Jump to content

JNC

Members
  • Content Count

    443
  • Joined

  • Last visited

Community Reputation

858 Excellent

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. I also find the site quite frustrating. This link is the one that usually works for me https://www.staatsoperlive.com/calendar or https://www.culturall.com/ticket/ists/performance_schedule.mc It is very user unfriendly and find myself going through several links/redirections to actually view a broadcast! I also found it quite confusing that the video trailer for The Nutcracker on one site actually featuring Raymonda, so I was looking forward to seeing Raymonda and then realised it was The Nutcracker (I thought the title was a bit suspicious, I suppose Raymonda is the same in any language...)! Whilst I found Sylvia absolutely delightful I got on less well with the Armide/Sacre double bill. I think for Armide part of the problem was I didn't really understand the story/know enough about the characters to really understand it, I wish there was a synopsis somewhere! And for Sacre, I know it is unfair to compare but after seeing Pina Bausch's version this didn't really strike me in the same way, perhaps if it was the first time I was seeing Rite of Spring I would have felt differently (or perhaps not, I had a feeling from Armide that perhaps I am not a big fan of the choreographer to be honest). I am looking forward to the upcoming Le Corsaire and would gladly see Sylvia again. I also hope that Raymonda becomes available. They seem to have very lavish costumes and sets in Vienna, so it all looks very beautiful, the performances are very high quality.
  2. I did manage to catch this and I was very glad I did! Thank you for highlighting this on the forum. The sets and costumes were very lavish as you say, very impressive and opulent (but in an elegant, refined way). The dancing and choreography were excellent. I hope Vienna releases some more live streams as I would certainly watch them based on the quality of this performance. Highly recommended to all. (I can't compare with the Royal Ballet/Ashton version as I haven't seen that...but now I'm very tempted to get the Royal Ballet DVD of this one if it's anything like this!)
  3. Thanks very much for sharing! I'm presuming this version will be quite different to Ashton's?
  4. Thanks Rob and Stevie. I think I'm going to go for the recent Nunez/Muntagirov Bayadere (but have put Acosta/Rojo on the list for a future purchase) and the Cojocaru Sleeping Beauty for now.
  5. Copying and pasting from another thread as it's more appropriate here - looking for thoughts on DVDs and recommendations to watch. I have scanned the thread and don't think any of the below have been answered. Does anyone have any thoughts on the Durante version of Sleeping Beauty? I would be interested to see Durante but I have to admit I have some reservations about the Dowell production, I've not ever seen it but I quite like the current version so I'm thinking of going for the 2010 Cojocaru performance or the more recent Nunez/Muntagirov DVD unless people think it's worth seeing the Dowell production? Wondering what the main differences were between Dowell's and the current one? Similarly, I'm intrigued by the Dowell Swan Lake (there's a Nunez/Soares or Osipova/Golding recording) to see how that compares to Scarlett but will I just be disappointed? I have to admit I'm not overly keen on the swans wearing Giselle style longer dresses as opposed to tutus but wondering how radical the choreography etc differences may be, costumes/sets aside? Also does anyone have any 'vintage' recommendations - thinking Fonteyn (considering her Sleeping Beauty or Cinderella DVD, and would be interested to hear thoughts if anyone has seen these). I'm presuming the Sleeping Beauty is the Messel production? Finally La Bayadere - the 'older' DVD with Rojo/Acosta, any thoughts on that versus the most recent Nunez/Muntagirov/Osipova would be interesting to hear (I was lucky enough to see the Nunez/Muntagirov production live so I'm not sure whether to get that as a solid bet, or try seeing someone different as I've already seen Nunez/Muntagirov). I'm aware the production is the same so I guess this is more of a subjective one based on performances etc. Also interested to hear thoughts on the Giselle DVDs currently available - I think I'm right in saying the choreography/productions from the RB offerings (Cojocaru/Kobborg, Acosta/Osipova, Nunez/Muntagirov) are the same? Does anyone have a particular preference or recommendation? Appreciate a lot of the above is subjective re specific dancers/productions so there are no 'right' performances/DVD to buy but would be interested to hear some thoughts if people have any! And also open to more DVD recommendations whether past/present. Especially from Paris Opera/Bolshoi/Mariinsky/NYC etc as I know very little about these productions/DVDs available! Thanks all.
  6. Quite right Rob, the statement can be read that way so perhaps I am wrong to assume. But then why would they not say Scarlett resigned? Or why would Scarlett not announce a resignation himself? I have also only just realised that the statement was sent to the press but there is nothing posted on their twitter or main webpage about this which just seems like they are trying to sweep it under the carpet (even though they know press would report it?) but has only led to things looking more suspicious - why not put something official on their twitter/website? It would be odd for them to make a point about not doing Symphonic Dances though if there was no wrongdoing...but perhaps it is also wrong to assume this.
