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maryrosesatonapin

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About maryrosesatonapin

  • Birthday 03/01/1954

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  • Gender
    Female
  • Location:
    Buckinghamshire
  • Interests
    Classical music, piano, ballet, opera, reading, writing, cat breeding

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  1. LinMM, the one really worth watching of those two was an old one of the French Opera Ballet, which is danced exquisitely and looks as though it is straight out of a Perrault fairy tale. Search for Dupont and Legris. (Of course, the still-beautiful Aurelie Dupont is now the Director of POB.)
  2. The crudity of the phrase doesn't do justice to the skill and art of (some of) our dancers. Unlike you, @capybara, I only saw Núñez/Muntagirov but I did think their unusually slow pace in the fish dives gave a very grand impression, every moment savoured in its perfection. Of course these two are more than capable of performing at speed, as they have proved over and over again, but their artistic judgement was good enough for me. They were quite simply superb.
  3. It's almost as though BRB have been listening in to another recent discussion on this forum - they also mentioned a de Valois ballet recently. At least it shows someone there is bringing such works to the fore of our consciousness, if not of the stage.
  4. The Georgian State Dance company. They are quite wonderful.
  5. https://www.facebook.com/watch/live/?v=596959681710676&ref=notif&notif_id=1626199405331870&notif_t=live_video
  6. Last night was my first visit to the ROH in over 18 months. On the car journey there I had wondered if I would burst into tears at the sheer delight of being back in the audience, but until near the end, I found myself merely happy and enthralled throughout the long programme. Although I hate what covid is doing to the RB’s income, a bonus of the sparsely occupied seats is excellent viewing with no risk of a large person sitting in front of one. Well done to Valentino Zucchetti for composing ‘Animoi’ at what appears to be short notice! It was uneven in quality but some parts were quite striking, and I would highlight the stunning dancing of Taisuke Nakao whom I’d never before noticed. Although he doesn’t have the looks or build of a danseur noble I can imagine him filling roles such as Prince Siegfried’s friend in Swan Lake, with his brilliant combination of elegance and athleticism. The audience were greatly appreciative when the young choreographer took a bow at the end, wearing a very smart bright blue suit and an enormous smile. Laura Morera and Ryoichi Hirano looked good together in ‘Winter Dreams’ – it’s always such a treat to see Laura; she is one of my favourites, for her expressive projection of character. I’m not always keen on Hirano but Laura obviously brought out the best in him. My surprise of the night was ‘woman with water’. I normally don’t like modern works that seem determined to hide any message they might hold within a murky morass of seemingly vague limb movements. But although this work was a bit of a mystery in its strange ‘story’ it was quirky and compelling, and the dancers – Mayara Magri and Lukas Bjørneboe Brændsrød – were quite simply amazing. I couldn’t take my eyes off them for a second. The choreography looked difficult to me, but their performance was just superb. I’m running out of superlatives here. I loved it! (By the way, just as we were entering the ROH an elderly man was also coming in with a young, handsome companion. He was saying ‘they say they can squeeze you in somewhere, but you might not be sitting with the rest of us.’ Looking again at the young man I recognised Mayara’s real-life partner, Matthew Ball, looking even better close-up than he does on stage!) When ‘Voices of Spring’ erupted with an exuberant and playful Anna Rose O’Sullivan and Marcelino Sambé, it was a complete change of mood from the modern to the classical in music, costume and dance – yet there is no stale traditionalism in this work. Ashton’s usual restrained elegance was supplanted here by joyous ebullience seasoned with a dash of gentle self-mockery: a kind of sending-up of itself in the most delightful way, I thought. Utterly charming and a lovely contrast to what had gone before. To me, Ashton’s work embodies all that is best of Englishness: refined but not taking itself too seriously; somewhat bucolic yet sophisticated; beautiful and always entertaining. The exact opposite of that other, darker side of Englishness now so prevalent: the crass behaviour of some politicians and many football supporters. So much for the hors d’oevres: at last we came to the main course. When the curtain went up on the gorgeous scenery and costumes of Sleeping Beauty I felt as thrilled as a child on Christmas morning. At the moment that Marianela Núñez and Vadim Muntagirov appeared at the back of the stage I suddenly felt tears trickle down my cheeks, underneath my covid mask, which was uncomfortably damp for the next hour. They were perfect. Just perfect. Oh, I know that Marianela and her Vadream always perform impeccably, but to me they seemed on another level last night. It’s true that, out of the context of the whole ballet, that last act has less emotional impact as the sleeping princess finally attains her happiness. Bluebird James Hay had clearly been practising his entrechats. I thought Calvin Richardson seemed somewhat prosaic and earthbound as Florestan, but it must be difficult to shine when sharing a stage with Muntagirov. David Yudes and Ashley Dean were enchanting as the two cats (what a fun duet that must be to dance!) I think this programme was well-chosen, with something for everyone – dancers and audience alike. And the glittering finale, full of gaiety and colour of the kind which we have missed so sorely over the past many months, sent us all out into the warm summer night air with a smile on our mask-covered lips and a song in our hearts. Thank you, Royal Ballet! It was such a privilege to be there. You can see a couple of my photos here: https://maryrosedouglasuk.wixsite.com/ballet
  7. Re the Hip Hop element: let's give him a chance. He could add an exciting element to the more experimental works of the RB. But I agree that 'real' ballet has to be preserved, in much the same way as a protected species of animal or bird. So if Toonga is an addition - welcome! If a replacement for classical input - not so good. Having seen Zucchetti's choreography on screen recently, and looking forward to seeing it live at the weekend, I think there is hope as although imperfect it has a great deal of charm and potential. On a brighter note, I was happy to see that Hannah Quinn has joined as pianist. I am hoping that in time she may give an accompaniment to 'Dances at a Gathering' more worthy of the beautiful dancers than the one that I cringed at last time I saw it.
  8. I agree that it's likely to be an American article, but you do get high schools in Scotland - which is currently part of the UK although possibly not for much longer
  9. Ah yes, I remember her! I always feel sad for dancers having to give up the career they love at a relatively young age, but Elisha describes the change in a really positive way that I hadn't thought of before: 'We have an opportunity to have a whole other life after ballet'
  10. I actually thought Matthew Ball made a great Apollo recently. Of course, his dancing although good was not the best, but he has that noble godlike appearance that very few RB male dancers have. What a profile - displayed multiple times to excellent effect in the recent streamed production. But Nureyev really was a god IMO.
  11. I agree that the manner of performance has changed - but the notes and musical directions are there in black and white, clear to see. Is the same true for ballet notation? I genuinely don't know but from what I have seen it appears to be more vague.
  12. I just watched the gala on-line. To be honest, I found most of it disappointing (but was very glad to contribute to the good causes which were its purpose). I must be officially an old fuddy-duddy, as the only segment that truly enthralled me was the BRB duet – I saw the whole ballet on Sunday and this is definitely the best part of it. Hirata and Morales were, and are, beautiful and worth the price alone. It was good to see some of Valentino Zucchetti’s choreography (and admire the grown-up Viking beauty of Lukas BB whom I still remember as a little boy!) I look forward to seeing more work from Zucchetti in future. I did enjoy the wit and self-mockery of New Adventures, who can be forgiven their dreadful costumes given that this is apparently a joke men’s underwear advert. But it had made its point about halfway through, and would benefit from being shorter. There is no excuse for some of the other troupes’ costumes though, some of which barely seemed to fit! And don’t get me started on some of the music. Curmudgeonly of Essex
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