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Richard LH

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  1. Richard LH
    Looks like we have them ! Looking forward to his partnership with Akane Takada on the 28th...
  2. Richard LH
    Yes it's 4 DVD's - La Fille mal gardée with Acosta 2005, Swan Lake with Soares 2009, Don Quixote with Acosta 2013, and Giselle with Muntagirov 2016. Not bad value, I thought, for £29.99 (less any Friend's discount). And this supports my earlier point that the older leads that currently seem favoured for filming/DVDs, were also featured on many DVDs when they were much younger !
  3. Richard LH
    I had an email in March (as a Friend) saying "We will ensure that you are notified when the seat price information is visible on the website, which will be well in advance of tickets going on sale". Anyway they seem to have reverted back to the old layout soon after I pointed out the problem to them earlier today. Probably a total coincidence, but I am happy to take the credit... !
  4. Richard LH
    This may have been noted before, but the new screen that has the number of seats still available to book, in each area, is giving unnecessary additional confusion. It just leads to the old screen that did exactly the same thing - except generally there are less seats actually available, as shown on the old screen, than indicated on the new. It's pants, frankly ! I will report back if the ROH respond.
  5. Richard LH
    https://www.google.co.uk/amp/s/www.telegraph.co.uk/dance/what-to-see/manon-royal-opera-house-review-francesca-hayward-steps-breach/amp/ Good review here - it is rather interesting in the light of some of the discussion on this thread how much dancers themselves love to perform Manon.
  6. Richard LH
    Yes, I took issue with parts of his review and commented there accordingly.....
  7. Richard LH
    Those principals you mention have been filmed already for quite a few years, when they were younger. And there are equally accomplished younger principals around now. I just think it would be good to capture their performances at this stage in their careers.
  8. Richard LH
    Indeed - she moves so beautifully, and her arms seem to have several more joints than us mere mortals!
  9. Richard LH
    So sorry Sim - hope you are better soon and I'm sure you will love their next performance.
  10. Richard LH
    Just out from a brilliant first night - superb staging, lovely costumes, poignant music, and fantastic dancers. Cannot think of many more superlatives for Francesca Hayward, and she was so well supported by Bonelli. I loved Alexander Campbell as Lescaut - he was so exuberant and also very amusing in the drunken dance scenes, along with Claire Calvert. Get tickets if you can !
  11. Richard LH
    It looks like the "dynamic" mapping tool is now making its premiere on the ROH website.
  12. Richard LH
    Actually "DARN Coyote" sounds better for the USA...
  13. Richard LH
    Lovely interview with her. Like other young RB dancers, she seems so well grounded and happy in her work!
  14. Richard LH
    Don K. O'Tay in Ireland, Donkey Oaty in Scotland, and Dawn Coyote in North America
  15. Richard LH
    Is this why the percussion section was screened off from the rest at the ROH when I last looked?
  16. Richard LH
    I thought they were fine too!
  17. Richard LH
    The cinema is great value, I think, although as previously mentioned the choice of casting is limited. Also the choice of close up shots is a matter of individual taste. Still, with this production virtually all the main RB leads were on show, and they all danced superbly, and the filming was really good quality. It felt like you were on stage with them at times. There seems to be a lot of love for Bernstein out there (it was good to see Humphrey Burton again, giving his personal, heartfelt insights into Bernstein) but I do struggle with most of his music. Much of it seems like a wandering series of notes and rhythms in search of a theme. Yugen, however, was lovely, perhaps because the music was a choral work, and because the dance was so well choreographed and performed. I particularly liked the force of nature that Tierney Heap became in the last piece! Also loved Sambe throwing Magri off stage left (or is it right ? - not sure) flying through the air. And some of the tableaus created when the dancers were grouped together were brilliant. I thought Ore Oduba hosted very well; he genuine appeared to be in his element.
  18. Richard LH
    Great photos, thanks. I have just grabbed a ticket, so looking forward very much to Opening Night tomorrow !
  19. Richard LH
    Except we can't be sure how long any of these younger principals will be fit, and available to the RB. Also the older leads that currently seem favoured for filming, were also featured on many DVDs when they were much younger ! So I am hoping for a wider selection for the 2018/19 season.....
  20. Richard LH
    I don't think so; I think they mean the price mapping tool is "dynamic" - not the seat price itself - I gather we will be able to see all the different seat prices for different productions , before booking opens, online, rather than displayed on the static seating plans used up to now.
  21. Richard LH
    Filming/streaming/DVDs seem to be very much focused on recording a few of the same, longer-serving principals.It would be good to have wider representation of some of the younger lead dancers but perhaps the RB goes for what they think will be most popular and generally better known.
  22. Richard LH
    Thanks Alison
  23. Richard LH
    I know cinema screening dates are published, but I am trying to understand if there is a direct relationship between RB production dates that are listed as "filming", and the subsequent production of DVDs. Can we necessarily expect the latter from the former? And can a DVD only materialise from a "filming"?
  24. Richard LH
    Watson will have been out for how long by 12 May? I wonder how serious an injury he has....most unfortunate. I imagine Bonelli will be quite a different Des Grieux.
  25. Richard LH
    I agree - for me the dancing becomes lovely not just from the choreography, and the dancers' technique, athleticism and poise, but from its relationship with a story that you can connect with emotionally. Of course the story does not have to be wholly (or at all) believable in the real-world sense, but I think we should expect a certain degree of logic and meaning, within its own parameters, for a ballet to be fully successful. And discussing a few plot foibles along the way is part of the enjoyment!
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