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Richard LH

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  1. Richard LH
    And for me. I think there is a lot in what you say Lin - it is great when choreographers can find a whole piece of music that inspires them (e.g. Balanchine using Bizet's SIC), or can successfully select music to embellish a concept they already have (e.g. MacMillan using various different Massenet pieces for Manon - although in that case it seems later tweaking by Martin Yates was needed to improve the orchestration). Relying on a wholly new score at the outset must involve a good deal of risk.
  2. Richard LH
    Lauren gave a lovely interview. Her performance in Symphony in C last Tuesday was the first time I have seen her live, and I thought she brought a real presence to the stage. It is amazing how she fitted in performing Sylvia in St P. at such short notice with everything else goning on at the RB at present.
  3. Richard LH
    Thanks! It is magic...
  4. Richard LH
    Anyone able to respond about this?
  5. Richard LH
    It's Funny Friday again!
  6. Richard LH
    At your own risk, Sim!
  7. Richard LH
    a) I would expect SIC to be a lot "NY Ballet" as Balanchine created the NYBC, and created this version of SIC for them! b) I don't see what is it objectionable about the couple of brief instances in the ballet where that happens! c) Well we forgave your "hoarse" joke, but with your reference now to a "duck" I think you are skating on very thin ice (with all due respect to Les Patineurs) ! 😃
  8. Richard LH
    BBC World at One Radio 4 is about to broadcast an interview with Lauren about this....
  9. Richard LH
    I notice that in SIC a young Artist, Isabel Lubach, stepped into a role otherwise danced by First Soloists. Good for her !
  10. Richard LH
    Indeed there was - it is a wonderful, bright sight and would have lifted everyone's spirits after the rather dark end to Infra. By the way, I was wondering how the dancers and orchestra coordinate, so exactly, the striking of that first chord of music with the girls' opening move (from - I think- 5th position into croisé devant with arms in high third). My theory, looking at the NYBC DVD, is that the two girls in the front of the two groups can see the conductor and follow (with the orchestra) an indication from him/her to start the move off, with the other girls behind almost imperceptibly following on. Does this make sense?
  11. Richard LH
    I don't know, but the fact that these ones do, does not appear to me particularly objectionable, as part of this oriental fantasy.
  12. Richard LH
    Perhaps we can run a sweepstake? I will go for 10:20....
  13. Richard LH
    Well spotted !
  14. Richard LH
    Thanks FrankH for this snippet reminding me of what is best about this ballet. But I think this is a new version, with some changes? It would be good to see the whole thing somehow.
  15. Richard LH
    Mary, Timmie explained earlier that "Sadhus (Hindu version of Fakir as far as I can tell) rub their skin all over with ashes for protection from the sun’s rays and insects. The ash is sifted down to a fine powder so gives a good covering". Also Google tells me "they have renounced their worldly life, said goodbye to both their possessions and their families, and now lead a life of celibacy, ascetic yoga, and a search for enlightenment" ... all of which may help to account for their representation. The attached examples do not appear too dissimilar.
  16. Richard LH
    FrankH we are now repeating ourselves! Because as has also been pointed out, Jennings' only reason for arguing that the RB's La B should be kept seems to have been to so we can be taught some kind of moral lesson "as a reminder of the repeated failure of colonial powers to comprehend civilisations older and subtler than their own". At the same time he states "Some commentators, bringing contemporary sensibilities to bear, advocate relocating the work to a non-specific, non-Indian setting and cutting out its offensive elements. Others would like to see the work excised from the ballet repertoire altogether". And he says "there’s no getting around the fact that this is a deeply problematic ballet" (quite why, for me, he does not satisfactorily explain). So whilst I don't think anyone on this thread (unless I have missed it) has actually called for Makarova's La B to be "excised" from the rep., there does seem to be a wider view, reflected in some of the comments on here, suggesting her La B is a "problem" in terms of its ability to cause offence. I disagree, and I can understand why that sort of suggestion has been responded to here with some vigour; surely such responses are valid without being dismissed as unduly defensive or insulting. Again I would suggest Makarova's La B must be distinguised from the Bolshoi version which I think does have some objectionable elements!
  17. Richard LH
    One thing I don't follow us why this piece is called The Unknown Soldier, when we are given the name, and the background, of the soldier concerned.
  18. Richard LH
    I agree about the pure joyfulness of this ballet, which seems to have captured the exhuberance of the youthful Bizet who wrote the symphony when only 17. "Got away with it " sounds a little disparaging capybara ! I would be delighted to be proved wrong, but as far as I could see (admittedly very favourably placed in the centre of the OS) this was an absolutely fantastic performance and I am not sure how it could get any better ! I realise that "being there" adds so much more, but as my first live experience of SIC this was even better, for me, than the NYCB's own 2016 recorded performance in Paris. Everyone around me was in raptures at the end (and I think we were all prepared to applaud much longer than the curtain operators allowed) after what seemed almost like the whole company absolutely dazzling us in an explosion of sparkling, white, brilliant movement. In particular I hope always to recall Cuthbertson, Nunez, Takada, and Naghdi as they danced together in the 4th movement last night, perfectly synchronised and completely displaying the joy of dance, as you say, but also effectively showing in their line of four across the stage, how this wonderful art form is being faithfully passed on from one ballet "generation" to the next; ably supported of course by the boys such as Muntagirov, Campbell, Richardson, Edmonds and Bracewell (amongst others).
  19. Richard LH
    Indeed..from Mayerling, to La Bayadere, to Infra, to Symphony in C, this young lady (along with Yasmine Naghdi and indeed the RB company as a whole) is really on a roll this season. I am just amazed how all these dancers move seemingly effortlessly from one dance to another, whether narrative based, romantic, modern/experimental, classical or neoclassical, and perform them so beautifully.
  20. Richard LH
    I don't think there is any sensible potential correlation between racism and Makarova's La Bayadere, such as to warrant the quantity of the discussion we have already had on this thread alone, let alone it all being raised again whenever it is next performed !
  21. Richard LH
    Sorry, yes, after I had posted the above I realised there might be some cut-off problems for those higher up. I hope it didn't spoil things too much for you both? Presumably Infra and SIC could be seen OK?
  22. Richard LH
    I wouldn't expect any problems in that regard. The moving narrative and splendid dancing should be the main talking points.
  23. Richard LH
    The only announced change was Grace Blundell for Ashley Dean. TUS starts and ends with the dreaded full frontal scrim but when there it is for a purpose and not out of place. Also a sort of upper scrim at times and back projections, all enabling some interspersed visuals and poignant interviews.There are some nice lighting effects via large vertical moving slats which also allow entrances and exits. And a moveable ceiling... hope this makes sense Blossom..I thought the staging, thought quite simple, was very effective...but others may be able to describe it all better!
  24. Richard LH
    Yes the order is The Unknown Soldier, then Infra, and ending with Symphony in C with what seems almost the whole company on stage by the end....superb!
  25. Richard LH
    The Unknown Soldier Infra Symphony in C Opening Night tomorrow Tues 20th November Dress Rehearsal today - this lunchtime's stellar cast and performance were as per attached sheet, and presumably will be deployed again tomorrow night.
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