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DanJL

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  1. Apologies, I misunderstood! That's great then, thank you 🙂
  2. Also available on DVD - there's currently a second hand copy on amazon for a similar price to the stream.
  3. Wasn't calendar year 2020 originally going to do this (until changes were required)? But it turned out that rather than being completely new works, it also included new productions (eg Swan Lake) and of course balanced by older productions in the 2019 part of the 19/20 season. So whilst it sounded like a break from the usual balance, it was actually still in keeping.
  4. Interesting, I was hoping a more optimistic take would value the work of all skilled modern choreographers but recognise that the vast majority of works programmed would continue to be classical, including revivals of all the key works from the past. Rather than being utopian, this reflects everything I've seen from Royal Ballet up to this point and I'm sure will continue many more than 10 years into the future 🙂
  5. Well I'm a big fan of a couple of McGregor's works (as well as various other modern pieces), most of which I specifically enjoy because of their emotional impact and great use of music, reflected perfectly in the movement. The first time I ever saw Royal Ballet was a performance of Woolf Works. I went as a fan of Virginia Woolf, but left completely affected and inspired by the incredible art form of ballet - I had no idea it was possible to convey emotion so effectively through dance and to reflect so accurately the spirit of some fairly complex novels. Whilst other ballets have surpassed Woolf Works in my affections to become my absolute favourites, this still must rank in my top five ballets.
  6. I was lucky enough to see Osipova / Clarke, Nuñez / Muntagirov and Naghdi / Bonelli live in this run and can honestly say I found all their fish dives, varied as they were in speed, at least as exciting as the two clips above. I agree that it's all personal preference. But for me at least, the point is that both slow and fast fish dives can be exciting, yes also both can be musical and lyrical. It's not a case of every dancer choosing one over the other - we can enjoy all the different interpretations. Stylistically Nuñez and Muntagirov choose to draw out the move, presumably because they believe that works best with their overall style. It's a choice I enjoy, but of course other preferences exist 🙂
  7. A controversial opinion it seems, but I quite like them 😁
  8. Yes I was going to suggest this was the reason for the slower fish dives. I'm very far from an expert so the following may not be the best description! But in my viewing of Nuñez and Muntagirov in Sleeping Beauty (perhaps also in some of the other big classical roles), there seems to be emphasis on drawing out a remarkable lyricism from the music. Remarkable in that for many dancers, just dancing the choreography convincingly can (I believe) be a big challenge. But Nuñez has comfort and time to play with the music at every moment. Having seen them dance this pas de deux both on Friday and 18 months ago, my personal interpretation of the slower fish dives is that to go faster would break the musicality and be out of keeping with the way they approach the pas de deux. I really enjoy the way they dance it. But I also like having the opportunity to watch other dancers who take a more attacking approach and include the excitement of faster fish dives. I was lucky enough to see Osipova do this in an earlier performance. It's this kind of thing that adds to the joy of seeing alternate casts 😊
  9. Hope everyone got back safely. It was certainly threatening at the point I had to turn back by Leicester Square - quite a few police on horses and the road covered in broken bottles.
  10. Haha I've been very cautious on my recent ballet watching trips to London and avoided tubes (just being overly careful due to covid). I've found a nice walking route from Paddington through the parks, but there wasn't enough time to walk back today!
  11. Pleased to say that both my Great Western trains were running and I'm safely seated on the return trip. Bit of an adventure getting to Paddington though. Only had about 45 minutes, so planned on getting a taxi, but they were very thin on the ground. I didn't fancy the tube with all the crowds, so ended up running to Paddington, dodging huge crowds of football fans and having to improvise a diversion to avoid a particularly boisterous bunch who'd blocked the road by Leicester Square. Got a little lost after that and had to navigate Google maps whilst jogging. But I made it on time!
  12. A really enjoyable matinée to close the season today. It was great to see a largely different cast in Anemoi to the ones I'd seen before. I've enjoyed the piece more every time I've seen it. First time I've seen Yasmine Naghdi in a big classical role - she was an amazing Aurora! And really lovely to see Isabella Gasparini and Joonhyuk Jun as Princess Florine and Bluebird - I thought both were wonderful 😊 But the highlight of course was the privilege of seeing Beatriz Stix-Brunell's final performance. Beautifully danced and followed by rapturous applause and stamping feet. At the end of the divertissements she came out last to a very long standing ovation, during which a succession of fellow dancers brought out huge bunches of flowers. An enormously deserved and emotional tribute to a wonderful dancer 😊
  13. In the ROH woman with water came in between. That transition felt fine to me but I can imagine it's a bit of a jump in mood going straight from After the rain to Voices of spring!
  14. Hmmm I'll be travelling from Cardiff on Great Western (hopefully!!). Seems like the very worst day they could have ended up at reduced capacity. I was already anticipating an uncomfortably busy train... Thanks for the heads up though Rob 🙂
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