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maryrosesatonapin

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Everything posted by maryrosesatonapin

  1. maryrosesatonapin
    I agree with every word here. In fact, my partner said 'Her very presence jars'. I loved the way that non-dancing members of the RB were included in this historic occasion, just not the person chosen to do the presenting. I just cannot understand the choice of her, nor her choice of outfit, and hope there isn't some long contract with her that means we will have to endure her again. That was the only blot on a marvellous evening.
  2. maryrosesatonapin
    I looked for a topic to cover this, but couldn't find one? Please merge if I am mistaken. We just sat transfixed for three hours watching all our old friends back on stage - what an emotional performance. Just wonderful. I can imagine how difficult it would have been to ensure space for all the 'stars' and a good mixed programme for the (perhaps not all ballet savvy) audience. But they succeeded. I loved them all - was especially pleased to see Laura Morera in excellent form, and Edward Watson. Marianela was in peak form, as if she'd never been away from the stage. Vadim was so elegant... and Francesca so beautiful... Thank you, RB. More please! We balletomanes have been starving.
  3. maryrosesatonapin
  4. maryrosesatonapin
    Although it isn't ballet, some might enjoy watching the original play. I received this from the Globe: Watch Romeo and Juliet for free on our YouTube channel from 7.00pm tomorrow. Don't miss the second of six productions that we are streaming for free on our YouTube channel, one at a time, on rotation every two weeks. On Monday 20 April from 7.00pm, you'll be able to watch our 2009 production of Romeo and Juliet directed by Dominic Dromgoole with Ellie Kendrick as Juliet, and Adetomiwa Edun as Romeo. Subscribe to our YouTube channel now to set yourself a reminder. Can't join us on Monday evening? The film will be available to watch as many times as you like until Sunday 3 May. Find out more
  5. maryrosesatonapin
    Well... the choreography and the performances at 'Dances at a Gathering' are sublime. But it's true the (original) music far outweighs even that. However, the performance of that transcendental music doesn't always suffice.
  6. maryrosesatonapin
    Have you seen this? I couldn't find it elsewhere. Worrying. https://www.dailymail.co.uk/news/article-8216887/Bolshoi-Theatre-hit-34-coronavirus-cases-TV-performance-auditorium-Russia.html?ito=push-notification&ci=13033&si=949359
  7. maryrosesatonapin
    Richard, do you favour a top hat when visiting the ROH? Asking for a friend.
  8. maryrosesatonapin
    Oh yes, me too!
  9. maryrosesatonapin
    @stucha I agree that Louvet was beautiful, and that there are elements that are dated. What I felt was almost a gay love frisson between Siegfried and the tutor - there were some gorgeous duets for the two of them but far removed from the original.
  10. maryrosesatonapin
    I've just watched the Paris Opera 'Swan Lake' - Nureyev version. Any opinions?
  11. maryrosesatonapin
    Doesn't she just! I have just watched this film and was touched by the way she said she had felt 'ugly' and 'inadequate' - the opposite of how she really is! I also thought Bonelli came over very well, as much a gentleman backstage as he is in his princely roles. As for Mukhamedov.... well
  12. maryrosesatonapin
    Now THIS is what I consider a brilliant idea - https://northernballet.com/pay-as-you-feel-season I already donated to NB because the wording of their cancellation email didn't annoy me (unlike the ROH email). But I will happily do so again, and again, in order to watch these offerings!
  13. maryrosesatonapin
    I found this rather charming and hope you do too: https://www.operadeparis.fr/en/3e-scene/storage If nothing else, it shows some of the opulent interior.
  14. maryrosesatonapin
    I adored Napoli - thank you @toursenlair! Well worth catching, starved forumites.
  15. maryrosesatonapin
  16. maryrosesatonapin
    I just got an email from Medici TV which states: 'Next week, we had planned to stream Massenet’s Manon from the Opéra de Paris as part of our paid subscription offer. In light of the situation, we have decided that this broadcast–which was able to be filmed without an audience–will now be available to everyone for free and will remain available free of charge on replay.' I assume that means free to non Medici subscribers too - might be worth a watch.
