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AnneL

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Everything posted by AnneL

  1. Mine was about £2 more for exactly the same seat as for last week’s Corsaire (in the upper circle.)
  2. My first highlights were in 2011 - a Cuban National Ballet Nutcracker and a mixed programme from BRB of Checkmate, Symphonic Variations and Pineapple Poll at Sadlers Wells. I also appreciated their revivals of Daphnis and Chloe and of Miracle in the Gorbals this decade. 2013 was a big year for great performances for me. I was entranced by an ENB Swan Lake - the leads were Klimentova and Muntagirov. Then in the autumn I bought a ticket on a whim for Acosta’s new Don Q and suddenly I was back into going to the ROH after a gap of about 10 years! I haven’t stopped since. Acosta’s farewell La Fille was a great evening which lingers in my memory. Recent revivals that have brought me great pleasure include The Firebird (Magri), Enigma Variations, Les Patineurs. Best new ballet for me was Broken Wings (ENB). In fact their whole programme of women choreographers last Spring was good. I am not the greatest Macmillan fan, but the Sambe/O’Sullivan Romeo and Juliet was great and I have enjoyed Manon performed by Nunez and Bolle. I recently enjoyed Concerto and also liked the ENB Song of the Earth a few years back. BUT.... This brings me to my lowlight - I know this is controversial - because it’s Mayerling! I first saw it in the late seventies and hated it, but decided to give it another go in 2018. It turned out my opinion hadn’t altered! Overall, I am very grateful to all the great dancers I have seen, and my daughters for keeping me company on many but not all these occasions. It has been a fun decade of dance watching.
  3. My children used to call it the Grand Tigger when they were young, after the Winnie the Pooh character. I think it was due to a misreading of a sign there!
  4. Thank you for posting the link. However not all the performances are on this list - I have a programme for 28 December 1968, but that isn’t on there. It featured Diana Vere and Keith Martin in the principal roles and Lesley Collier was one of Swanilda’s friends (I think). My daughter says we also saw Coppelia in the early 2000s - perhaps one of the performances in that long run!
  5. I agree with much of the above. Osipova did a great job with the rose adage and vision scene, and Hallberg was a convincing lonely prince. I am seeing a different cast on Thursday so it will be interesting to compare. I would add that the ‘fairy group dance’ (for want of a better term - pas de six maybe?) in the prologue was beautifully done. Unfortunately I could write an essay for the ‘audience behaviour’ thread on the basis of what I saw in the stalls circle yesterday evening, especially re mobile phones
  6. I do agree, although I was a bit put off last year when I bought a Mayerling programme and found it contained a reprint of the article in my 1979 programme of the same ballet! But this time, like last night’s performance itself, the programme was right up my street. For example there is an article about Ninette de Valois, one of my greatest heroes. I can confirm the synopsis in the programme is more detailed and explains the wheat ear part.
  7. I also bought a programme (I obviously don’t get them all the time with ballets I have seen a lot recently) and I must say it was really good value this time - articles by Judith Mackrell and Alastair Macaulay (both writers I enjoy reading) - and more. Agree with others about the performances, with Act II really special. The exaggerated mime was just great for me in row N of the amphitheatre since I had forgotten to bring my Opera glasses!
  8. I just thought the Concerto choreographic style suited her better. I certainly didn’t find her unsuccessful in Raymonda- perhaps I worded this badly- it was more that I thought she was so good in Concerto and had been raving about her performance in it during the first interval, that the Raymonda didn’t quite hit the same peak.
  9. I really appreciated the varied programme yesterday afternoon. I was most looking forward to seeing Enigma Variations as I have only seen it once before, nearly 50 years ago, with mainly the original cast, and it made an indelible impression on me. I wasn’t disappointed but there were one or two performances in it that could have been a little bit better. As others have said, Arestis, Avis & Whitehead were on top form, Campbell also. The other two pieces were new to me but I did enjoy Concerto - lovely music and piano soloist- despite the fact I am not MacMillan’s biggest fan (with the obvious exception of Romeo and Juliet and also Song of the Earth). Melissa Hamilton was superb, although not quite as successful in her Raymonda solo, in my opinion. I am hoping to see the programme again at my local cinema!
  10. I really enjoyed this BRB Giselle production yesterday evening. I haven’t seen it for many years and had forgotten the lovely scenery in both acts ( the Bastide-style gateway which gives the first act a real French countryside feel and the gothic church style in the second) but I hadn’t forgotten the horse! Both music and dancing throughout the company was excellent as was the orchestra. I think this may be my favourite production. I was just a little disappointed that Marion Tait wasn’t in last night’s cast - I gather she was on Friday from comments above. The principals both performed well, especially Mathews, who made the madness and death of Giselle very convincing. Both acts ended on the right emotional and dramatic note.
  11. Thanks for mentioning this. I listened to it on the BBC app.
  12. I read about her in a little book of famous dancers I was given as a child, over 50 years ago - and the book wasn’t new then! When I visited Havana with my daughter in 2011 we went to a performance of the Nutcracker and everyone in the audience stood and clapped when she took her place in the auditorium. She was a great legend of ballet for sure.
  13. 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.
  14. 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.
  15. 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!
  16. 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.
  17. 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.
  18. 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.
  19. 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!
  20. 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!
  21. 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.
  22. Arestis and Hamilton were replaced as princesses- I was lucky enough to score a cast change flyer this afternoon!
  23. Bolle and Nunez were tremendous together last time round. So was Hayward, but I wasn’t so convinced by her partner on that occasion.
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