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About maryrosesatonapin

  • Birthday 03/01/1954

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    Classical music, piano, ballet, opera, reading, writing, cat breeding

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  1. I've been thinking about Don Q... there are a number of technically demanding roles, especially for the women. Acosta's principals will have no problem but I can see there might be difficulties with some of the secondary roles which really expose the dancers' skills. I hope he gets all the people he needs - including wigmakers of course!!
  2. How does one get on a mailing list when details are finalised? I'd love to come (I pass Canary Wharf on my way to the Royal Opera House by car!) but have a terrible memory.
  3. Yes, I found it really weird that the programme notes provided a different scenario from the listed dance sections. To me it seemed confusing at best, slapdash at worst.
  4. Would you interpret that as a self-administered test, though? I followed the link from the RAH to the government website which seems to suggest this is the case. Then I did a test on myself (negative) and was able to log it onto the results database.
  5. I'm going to the Royal Albert Hall so I checked and all they need is a self-administered lateral flow test result which seems to me almost worthless.
  6. Talking of which, it was interesting to observe the very different coaching techniques for the massed corps of the Bolshoi and RB. Did anyone else notice how harsh one of the Bolshoi repetiteurs was? He accused one of the dancers of being unable to do an arabesque (it really wasn't that bad) and said he could do it better himself. Quite insulting I thought. On the other hand, they were extremely well synchronised. RB was much gentler but the dancing had more visible faults. I don't see how nastiness helps anyone though!
  7. And Marianela was clearly so willing to learn, still, after all her experience. It was beautiful to watch.
  8. There have also been a number of adverts for orchestra members, including some of the most important roles. Thoughts that went through my (totally not-in-the-know) head: 1 - Acosta doesn't like what he has inherited so is determined to make drastic improvements 2 -Acosta has rubbed everyone up the wrong way and they are leaving in droves 3 - Acosta somehow has the means and vision to increase and enhance the company without losing any talent, thereby making it irresistible. Additional thoughts from totally my not-in-the-know head: Perhaps Acosta is aware, as I am, of how badly BRB fares in ticket sales, reviews, government support and public awareness/respect - all vital. For example, I recently saw R&J from both companies and I would defy anyone who said the RB dancers were superior, yet they received multiple accolades from reviewers whereas BRB only got one review (I think). On this forum alone, they are largely ignored in spite of their quality. And perhaps their new director is seized by an ambition to adjust this unfairness, and with a sense of healthy competition is throwing all resources into making them an undisputed 'premiere' company in every way. From what I have observed of him over the decades, Acosta is a 'people person' and is unlikely to alienate those whom he values. So maybe this is all part of a very well thought out plan. Or maybe he's just not very good at his job. I have no idea. Time will tell.
  9. I do hope Marianela dances Myrthe's part in one of the Giselles I have booked - there doesn't seem to be any clue on the ROH website as to the casting of that role, or am I looking in the wrong place?
  10. Well I have been glued to the YouTube Bolshoi thread for a couple of hours now! It's so good to have the chance to hear what the dancers have to say and there is an excellent translator in the person of the beautiful soloist Ana Turazashvili, whose English is near perfect. I also glimpsed the New Zealand Ballet morning class and there is a lovely dog watching quietly from the sidelines.
  11. Sure, different strokes for different folks I guess! I do like some abstract dance performances very much, but preferably not so long and preferably not 'intending' to have a narrative as this was.
  12. That's fine, for people who enjoy long episodes of abstract puzzlement. The fact that the programme had to include detailed text suggests a deficit to me, though.
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