maryrosesatonapin

13 minutes ago, Dawnstar said:

 

 

Given the ROH have put this cast change on the website I wonder why they haven't updated the Myrtha casting at the same time, as Buvoli has said on Instagram that she won't be doing her last performance.

Maybe they haven't finished negotiating yet, @Dawnstar

2 hours ago, Lizbie1 said:

 

Disappointed for Hirano but very pleased to see Bonelli partnering Laura Morera.

I do hope Hirano is OK.  Having said that, I have booked to see Morera and missed my Bonelli performance (with Cuthbertson) so am kind of thrilled and sympathetic at the same time.

13 minutes ago, Rob S said:

What exactly is wrong with the pas de six that received criticism? I've seen various permutations and they all seem to be fine to my non expert eye

I saw the very first performance of this run and two of the dancers were completely out of time.  I remarked it at the time.  I am very happy that the latest iteration are so good as it is those I will be seeing this weekend!

1 hour ago, Dawnstar said:

Third cast lucky: I've finally been moved to tears at the end of Act 1.

 

More stray snowflakes. Maybe they should change the Giselle backdrops from the current autumnal colouring to something more wintery!

I was watching Francesca Hayward in a rehearsal for something else and noticed how even then she so gave herself to the role emotionally that it was quite mesmerising.  I'm looking forward to possible tears when I see this pair on Saturday!

13 hours ago, alison said:

 

I think that was only for The Dream, wasn't it?

Maybe you're right, Alison - I don't have time to re-watch at the moment but I doubt it was the only time he sought such feedback.

Sold

There was so much of value and interest in this documentary.  I think a lot can be learned from Sir Fred today.  For example - it was emphasised, more than once, that he gave dancers roles that suited them.  Every dancer has strengths and weaknesses, and if they are given roles at which they can excel it's win-win for them and for the audience.  I feel that in the RB today, artists are often just given a 'turn' at every role whether they are ideal for it or not, when they might be better in a different role. Some of the men, in particular, are ideal poetic, romantic heroes whereas others are better at less emotional, more showy roles.  (Of course, some can do both!)

Another thing that was said is that when choreographing a new ballet, Ashton would bring in a number of different observers during the early stages to see what they could understand of the intended story.  What a good idea.  Something that I feel is not always done in new, modern works.

And how staggering that Benesh notation takes 8 hours to record one single minute of dance!  I had no idea.  All in all a fascinating film.  The only thing I wished is that they had put the names of the various speakers on-screen when they first appeared rather than at random later points.  I recognised them in any case but I would like to think newer ballet-goers could enjoy this film to the fullest extent, so I hope they correct that small detail.

Were the audiences full?  I do hope so.  It sounds like the kind of work that might draw in new ballet fans.

1 hour ago, Beryl H said:

 could The Dante Project be shown on BBC at Christmas? 

I hope not.  That's the only time some families sit down and watch ballet on TV and it might put them off for ever.

1 hour ago, Jan McNulty said:

 

Due to my dog having had a major operation on Tuesday this was my last viewing of Northern Ballet until Pinocchio, Casanova & Gatsby next year.  I'm already suffering from withdrawal symptoms!

I do hope s/he recovers quickly and sympathise about the withdrawal symptoms.

1 hour ago, Jeannette said:

Thanks again for this topic and for the link to Monday’s premiere performance!

 

I’m curious if Li Tai Po or anyone else may expound on the musical score for this production. Most of it is recognizable Drigo;  for example, I noted large segments from Enchanted Forest (which Ratmansky used in the Bolshoi Corsair), The Pearl (much used in Konstantin Sergeyev’s classroom work, From Lande to Vagabova), Flora’s Awakening (galop for Fauns), and even one number from Drigo’s The Magical Flute.

 

I just wanted to comment on how impressed I am by Jeannette's knowledge of Drigo's music.  Kudos!  I really liked the music but had little detailed knowledge of it.  I vaguely recognised the Corsair sections.

1 hour ago, JNC said:

Thanks. Just very confusing it no longer seems to work and why it’s taking months to fix, I’m not a techie but seems it’s not a priority for them which is silly. 

And not very satisfying for the people who took hours and hours to photograph the view from each seat.

10 minutes ago, Blossom said:

Row B loose seats are normal height!

