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AnneL

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  1. I agree entirely. Yoshida’s Sugar Plum always lives in my memory. I also saw her dance Lise in ‘Gardee’ with Mukhamedov as Colas at Covent Garden and will never forget the perfection of their performance together. It does sound like it was a wonderful gala.
  2. I also noticed the absence of Le Tricorne. Massine apart, isn’t de Falla music and Picasso designs enough to make something a great artistic work of the 20th century? I would also put in a word for Spectre de la Rose by Fokine. Yes, it is very short, but I would hate to see that lost. I could also make a case for Miracle in the Gorbals (Helpmann) - maybe a bit dated, but of historical importance with a score by Arthur Bliss. I found it impressive when BRB revived it a few years ago with Gillian Lynne’s help. Finally, a couple of comic works which I think need preservation: Ashton’s Facade and Cranko’s Pineapple Poll.
  3. Since no one else has left a comment about Friday evening’s show, I will! Firstly, the orchestra deserves full honours, as do the dancers for keeping up with it! For me the standout among the principals was Zakharova, who not only had fabulous technique, but also was utterly convincing as Aegina. I don’t think this will ever be my favourite ballet (maybe Giselle is?) but I am very glad to see performed live at last. Our seats were front row side of the amphitheatre so we missed a little of the action in the corner of the stage, but at least the price was reasonable. I treated myself to the dvd with Carlos Acosta as Spartacus so am now watching it and finding out what happens in that corner!
  4. I agree with every word of this, except that my very first Swan Lake was an early Festival Ballet version from the days when Beryl Grey was artistic director. My second one was RB in the late 70s. But currently ENB proscenium version is my favourite. I also have great memories of their arena version from around 2013 when I saw Muntagirov and Klimentova together. I am certainly tempted to go next year as the entrance of the swans en masse in Act II is quite a spectacle. But it really is hot on the heals of the RB one - not to mention BRB.
  5. I have a full set of the books (collected since childhood) and have always taken it to refer to upper school and company. In the later titles the theatre could be Covent Garden, but of course the company was still called Sadlers Wells even after the ROH became its home.
  6. I saw this Cinderella done by the Dutch National Ballet at the Coliseum a few years ago and enjoyed it (although the Ashton version is still my favourite). Since then I have become better acquainted with Wheeldon’s style and I did spot similarities with Alice - and American in Paris too - this time round. I agree with a lot of Irmgard’s remarks above, but in row 7 of the stalls we actually had a pretty good view. Luckily when I booked I had a hunch that the rows nearest the arena floor would probably not have the best view, and nor did I want to be too high up. We must have been on the best side too, as could see what the little boys were doing perfectly. In fact, despite my terrible eyesight, I had a good view all evening. And while the tickets weren’t cheap, the price compared quite favourably with the Coliseum, where stalls are also quite expensive. I think the show was adapted well for the arena space. Dancing wise, Maria Kochetkova and Jeffrey Cirio played Cinderella and the Prince and both of them were magnificent.
  7. I also bought a programme but the flyer wasn’t with it! I obtained it only because in the first interval I went to the stall where the programmes were sold and asked for one. The seller had none, but a lady drinking wine at a nearby table heard us and said I could have hers. I have no idea what magic she had worked to get it, but I said thank you and took it!
  8. I saw it yesterday (Saturday) afternoon and enjoyed it very much, especially the Scarlett. The Welch was enjoyable from a choreographic point of view, and the Bach was beautifully played (excellent solo violinist), lighting was well done, but the costumes were not great. The women looked like they were in swimsuits. Scarlett’s Hummingbird was good all round, lovely Macfarlane designs, and another fantastic music soloist, this time on piano. For the Peck, the music was not much to my taste, but I did enjoy the dancing in ‘sneakers’. The company must have had some friends in the audience as there were loud cheers at the end of each piece, and we did spot some people looking suspiciously like RB dancers leaving at the end. My daughter and I hurried off to the Albert Hall then to see Cinderella!
  9. Regarding Symphony in C, I had exactly the same anxiety after Kaneko’s stumble near the start. And I have to confess that I didn’t enjoy the ballet as much as when I saw it last autumn. Perhaps it wasn’t quite such a good performance, or (and this is very possible) it was a better finale after two so-so modern works, than following the Firebird and Month. Nunez, Campbell and Hayward all shone, however, and Hirano did a great job in both the works he appeared in. However, I think that if I was in charge of programming, I would have gone for a shorter 3rd work, although I realise this is one that will show off a good proportion of the company’s dancers. Firebird is truly one of my all-time favourites - I love the score - and Magri and the whole cast did it justice. I especially liked the lighting. I am not so familiar with Month - only the second time I have seen it - but the story was communicated well by all the dancers. Hinkis really impressed me - it was good to see her in such a featured role.
  10. Arestis and Hamilton were replaced as princesses- I was lucky enough to score a cast change flyer this afternoon!
  11. Bolle and Nunez were tremendous together last time round. So was Hayward, but I wasn’t so convinced by her partner on that occasion.
  12. I have now booked for evening of 8th June as I wanted to see Maria Kochetkova. I saw her Sylphide recently in Berlin. So double ballet day for me, as I will be a Sadlers Wells in the afternoon!
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