  17. maryrosesatonapin
    I just received my cancellation email from ROH for Friday's Swan Lake. There was a form to fill in, asking for choice of refund/donation/transfer to future event. The fact that 'donation' was already ticked, meaning they were forcing that as an automatic preference if one didn't actively decide on an alternative, really put me off that option. Had there been a fourth choice, say, of half the cost going to ROH I might have considered it. But when I give £145 to charity I'd rather give it to people in need of life's essentials. Difficult times!
  18. maryrosesatonapin
    The ideal solution would be for audiences to stream at home those arts events (of any type) that they had hoped to see live, for an appropriate fee that would keep the performers paid. This must be within the bounds of today's technology and if only it were put in place, maybe some permanent good would come of the current worrying situation.
  19. maryrosesatonapin
    I'm due to go this coming Friday - am hoping there won't be any announcements before then.
  20. maryrosesatonapin
    Hear, hear! I agree wholeheartedly with both comments.
  21. maryrosesatonapin
    We went to see the Siberians' 'Swan Lake' at Southend Cliffs Pavilion this evening. Francisco Gimenez as Siegfried was suitably handsome and princely, an excellent partner to Anastasiia Belonogova's Odette/Odile. Belonogova was excellent, outshining everyone else on stage, not only in her technique and grace but also in her acting - especially as Odile. The costumes were a trifle garish and the projected backdrop isn't great, but is understandable given that they are going to so many small theatres over such a gruelling tour. I think the orchestra is superb; it is small but with a big, tuneful and rich sound. The greatest star of all for me tonight was the violin soloist - her instrument soared and sang Tchaikovsky's wonderful music to the point I was moved to actually go and thank her afterwards, which is a first for me.
  22. maryrosesatonapin
    Oh no, please no! (But I know what you mean @JNC )
  23. maryrosesatonapin
    Also, I found that if you've posted a few pics in the past then you run out of allotted space. It's an ongoing allocation apparently, not just a certain size allowed per post. Hence I've stopped posting photos here.
  24. maryrosesatonapin
    I agree with @bridiem's reading of the story of tonight's performance (well, last night's now). Soares portrayed the complexities of Onegin's character with subtlety and feeling, as well as dancing beautifully. But for me the other stand-out dancer was Hinkis who was delightful as Olga with a lightness and grace that seemed to evade Mendizabal, whom I found to be a good actress but rather stiff and plain dancer. Lukas BB looked very handsome but far too young, and wasn't given much to do. Donnelly as Lensky was not only very noisy in his landings but technically wobbly - not suited to this part at all. The last time I saw this ballet was a couple of decades ago I think... and I didn't much like it then but hoped I would this time. But although it really looks good in the costumes and scenery department there isn't enough meaty choreography for my taste. I just didn't understand the audience clapping so many really very ordinary group dances etc and came away very pleased to have been present at Suares' farewell, but otherwise somewhat disappointed. In future I shall stick to the wonderful operatic version of this great story.
  25. maryrosesatonapin
    I hope it isn't too off-topic to mention an article in this month's Dance Europe magazine, which I found rather touching. Sissens describes his ballet journey from childhood; he came from a mixed-race family in a Hertfordshire village where he encountered both cruel racism and wonderful generosity. His mother had no spare money, but he was able to train at Tring thanks to a maximum scholarship. It was then suggested that he should train at the Royal Ballet School but it seemed out-of-reach financially until a supportive local person offered to pay the fees. He got a day place but his mother couldn't even afford his travel costs. She rang the RBS who then offered him a boarding place in the year above - a real challenge as he had so much catching up to do, both dancing-wise and academically, to keep up with the other boys in this higher year. But he said this just 'put fire under his belt' and made him work ten times harder. He mentions Anna Rose O'Sullivan as a fun partner, and they 'feed off each other.' When I watch young dancers (or not so young) I often wonder about their backstory, and what struggles and adventures they might have had along the way; many of course are far from 'home' and it can't be easy. I feel such gratitude not only to them for giving us, the audience, such joy, but also to their unsung supporters who have doubtless worked in the background to get them where they are today.
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