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maryrosesatonapin

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Everything posted by maryrosesatonapin

  1. maryrosesatonapin
    A few of the men in the principal/soloist levels are getting near retirement age. And maybe Acosta knows something that we don't (about dancers' intentions). It might seem 'controversial' to us who aren't in the know, but maybe to the actual members of BRB it's quite a normal and acceptable thing. Time will tell! I the meanwhile yes, it is wonderful to have so many good lead dancers to enjoy and I wish I could see more of them.
  2. maryrosesatonapin
    BRB are SO worth going to see if you possibly can. My two most moving performances in the last couple of years have been BRB and I think they are neglected. It's not always easy to reach them, I agree - I drove several hours and it was very much worth it!
  3. maryrosesatonapin
    Quite possibly, although I've never seen it before, Alison. And yes, I'm now watching 'The Glory of the Kirov'!
  4. maryrosesatonapin
    If you are a subscriber to Medici tv you may have already enjoyed this. If not, it's worth joining Medici even if you cancel afterwards. There are a number of historic films of legendary Russian performers, many of poor visual and/or sound quality due to the time they were filmed, but all worth watching and quite an education.
  5. maryrosesatonapin
    What a shame Barnaby Bishop is leaving Scottish Ballet. He's good and they will miss him.
  6. maryrosesatonapin
    I feel the same, but hope we will eventually be able to enjoy a recording!
  7. maryrosesatonapin
    I actually preferred Bracewell in the film than on stage. As for Hayward - what a perfect face for film. I just love that film and have recommended it to many non-ballet-going friends.
  8. maryrosesatonapin
    Oh @Jan McNulty I so wish Northern Ballet sold videos of their work! I saw 'Victoria' in Milton Keynes and would love to see 'Merlin' but it's just not within reach. What a great subject for a ballet.
  9. maryrosesatonapin
    Thank you Richard - I have been waiting eagerly for this info. Alas, I had hoped (after seeing Monica Mason's coaching) that Marianela Nunez would be Myrthe to Osipova's Giselle so I won't be seeing her live (but am more than happy with Mayara Magri). At least I shall see her on film.
  10. maryrosesatonapin
    It was upon reading of Asami Maki's demise that prompted me to start this thread, Naomi, and I am so glad I did because otherwise I wouldn't have seen the two lovely videos you shared - Yui Yonezawa in particular is astonishing!
  11. maryrosesatonapin
    Conversely, my interest was held throughout, and of course the ballet would be even more riveting if seen live. I thoroughly enjoyed the cavorting priests! So irreverent - a typical French mix of the serious and the profane. I disagree that there was anything anodyne or bloodless - the final pas de deux between Hugo Marchand and Dorotheé Gilbert, accompanied by a yearning cello and harp, was extremely moving. In fact there were many beautiful pas de deux throughout, as well as a huge variety of group dances varying from the traditional to the modern with stylish harmony. This was a real treat with moments of passion, wit, drama and poetry; I would love to see it in Paris when possible.
  12. maryrosesatonapin
    I wasn't suggesting that Kaneko would be incapable, and indeed she was a very stylish Satan. It's just that it almost seemed as though they had chosen the least likely dancer possible!
  13. maryrosesatonapin
    Honest question: was Fumi Kaneka (in the cast I saw) being cast as Satan a joke? I find it difficult to imagine a less evil dancer. She is sweetness, light and goodness. Was this the point? What WAS the point? Explanations gratefully received. Ignorant of Essex.
  14. maryrosesatonapin
    In homage to the lovely 'Osipova thread', I would like to start a chat about the way that Japanese dancers have given so much to our enjoyment of ballet here in the UK and elsewhere. As a pianist, I have long appreciated and been thankful that artists from Japan, China and Korea perform Western works with such exceptional sensitivity and technical brilliance. Sometimes I feel that they will carry the baton for this precious canon whilst we in the West succumb to Kardashidisneycrasspopitus. The world of ballet - fragile as it is, in need of new audiences and continuity of tradition over the coming decades - is also in debt to the East. I recently glanced at the list of principals/soloists in RB, BRB and ENB and wasn't surprised to see that nearly one in five are Japanese. My personal favourite is Momoko Hirata, who seems super human in the gossamer magic she creates on stage, but there are many other wonderful Japanese dancers here too. I'm afraid I am largely ignorant of those dancing abroad but I'm sure I am missing some wonderful ballerinos and ballerinas. Life is just too short - especially with covid restrictions! I have also enjoyed Akane Takada in the past and have resolved to make a point of seeing more of her in 2022. So, which Japanese dancers do you particularly love? Any particular roles and memories? Anyone I should resolve to see here or abroad who is unmissable?
  15. maryrosesatonapin
    Thank you so much for this alert, Amelia. I love it! I am sure that fans of Akram Khan and Wayne Mcgregor will consider this new ballet 'old fashioned' but I found it utterly charming. The nearly-90-year-old choreographer has gifted us with not only a beautiful realisation of this great work of literature, the story clearly told, but also designed the sumptuous costumes and the exquisite monochrome scenery. I was hooked right from the scene in the garden where the new tutor teaches his three little charges how to dance. Unforgettable. Massenet's score was lush and as for the dancing.... such elegance and technical accomplishment. Just wow.
  16. maryrosesatonapin
    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!!
  17. maryrosesatonapin
    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.
  18. maryrosesatonapin
    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.
  19. maryrosesatonapin
    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!
  20. maryrosesatonapin
    And Marianela was clearly so willing to learn, still, after all her experience. It was beautiful to watch.
  21. maryrosesatonapin
    Hear, hear! She is an absolute poet of movement.
  22. maryrosesatonapin
    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.
  23. maryrosesatonapin
    I wish there were an appreciative 'laugh' icon on this forum!
  24. maryrosesatonapin
    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?
  25. maryrosesatonapin
    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.
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