about ballet on TV which included a lengthy clip of Fonteyn in Cinderella. I thought it remarkable and made me want to see the production again, ideally with a true Ashton dancer. No insult intended but some of the Cinderellas I've seen in the past were quite wrong for the role, talented and gifted though they were. And I'd like to see Birthday Offering again plus Ondine. I know the music isn't instantly accessible but I took the advice of a seasoned ballet-goer and bought a CD first so I could familiarise myself with it. That really paid dividends and I try to do this with all new works now (though I draw the line at electronic/experimental stuff and I still think musique concrete sounds like a malfunctioning cement mixer) I can't remember when Birthday Offering was last performed - was it during the opera house's closure around 1997/8?
  13. loveclassics
    The last major co-production at the ROH that I can remember was Sylvia in 2004 where the RB shared the cost with ABT. It was an extremely expensive production, running I believe to over £200,000 for sets and costumes alone. It premiered in New York not long after London and I suppose it would not have been economically viable without ABT sharing the costs. Was there a similar arrangement for other new full-length productions like Alice or Winter's Tale? Linda
  14. loveclassics
    I first saw him dancing DG back in 2005/6 and very good he was too but surely he has danced this role since then? Linda
  15. loveclassics
    I love this so thank you very much for posting it. Are there any commercial DVDs of it? I would love to buy one for my mother as she has fond memories of this era.
  16. loveclassics
    Surprised that no-one has commented on the prospect of a new Marriott. Or is the silence saying more than words can? Have any of his works stayed in the repertoire after their initial outings? But delighted that Symphony in C and the Concert are included. Don't want to see any more Don Qs or Bayaderes thank you - I just think they are do not fit with the RB's style. What with all the Nuts and R&Js, I suspect it's going to be a cheap year for me. Wouldn't mind seeing Coppelia again, though. And I echo IanLond's wish for Daphnis & Chloe. One of Ashton's best I think. Pigeons, Pats and Month have all had plenty of outings so let's have more of his less frequently performed works. Linda
  17. loveclassics
    Dear Nottsballetlover, Don't let this put you off. I've been reading this forum since 2004 (when it was Ballet.co) and I've often seen some people take exception over relatively trivial matters. Most of them fade away with time but the real fans of ballet who support the forum are much more open-minded and tolerant. This is a unique website and worth sticking with. Spats flare up occasionally but soon disappear so don't let it worry you. True enthusiasts are always welcome and I'm sure others will agree with me. Linda
  18. loveclassics
    It also mentions a new version of Cinderella by Wheeldon. Is this the same production recorded by the Dutch National Ballet? I saw this on Sky Arts a few years ago starring Anna Tsygankova and Matthew Golding and liked it a lot even though it substituted four fate-like creatures clad in black for the seasonal fairies. It's available from iTunes or you can view snippets on YouTube here: Linda
  19. loveclassics
    The Times has now jumped on the band wagon with an article entitled 'Hypocrisy row over love at English National Ballet' claiming that ballet master Jose Martin had to leave the company along with his future bride Kerry Birkett because the AD disapproved of love affairs between company members. Not exactly news since this happened in 2013. As I remember, Ms Rojo and Mr Martin were good friends when they were both at the RB so it sounds a little unlikely. Marriages between dancers are commonplace: after all with the typical dancer's work load when do they get a chance to meet anyone outside the business or even outside the company? Linda
  20. loveclassics
    He created quite a few in the early 80s though the only ones I can remember are Galanteries (?spelling), Still Life at the Penguin Cafe and something Egyptian about Horus. Apart from Still Life which is still being performed by BRB I don't think any of his early works are in any company's repertoire today. Personally I would love him to create something new for the RB but I suppose Mcgregor's strange offerings will continue to take precedence. Linda
  21. loveclassics
    Nice one, Dave!
  22. loveclassics
    I couldn't agree with you more. Claiming that dancers like Fonteyn and Dowell were not aware of the differences in national styles (e.g. the difference from the English and Russian style) shows such ignorance. I can't imagine why anyone would want to read any more of his pronouncements. Do spoilt brats ever grow up? Linda
  23. loveclassics
    Thanks, John. Hopefully I'll be back in London by then.
  24. loveclassics
    Is this production to be shown in cinemas? I couldn't get to the Winter's Tale because it was my mother's 90th birthday and we held a small party for her in the hospital but the local cinema club here usually shows most live transmissions and I'd love to see it. Linda
  25. loveclassics
    Sim, I'm so sorry to hear about the abuse you and the other moderators have received. I know it's pretty commonplace on other parts of the web but I have always thought that Ballet.co was an oasis of civilised debate in a desert of prejudice and ignorance. I'm glad to read so many other messages of support - please don't give up the excellent work that you and colleagues do so that the rest of us can enjoy discussing our interest in ballet. And congratulations to you and your husband on your anniversary. I look forward to seeing you both when I escape from Sussex and get back to the metropolis. Linda
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