Tebasile

Bayadère getting later and later... Perhaps they're busy editing out all the culturally insensitive aspects.

It wasn't that bad. I did think that Osipova could perhaps do with going to class a bit more often, but she still brought something individual and special to the role. At times her dancing was breathtakingly beautiful; at others, it was messy and disappointing. I have often felt this ambivalence with her performances, but I would still rather see her than someone who does all the steps perfectly but dances without flourish or personality. Though I agree with some of the misgivings about her technique in the Rose Adagio, I loved her characterisation here. Why does every princess have to be shy and reserved? It's her 16th (or 20th) birthday party, after all. I was actually more disappointed with Hallberg who, though elegant, was rather weak in the 3rd act, and the fact that they had to change the choreography to avoid some lifts flattened the overall effect. They certainly don't have much chemistry, but I don't think anyone's to blame for that. 

4 minutes ago, Rob S said:

Oh I get it, you don’t want to meet me, you want to see Ms Nuñez in her fluffy coat!! 😮

Mostly for the fluffy coat now, sounds unmissable. 

3 minutes ago, Jamesrhblack said:

Does anyone know what happened at the end of the Prologue coda? Only Five Cavaliers and Hinkis was absent sneaking back on round the cradle as Carabosse arrived. And I didn’t think Sissens was back at the end ....

Noticed that too. Something happened to Sissens?

Rob S - where are you sitting?!

22 minutes ago, JohnS said:

 I’d just say Francesca Hayward dispensed with the English Prince’s proffered support at the end 

Ah, I thought that’s what happened - but I was such a nervous wreck, I wasn’t really sure what was going on. 

I second many of JohnS's thoughts on last night's performance. Having missed Hayward's Aurora during the last run, I very much looked forward to this occasion, and I was not disappointed. She was clearly nervous during the Rose Adagio, and there may have been a couple of very slight technical slip-ups. However she danced with such charm, effervescence and beauty of movement (her upper body is to die for), I hardly noticed. I found her even more moving in Act II, where she was quite beguiling and mastered the choreography. Act III put the icing on the cake, with a magnificent pas de deux. Alex Campbell is really growing on me as her partner; he was a perfect Prince last night and partnered extremely well - the fishdives were flawless. The supporting cast was more mixed, but I was very impressed by Corrales and Magri in the Bluebird pdd, as well as Yu Hang's assured Fairy variation (I can't remember which of the air fresheners she represented).

1 hour ago, Sim said:

Another Principal-in-waiting...joining the queue behind Fumi and others?  

First in line in my book! 

6 minutes ago, alison said:

Well, I'm sure certain people will be pleased about that news.

Not me - had hoped for Sambé!

Loved it. It had a slightly experimental feel to it, which was a refreshing contrast to the polished work we're used to on the main stage. Cross Currents (interesting piece) felt a little wobbly, perhaps under-rehearsed, and it certainly looked fiendishly difficult rhythmically - so the brilliant performers are very much excused.

2 hours ago, ninamargaret said:

Rather flippant of me, but I always feel rather sorry for whoever plays Manon and who has to take her curtain call, usually holding,gorgeous flowers, and looking dreadful! 

Yes, especially after wearing the most fabulous dress in the repertoire during Act II!

2 hours ago, Bluebird said:

 

I seem to be the only one who had problems with, to my ears, this over-amplified sound.  I've seen the production many times from the Second Circle and this is the first time that they've amplified the sound so that it comes through huge speakers.  If I hadn't been able to see the orchestra down below, there were times when it would have felt as if I was listening to recorded sound with the volume turned up too high. 

 

During the first half I only managed by putting my hands over my ears. Even with the earplugs I obtained in the interval (from a programme seller) there were times when the music was still too loud.  It's interesting that the programme sellers are provided with earplugs to give out (free of cost) to audience members who have problems with over-amplified sound. 

 

Of course I realise it's possible that I have extra-sensitive hearing.  The friends I spoke to in the interval agreed that it was very loud but didn't think it a problem.  I'd be interested to know if anybody else had a problem with it.

I was at the front of the stalls and found it almost unbearably loud at times. Wish I’d known about the earplugs!

Well if this thread doesn't explain the outcome of the Brexit referendum I don't know what does. 

