HappyTurk
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Posts posted by HappyTurk
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3 minutes ago, capybara said:
Please NO - not on top of all those Sylphides from ENB this season!
True. I don't think O'Hare will stage it anytime soon, anyways.
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Just based on the reviews of Akane and Francesca, I'm thinking they would be perfect for La Sylphide (along with Osipova). I need this to happen in the next couple of years.
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I'm really curious to see how Morera will approach Giselle. Such an underrated but beautiful ballerina.
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Just now, Jamesrhblack said:
Still cogitating ahead of writing at greater length, but I would say that Francesca Hayward was more naturalistic than Yasmine Naghdi. The latter’s music borne dancing, breathed through her body, seemed to be a wonderful evocation of the Romantic movement. Both terrific, Hayward enchanced by Campbell, who was truly outstanding, but, for me, Naghdi just edged it through her musical empathy and evocative prowess. Lovely as her partnership with Ball is, I think she gives a little more than he does, so it will be good that he is challenged by Osipova in Swan Lake and she will be able to, to quote (misquote?) Deborah Bull, “release her inner safety catch” in the experienced arms of Nehemiah Kish.
Both sound marvelous. I'm incredibly jealous now. I figured Yasmine would take a more "Romantic" approach, which will serve her well in Swan Lake. I imagine Francesca danced like a feather -- very light and bouncy. I also think Ball will be challenged by Osipova, who is quite theatrical and very emotive. Hopefully that will prove to be another partnership in the works.
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For those who saw both performances, how would you describe the difference between Yasmine and Francesca in Giselle? (Style, interpretation, dancing etc.).
The Royal Ballet: Sylvia, London, November 2017
in Performances seen & general discussions
Posted
Natalia has spoken of her admiration for Fonteyn in a few interviews before, so I highly doubt she was trying to criticize her as a dancer. It seems to me she was actually criticizing whoever was responsible for re-staging this ballet, believing it not to be authentic/true to Ashton's original choreography and what he intended for Fonteyn (I have seen a few people question the validity of it as well).