Tebasile

2 hours ago, bridiem said:

 

This is very rude and also a false equivalence. A special offer intended for Friends obviously cannot legitimately be shared; all that has now been shared is casting information that brings no benefit except knowledge. Who knows why the ROH hasn't got round to publicising the casting more widely, but it's clearly not privileged information.

Knowledge which leads to informed booking or exchange of tickets. It makes perfect sense to me that Friends were notified of casting in advance and, as a Friend, I am grateful to the ROH for giving us the heads up. 

Some lovely casting but does anyone know why Matthew Ball is left out? He would have been a great Oberon and/or Hamlet. 

45 minutes ago, BeauxArts said:

Possibly Fumi Kaneko is dancing elsewhere, but if not her omission from the triple bill is just as perplexing as Yasmine Naghdi’s. Very strange. 

They are both making their debuts in Manon this season - could that have something to do with it?

On 28/09/2023 at 12:21, NiniGabriel said:

My personal choice for the Dancer of the year 2023 in the Critics Choice of Dance Europe Magazin:

 

Elisa Badenes.

 

Not a big name - yet. But a wonderful dancer and ARTIST!!! Deeply touching in every single performance.

 

She is very well presented by the critics:

 

 

Source: https://www.instagram.com/p/CxiGeOAILlS/

 

It's just a bit of a shame (in my humble opinion!) that the YouTube video shows her in a clip that doesn't really emphasize her skills. For example, the final pas de deux from "Onegin" (or at least an excerpt from it) would highlight it much better...

She is also lovely as Olga in the recent Stuttgart Onegin recording. 

Pleased about the MacMillans and Ashtons, but can happily skip much of the rest... good news for my bank balance at least.

On 02/03/2023 at 10:31, oncnp said:

Cinderella will be streamed - 6 MARCH 2023, 7.30PM

 

https://www.youtube.com/watch?v=alx_d7Tj-mY

 

Does anyone know what this Insight might involve? Will there be a rehearsal element or just discussions with the production team?

2 hours ago, Dawnstar said:

 

Oh dear, that doesn't bode well for Sleeping Beauty, let alone his second Nutcracker. Probably more available Nutcracker Princes to stand in than SB Princes though. If he can't do SB then I hope there'll be enough time to rehearse another Prince in rather than have to do a full pair swap, as it'll be very disappointing if Magri's Aurora debut gets cancelled.

 

This may be wishful thinking but it would be lovely if she could be partnered by Matthew Ball if Clarke can’t make it. 

Does the Coliseum make returned tickets available on the website?

Very impressed by Madison Bailey’s debut - I think she could develop into a great MacMillan dancer. 

The Tanowitz - thrilling, loved loved loved it! Sadly most of the audience didn’t seem to. 

I’m surprised by the muted reaction to Matthew Ball’s Rudolf. I thought he was absolutely brilliant - the most human and therefore most devastating I’ve seen in the role.

I thought Magri particularly strong as Larisch, and she and Ball had palpable chemistry. Laura Morera was excellent, though I wasn’t quite convinced by the pairing. Kaneko brought a lot of glamour to Mitzi Caspar. 

I am desperate for one or (ideally) two tickets in the front half of the Orchestra stalls - first evening performance. Thank you!

1 hour ago, Candleque said:

For folks on Netflix, they are currently running The Empress (German: Die Kaiserin) — a 2022 historical drama series on the life of Empress Elisabeth of Austria. (Haven't seen enough to know how historically accurate it is.)

It’s terrible

On 28/05/2022 at 18:46, art_enthusiast said:

I have to say, I do hate sitting next to people at the ROH who smell very pungently of alcohol (it has happened to me quite a few times). I understand that it can be the done thing at evening performances, but don't you need to remain clear headed enough to actually concentrate on the performance... 🤔

 

Well, I for one certainly needed the drinks to get through that ballet. 

7 hours ago, alison said:

Disappointed at some of the absences from Rudolf - but at least Hayware finally gets Mary Vetsera.

I only wish it had been with Ball or Bracewell; I can’t really imagine Sambé in the role. 

2 hours ago, AnticaFiamma said:

Very curious about the casting for Mayerling. Surely McRae, Hirano & Ball, but debuts? I think Calvin Richardson could be amazing in it

Reece Clarke and William Bracewell too

Delighted!!

Mixed bag au ballet. About the only thing I learned from The Weathering is that Natalia Osipova can do very fast turns - but I knew that already. Solo Echo was moving the first time I saw it, in a socially distanced hall during/after(?) the pandemic, but has now firmly outstayed its welcome for me. Not helped by atrocious cello playing.  
DGV was highly diverting and (to paraphrase someone else on this thread) may now be my favourite Wheeldon, which isn’t saying much. Magri in particular on excellent, charismatic form, the saving grace of the evening. 

Good to see Osipova in the line-up!

It just occurred to me that one could easily adapt the medieval setting to make Raymonda seem more relevant to modern audiences. Much of the original plot actually echoes the remarkable (true) 14th-century story that informed Ridley Scott's recent film The Last Duel - a chivalric 'me too' with plenty of female agency. All one has to do is remove the Eastern stereotypes and have Raymonda file a public lawsuit against her perpetrator instead of simply being rescued. There could also be a focus on her competent management of the family estate in the absence of men. 

I don't have such a problem with sections being cut and - on occasion - moved. I understand that such things have happened with most classical ballet scores. But in my view the flow of the music was interrupted too frequently in Act I, and there seemed to be some odd interpolations and changes to what I believe to be the original score. 

Examples: 
- The 'lantern' sequence - what was that music? It sounded like a repetitive 'variation on a theme' from the score, in the style of Akram Khan's Giselle. 

- John's agitated solo before his dream pas de deux with Raymonda: As far as I'm aware, this music was not from Raymonda and seemed rather out of place. 

Please do correct me if I'm wrong as I am by no means an authority on Glazunov.

Much of last night's dancing was exhilarating, but I was very disappointed by the extent to which the score had been messed about with, particularly in Act I. This surprised me, given how frequently Rojo had stressed its beauty and importance in interviews. I felt that the new setting and plot simply did not justify these often jarring changes.

6 minutes ago, AnticaFiamma said:

Any thought on Bonelli?

I thought he acted Romeo brilliantly. Utterly convincing, charming, and ultimately heartbreaking. He and Marianela had a natural rapport which was beautiful to watch. His dancing felt a little underpowered in Act I but came more alive in the Balcony pas de deux.

33 minutes ago, Shade said:

It doesn’t seem to broaden access though at those prices. I hope she won’t be disappointed!

It may broaden ballet's appeal among the 1%, not a bad audience to aim for given their potential as patrons.

Apologies for the boring question, but has anyone who booked pre-Covid received their tickets for this event yet? I don’t seem to have got any… thank you!