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  1. Raymonda has only one true solo here (bourrees & claps). She also dances alone for 15-20 seconds within the Coda of the Classical Grand Pas (the sharp relieves-passes to a famous Hungarian folk tune). No entrechats solo for Raymonda here, as in Act II of the Vikharev La Scala version.
  2. Osipova was otherwise engaged in her “Pure Dance” program at Sadlers Wells through 26 October. I’m thrilled to read that she & Muntagirov will do the cinemas cast! All three ballets on tap are heavenly, in different ways.
  3. THANKS for the link to the article & pics...a lovely souvenir. Ok, Fair enough. That floor looked totally bare to me, yet was so pronounced from orchestra (stalls) in Sarasota.
  4. It was plain beige from stalls circle. Not at all the bold checkered “carpeting” so apparent at Sarasota.
  5. So odd. I hope that this doesn’t mean that there’ll not be a series of tele/webcasts from POB this season. Now back to the RB’s Ray Act III... I compared what I saw last night against my recollections of Sarasota...the designs appear to be the same (Barry Kay’s) with two big exceptions: 1. London’s are noticeably paler (more muted beiges; less dark brown or red highlights...and brighter lighting) 2. In London - No patterned floor covering...just the clear light flooring. Although fussy, I missed that tile effect. The choreography & sequence of numbers are exactly the same...with the possible slight alteration of Raymonda’s clapping solo, somewhat simplified in London, particular in the final diagonal...not as expansive but this may have been Sarah Lamb’s choice of a “soft touch” interpretation...a sweeter, less kick-ass Raymonda!
  6. I’ll be brief now, as I’m traveling soon but, wow, what an extraordinary triple bill this is! Each and every work so uplifting and gloriously performed. It was a true honor to have been there last night. Anna Rose and Marcellino...Alexander Campbell’s Troyte variation - what a cracker!...Sarah & Vadim in Raymonda...wonderful corps in Concerto and Ray...spot-on orchestra. And to top it off, great ROH staff, going beyond their usual jobs to make visitors feel happy and welcomed. Are they all selected on their charisma and human touch? From the drink pourers behind the crush bar to check-out people in the shop to my Stalls Circle ushers, so witty & gracious!
  7. Do you know if it is slated to be webcast or cinecast? Somehow, I can’t find the list of This season’s opera or ballet webcast offerings, as in past years...such as last year’s delightful Robbins tribute program.
  8. Yes, I found this among streaming options. Also, the Vienna troupe recently streamed the full Nureyev...two casts (one year apart). Of course, there’s the extraordinary La Scala recon by Vikharev, long available on DVD. Both the Mariinsky (Terioshkina) and Bolshoi (Alexandrova) have live-streamed or cinecast their respective versions (and another Bolshoi cinecast is coming on Sunday)....not to mention the two 1980s films of the Grigorovich...or the 1978 Kolpakova-led Kirov film. Tokyo’s New National Theatre Ballet issued its version on DVD a few years ago (Asami Maki, based on the Kirov). So there are options out there. For the true Russian Imperial Petipa experience, go with La Scala! Hope that the present triple bill at the ROH - soon to be cinemascast- will become commercially available so everyone can experience Nureyev’s full Act III, quite different from his later Act III in the full POB edition.
  9. I looked in my 2015 playbills from Sarasota. This is a tremendous work that’s chock-full of solo and Demi-solo opportunities! Here’s the sequence of numbers, as performed in Sarasota, which I’m guessing is followed in London; I’m looking forward to seeing tomorrow night. 1. Hungarian group with solo character couple 2. Classical group entree with solo couple (Brown and Graziano in Sarasota) 3. Female solo 1 elegant 4. Female solo 2 cute & brisk 5. Female solo 3 languid...my fave! 6. Female pas de 3 7. Male pas de 4 - the Uber-famous one 8. Female solo 4 - AT POB, the “Henriette” 9. Male solo, Jean de Brienne 10. Female solo 5 - Raymonda’s great solo with bourrees and LOUD claps 11. Coda for classical group 12. Final Coda for all (character and classical groups) The great thing about this Nureyev version is how he uses some of the “tricks” from Soviet-era folk groups, such as the Moiseyev, ie, waves and waves of “the multitudes” moving forward...or quick circular group patterns (as Balanchine did at the end of Theme & Vars). Many of the soli are spiced up with more movement per measure, in True Nureyev fashion!
  10. Sarasota Ballet performed this 40-minute Nureyev version in spring 2015. It’s a physically gorgeous production. It’s almost like a Paquita Grand Pas in the number of fleet-footed variations contained therein. I also remember my delight in the quality of the dancing. Margaret Barbieri and her coaching team drilled them well.
  11. I second the appreciation for that clip. Not too many of the "ballet greats" of my childhood (seasoned ballet stars in the 60s) left. Carla Fracci may be "the last of the mohicans"? Also, Marcia Haydee, now in Chile.
  12. I, too, received the notice about the latest change for 26 October evening: Cast change for The Royal Ballet's Concerto / Enigma Variations / Raymonda Act III Our records show that you are due to attend a performance of Concerto / Enigma Variations / Raymonda Act III. We are contacting you to let you know about the following cast change: ..... Due to injury Steven McRae is replaced by Vadim Muntagirov as Jean de Brienne. First reaction: Sorry about McRae's injury. Hope he gets well soon. He's an especially fine partner for Ms. Lamb, IMO. Second reaction, from a big Vadim fan: YIPPEE SKIPEE! Seriously, I've received too many injury replacement notices just for this performance. Praying for no more, please.
  13. Alicia Alonso’s coffin is draped in Giselle’s veil. https://m.facebook.com/photo.php?fbid=117743032973275&id=100042127353552&set=p.117743032973275&source=47&ref=m_notif&notif_t=feedback_reaction_generic
  14. Angela, as you say, these are just our opinions. While I completely agree with you about Jerome Kaplan’s work on Paquita (shiny polyester tutus, wild gypsy colors), his designs for the Berlin Bayadere are stunning and substantial...especially the 3rd scene (procession, betrothal). The Zurich Swan Lake was somewhere in between - wonderful Swan costumes vs acid-green mazurka in the ballroom. He seems to improve as time passes!
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