  7. Thanks Linda! I was very tempted to get this but I note POB have this as part of a larger box set along with La Dame aux Camelias, Cinderella and Swan Lake - currently £60 on amazon but only £30 on the ROH shop website - so tempted to get this when the ROH shop resumes. As an aside I do think it's unfortunate the online shop is currently not dispatching orders, I understand they are not amazon and may have logistical issues but I was prepared to order from them directly even though the DVDs are usually much cheaper on amazon (the example I've just given aside) but the whole point is I want the DVDs now while we're all self isolating in at home. The Ashton sets are also very tempting and seem like excellent value for money! And the MacMillan triples also...spoilt for choice!
  8. Perhaps not the answer you're looking for but to me the fact he's out leads to an assumption /understanding that he did something 'wrong'. Whatever that may be. Hopefully not as wrong to be illegal otherwise the investigation surely should have been conducted by the police. But wrong enough to be unprofessional/immoral/not befitting ROH's standards and public image. (If he hasn't done anything 'wrong' I'd like to think the ROH would support him against rumours etc.) People can either continue to appreciate his work as separate from some sort of wrong he's committed (e.g. the way you may still watch a Harvey Weinstein produced movie and enjoy it) or decide you don't want him to be making any financial gain from any work he's been involved in (i.e. don't watch any more Weinstein movies/go to Swan Lake). For me, I'm not that interested in what 'wrong' he commited. I don't really need to know, other than the fact that it's now been dealt with as appropriate (I hope). My only concern is this had been going on for a sustained period of time (as some articles alleged, of course I don't know one way or the other), why ROH/RBS etc took so long to do something about it (if they in fact did). I am more interested in whether or not there was a 'cover up' (I am not suggesting in any way that there was, but it would be nice to be reassured there wasn't and action was taken immediately once there was any whiff of impropriety). Crucially I would also like clarification from ROH/RBS about what they have learnt from this (i.e. what safeguarding measures or other measures they are putting in place e.g. someone available to anonymously report concerns to etc) and how they will ensure whatever happened doesn't happen again in future.
  9. Surely there is an arts world/company grapevine which other companies will in essence know what Scarlett did/did not do, or could find out 'off the record'? Not saying this is necessarily correct, transparency is important but I guess it's balancing a clear open statement detailing exactly what he was accused of/found to be guilty of (which as the public do we really need to know?) against the privacy of dancers/others that may be involved in raising allegations etc. The statement is worded badly but I can understand why they didn't want to go into further details for the sake of those involved. I guess we need to trust the ROH/independent investigation made the right findings/decisions in this case. I guess if the ROH has decided to terminate its relationship with Scarlett other companies (whether rightly or wrongly) will face pressure/questions if they continue a relationship with him and I imagine Scarlett will see other work/contracts terminated.
  10. Glad to see they have finally come to some sort of conclusion (although slightly vague and confusing statement) and finally taken some action and terminated their relationship with Scarlett. One must presume/hope there must have been some professional or moral line that Scarlett crossed in order to have been let go, as surely if he had done nothing wrong the relationship would have continued? (It would be rather unfair otherwise?) Having said that hopefully ROH will be able to separate the work of Swan Lake with the man Liam Scarlett. In no way should bullying/harassment/unprofessional conduct etc be tolerated but I don't think continuing to perform Swan Lake (or his other works) means they have tolerated this behaviour. Which is why it's a bit of an odd decision about Symphonic Dances - why not continue to perform it regardless? And why is it accepted to perform Swan Lake but not anything else by Scarlett? Swan Lake was such a huge investment and I do think it's a good production so it would be a shame (and also a huge financial loss which presumably would have wider implications for the ROH) if they decided to scrap it after only 1.5 airings and re-do the whole thing. Perhaps a compromise could be MacFarlane's costumes/sets etc stay, but some choreography and plot is tweaked. But it seems a little silly to do this just for pretences sake, presumably if a new choreographer came in to do this it would be a little demeaning they weren't given free hand to do a total rework of the production the way Scarlett was. I do feel a little uncomfortable about Scarlett having such a huge chunk of the profits from this which is something the ROH will have to consider. Having said that I would still go and I wonder how many people would actively boycott Swan Lake because of it's connection to Scarlett. But I do wonder if this means we won't see Frankenstein again (no great loss in my opinion to be honest) or any of Scarlett's other works at ROH which are more obviously connected to him as independent/unique works as opposed to a reworking of a classical, well known work.