Phew, thank you, that's a relief!

45 minutes ago, Scheherezade said:

 

.... the loose bar stool seats over fixed seats....

I read this phrase with horror.  I've never sat in the balcony before, but am booked to do so this coming Saturday.  I knew I had booked 'loose seats' but didn't realise they were bar stool type seats!  Are they high off the ground?  I often find it difficult to climb up onto actual bar stools.  Eeek.  (M seat number is B59)

When that one corps member turns their head the wrong way....
 

1 hour ago, RosiesDream said:

Although it's ballet [?]  I thought I'd post this link here, Bolshoi's Nikolay Tsiskaridze as the Sylph. He make a pretty good job, of it too, although not necessarily a pretty Sylph

 

Ha ha, excellent!  I love artists who are willing to join in fun and not take themselves so seriously.  

Well done them!

That is amazing!  (I haven't time to watch tonight but will give it my full attention tomorrow.)  I remember seeing this company in London a couple of years ago and they were lovely to watch.

48 minutes ago, FionaE said:

If ballet is going to widen its audience (and I’d argue that is happening) then the new audience may applaud more readily than the old one did.  
 

There is no right or wrong I feel … however … it is wrong to somehow sneer at newer audience members making them feel awkward and putting them off returning.  
 

Recently I was at a show where the second act had a serious start (I’d seen it before) and part of the audience at this show started giggling.  That response did change once the piece got properly underway.  (Thank goodness) The giggling had annoyed me … until I reflected that any audience reaction is valid.

I agree with most of what you say here, @FionaE, except I don't think inappropriate giggling is ever appropriate.  The person behind me during the Osipova/Clarke Giselle giggled when the Wilis came on and I very nearly strangled them!

3 hours ago, serenade said:

I love it too, it’s one of my absolute favourite ballet scores. Usually I am alone at the ballet but a time I went with my friend who said about the Giselle score:..meh…it was ok! I couldn’t believe it as the music blows me away every time 😂 

 

Anyway, I am very excited to see it on Friday and thank you everyone on this thread for the reviews and photos.

The music to 'Giselle' is pretty but shallow, with banal harmonies and musical sequences.  That's the only reason that 'Giselle' isn't my absolute favourite ballet, as the story and choreography are exquisite.

9 minutes ago, Dawnstar said:

 

How moving is Giselle meant to be? Is one supposed to cry watching it, like R&J? Because I didn't feel like crying tonight & I'm feeling guilty that I didn't.

 

Oh Dawnstar, don't feel guilty!  There are many and various reasons why one might feel moved during a performance.  It could be just your frame of mind at that moment, or maybe the performers just didn't touch your soul that day.  I am always taken by surprise when I shed tears during a ballet - it isn't planned or expected, it just happens (or not).  Then again, enjoyment doesn't necessarily involve tears.

2 minutes ago, Dawnstar said:

It is really not my day for trains! Got to Kings Cross only to find my train cancelled. Now to hang around for half an hour & hope the next one runs. If this is going to be a regular occurence this winter (already had it after an R&J last month) then I may have to re-think my ROH attendance.

Simply awful!  There should be a 'match ballet buddies' thread on here for people to team up for journeys - to commiserate, or share driving, or something!

56 minutes ago, Dawnstar said:

I just made it! Got to my seat dead on 7.30pm. Though it evidently didn't start dead on time. Not having had time for a last minute cast reminder, I spent much of the first act trying to identify who was who in the smaller roles.

Yay!  We were all sending you good zen, @Dawnstar!

1 hour ago, FionaE said:

Lovely to see Alina in these curtain call photos from the 6 November show in Hamburg

Oooh, yes!  Thank you @FionaE

2 hours ago, bridiem said:

 

Thanks, and to oncnp. I will probably try this, but clearing cookies is a pain because cookies are useful! And I resent having the inconvenience when the issue is/was clearly not of my making.

FWIW I just had trouble with my Ocado order due to Chrome cookies.  It is possible to just clear the cookies of one particular site, not the whole lot.  You go into settings (three dots top right of Chrome window) then 'privacy & security' then 'cookies and other site data' then search for the site that's giving you problems and just cancel their particular cookies.  I hope this is clearer than mud, and please excuse me if you know all this already!