Highlights:

La Bayadere: Osipova (Nikiya), Nunez (Gamzatti), Muntagirov (Solor) - sublime and I wish it were this configuration that had been filmed
Romeo and Juliet: Hayward, Corrales, and everyone else in this cast

Winter Dreams - a quiet revelation
Symphony in C 
Medusa - intriguing choreography, inspired use of music, magisterial Osipova
Alina Cojocaru as Manon (ENB)

Lowlights:

The Unknown Soldier - excruciating

The Two Pigeons - I don't love it and the run went on forever
The brass section in Romeo & Juliet (ouch)

Disappointed Francesca Hayward has been cast with Campbell twice. I prefer seeing her with different partners. On the positive side, plenty of Hayward throughout!

Last night was wonderful. A joy to see Francesca Hayward back on stage, and arguably better than ever! So spontaneous, fluent, and swift-footed. She fully conveyed the youth of Juliet, which made her brilliantly acted final scenes quite devastating. Cesar Corrales was a charming and passionate Romeo, who made their whirlwind romance completely believable.
My companion however had some misgivings about Corrales' dancing and suggested that Hayward might have been better paired with Mercutio (Marcelino Sambé). To an extent I agree with this, and I wonder why not more is made of the Hayward/Sambé partnership - they are so well-suited to each other.

What a lovely performance from Mayara Magri. Glad I went a second time despite not being a fan of the ballet. 

59 minutes ago, bangorballetboy said:

 

Rachmaninov’s Rhapsody on a Theme by Paganini (though the first 40 seconds is his 3rd piano concerto).

The 2nd actually

18 hours ago, jmhopton said:

 

That might have been something to do with the (for me) unflattering character disguising blond wigs which I really hate.  

Agreed! The wigs need to go - it's not Amadeus.

7 minutes ago, Sim said:

I am far from pure of mind, but I would hope that any decent choreographer or person wouldn’t use a work about the tragedy of the First World War as a vehicle for  homo-eroticism.  But then it can be argued that McGregor did that already in Woolf Works.  I look forward to the complaints about that.  

To return to the original quote I used, 'accidentally homoerotic' implies that this was not intended by the choreographer but nonetheless gave this impression to many in the audience (I won't speak for others, but I don't consider myself particularly sex-obsessed). It was therefore arguably ill-judged and naive, apart from being kitsch and choreographically bland, as Lindsay has pointed out.

6 hours ago, BeauxArts said:

Last and very much least, for me, was the US: I think that this is a facile work, far too derivative, and not helped by the music  (composed by numbers?) or designs (ill-conceived). It is a sign that something is awry , surely, when the spoken extracts are more effective than the dance content.. I think that it was a wasted opportunity, and reflects serious errors of judgment by a number of people involved (not on the stage).  I absolve the dancers because they danced with full commitment but I don't think that anyone could salvage this vapid piece.  

I completely agree with your view, and I also agree with the critic (Independent?) who called the final scene 'accidentally homoerotic'. I would have shaken my head during most of it had I not been at the front of the orchestra stalls. 

The evening did get a lot better though, and I too (for the first time) was struck by the phenomenal Akane Takada in Infra. Her performance was deeply moving and made me forget the otherwise distracting screen. Clearly I prefer her as a contemporary dancer though her classical technique is excellent.

Symphony in C was exhilarating, with Nunez as its highlight.

Has anyone who has booked for the Nutcracker on the 7th received an email informing them of the cast change? I know that it says Naghdi/Hirano on the website, but I don't fully trust this information as I have not yet received an email (and given the error with the Symphony in C cast...)

I attended the cinema performance live from the orchestra stalls, and I definitely could see a snake (though it was arguably worm-size). 

11 hours ago, Vanartus said:

 There is no redemption just desperation. I was stunned by the brutal physicality of the dancing - as I was in the pdd with Hayward too. It was an evening of extremes, unsettling but I was glad to have seen it.

I agree completely.

13 hours ago, FLOSS said:

It is not clear that it has done the same thing for Campbell and while some may wish to see him dance with Hayward there are probably some who would prefer to see her dance with Hay or Sambe. 

 

Indeed, and while most on this forum seem to enjoy the Hayward/Campbell partnership, I personally don't find it particularly successful. While I hold Alexander Campbell in high regard as a dancer, I think he has little chemistry with Francesca Hayward on stage. I also don't find them physically compatible, for example their heads are very different sizes (this may seem trivial, but as a spectator I believe it matters). In fact I was disappointed when Marcelino Sambé had to pull out of Giselle, as he is such a well-matched partner for Hayward, in my opinion. Though I don't have further evidence, if her Instagram posts are anything to go by, Hayward seems to favour Sambé as a partner, too.