  11. Thanks all for sharing lots of livestreams etc, hoping to catch some upcoming Paris Opera performances being streamed as well as hoping the ROH announces more livestreams (as others have said it would be lovely to see versions that aren't on DVD as I appreciate DVDs may be an important revenue stream in these times for them!). In the meantime I'm considering ordering some DVDs - sorry if I'm duplicating something already in another thread but I would be interested to hear some recommendations from balletcoers. Does anyone recommend/have any thoughts on the Durante version of Sleeping Beauty? I would be interested to see Durante but I have to admit I have some reservations about the Dowell production, I've not ever seen it but I quite like the current version so I'm thinking of going for the 2010 Cojocaru performance or the more recent Nunez/Muntagirov DVD unless people think it's worth seeing the Dowell production? Wondering what the main differences were between Dowell's and the current one? Similarly, I'm intrigued by the Dowell Swan Lake (there's a Nunez/Soares or Osipova/Golding recording) to see how that compares to Scarlett but will I just be disappointed? I have to admit I'm not overly keen on the swans wearing Giselle style longer dresses as opposed to tutus but wondering how radical the choreography etc differences may be? Also does anyone have any 'vintage' recommendations - thinking Fonteyn (considering her Sleeping Beauty or Cinderella DVD, and would be interested to hear thoughts if anyone has seen these). Finally La Bayadere - the 'older' DVD with Rojo/Acosta, any thoughts on that versus the most recent Nunez/Muntagirov/Osipova would be interesting to hear (I was lucky enough to see the Nunez/Muntagirov production live so I'm not sure whether to get that as a solid bet, or try seeing someone different as I've already seen Nunez/Muntagirov). I'm aware the production is the same so I guess this is more of a subjective one based on performances etc. Appreciate a lot of the above is subjective re specific dancers/productions so there are no 'right' performances/DVD to buy but would be interested to hear some thoughts if people have any! And also open to more DVD recommendations whether past/present. Especially from Paris Opera/Bolshoi/Mariinsky/NYC etc as I know very little about these productions/DVDs available! Thanks all.
  12. Pleased Reece gets a chance at the role (though a bit of a shame it’s not with Fumi Kaneko). I suppose while I’m one who gets frustrated with cast changes each change is an opportunity for someone else!
  13. This is probably going to make me sound like too much of a Royal Ballet 'fan' but I recognised the picture - it's from 2017 (it's in the programme for that run when they did actually dance together). I'm not sure if this answers your question but I know there have been rehearsal pictures for the recent Dances at a Gathering of the two casts dancing together/mixed classes. That's slightly different to Swan Lake though where there is an obvious partnership, so whilst dancers may rehearse certain steps together (e.g. perhaps a few Odettes will rehearse together?) I think it's unlikely that pdds will be rehearsed with someone they won't be dancing with...could be wrong though!
  14. I am no expert on coronavirus and how it transmits and I completely understand ROH management would like to be cautious. However, like @LinMM and @bridiem have noted I am confused by the fact that Hayward was unable to dance in DAAG last night, and Corrales both last week and tomorrow despite the fact that they are in the ROH building rehearsing for Swan Lake and getting costume fittings/stage calls. (Going off their respective instagrams.) Doesn't this seem a little counterintuitive? Would completely have respected the 'better to be safe than sorry' decision if they were 'self isolating' at home, but to have them in the building but not able to dance on main stage is a bit frustrating and confusing to me. I understand it may be because on the main stage they would have close contact with other dancers which they may currently be avoiding, but surely there's still a similar if not equal risk of cross contamination/spreading potential illnesses if they're in the building interacting with costume staff (who presumably are also interacting with other staff and dancers) and touching objects in the building? Perhaps there is something I am unaware of about how coronavirus spreads but I feel for me it was all or nothing and if they are in ROH why not let them dance their performances - especially poor Corrales who now will not be able to dance the role at all! (sorry if this belongs in the wrong thread)
  15. Interesting...I do think being 'up close' to register the emotional details of Sambe/Ball/Cuthbertson's facial expressions would have helped. Perhaps if I had sat somewhere else or seen the cinema screening I would have appreciated it more. Saying that as a regular amphi sitter (because of price more than anything else!) I think choreographers and others involving in creating a ballet should be aware that it needs to looks good from ALL areas of the theatre. Yes the press will sit in the stalls so the focus is on how it looks there I suppose, but to compare with DAAG again, whilst I would have loved to have seen it up close and it would have worked better from the stalls I think, it looked equally beautiful from up high. Same with ballets such as Swan Lake, Sleeping Beauty and Concerto for me. Unfortunately I think 'story' ballets such as the Cellist and MacMillan's for example are undoubtedly better from being closer to appreciate faces, but with the Cellist in particular I found the constant moving of the stage, and groups of corps dancers moving and doing their own pieces while Cuthbertson/Sambe/Ball were also dancing to be very distracting - I tried to focus on the main characters but there's always something in the corner of your eye. At least in MacMillan whilst you can't see the faces there is nothing like this to distract in the same way.
×
×
  • Create New...