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.

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

Richard, do you favour a top hat when visiting the ROH? Asking for a friend.

Oh yes, me too!

@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.

I've just watched the Paris Opera 'Swan Lake' - Nureyev version. Any opinions?

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

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!

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.

I adored Napoli - thank you @toursenlair! Well worth catching, starved forumites.

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.

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!

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.

I'm due to go this coming Friday - am hoping there won't be any announcements before then.

Hear, hear! I agree wholeheartedly with both comments.

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.

Oh no, please no! (But I know what you mean @JNC )

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.

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.

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.

@LinMM - I am so sorry about your sadness. But what a wonderful and valuable life Roger Tully lead! What you need now is an uplifting, not-at-all-tragic ballet outing. Cyber hugs to you.

I've just come back from the cinema screening of this double bill. I am grateful to those who explained and/or critiqued 'The Cellist' beforehand because it made me go with lowered expectations, which were then exceeded. I thought Cuthbertson and Sambe were super - really moving (and moved) in their portrayal. Sambe was a bit like an adorable pet! The set was fine - not too busy for me - as it added punctuation to the ongoing story and helped to explain where we were. Maybe it was more intrusive in a live viewing. I thought Feeney did a good job with the score. Marston just about stayed on the right side of bathos although I do find her choreography a little gauche at times. It did feel as though, having been commissioned to produce a work that lasted about an hour, she had stretched it out just a bit more than was necessary. I rather liked the way the corps were used to fill in background detail - at times it was even amusing (intentionally I hope). Barenboim, we were told, had asked for someone handsome to dance his part, and he certainly got that wish fulfilled in the elegant Ball. I didn't envy the ROH cellist, Snell, having to play in du Pre's shadow so to speak - she did a decent job but one's musical memory was haunted by du Pre's unparalleled original renditions. [As an aside, I once bumped into Jackie, when she was in a wheelchair. I think it was at the Royal Festival Hall where she was in the next box to us during Barenboim's concert series of Beethoven's piano sonatas. How he managed to memorise all 32 and play them one after the other is beyond my comprehension. What a gifted pair they were.] Dances at a Gathering was delightful - except for the piano accompaniment which at times didn't do justice to Chopin's exquisite score. I have played most of those pieces myself and at times I cringed. And what's the name of the presenter who isn't Darcey Bussell? Not only could she not pronounce Chopin's name correctly, but she didn't even know how to pronounce 'etudes'!! If I go to another ROH screening I will make sure to avoid the pre-show talk. But on to the good stuff - the choreography was charming and I particularly loved Bonelli and Nunez' duet during the slow, Polish traditional melody section of the Scherzo (which was actually played decently). I think Bonelli is having a kind of Indian summer because he's quite amazing lately. Hayward was very lovely too, and although she had a technically easier solo, Laura Morera's wonderful personality simply shone out during her too-brief section. All of the dancers were good and really seemed to be enjoying themselves! Please excuse lack of diacritics above but I am tired and lazy tonight.

I think that might well be the reason for our disparate views, @Dawnstar

Thanks for the reminder, @Amelia. I just spent a luxurious afternoon soaking in the performances of Tissi and Smirnova. Having seen the BRB version of Swan Lake just two days ago, I couldn't help but mentally compare them. The Bolshoi corps were far superior (with the exception of the four little swans). In my opinion Hirata was the better Odette whilst Smirnova excelled as Odile. The Morales/Hirata magical 'flying' lifts were unrivalled, but Smirnova managed to be wonderfully evil and of course her technique is incredible (no travelling at all during the famous 32). Tissi, who I believe is not yet a Principal, is one of the apparently endless line of supernaturally handsome male dancers that the Bolshoi seem to produce ad infinitum. His acting was moving and his dancing graceful and sublime. The 'aaah' factor of the mist-filled opening of the BRB final act was lacking in the Bolshoi version, and I preferred the BRB ending. The Bolshoi finale of Siegfried left kneeling in despair, alone, after the destruction of his beloved, seems somehow incomplete. But the Bolshoi 'national dances' gains points in my eyes for including the wonderful Russian bride's dance, which is my favourite part of that scene, and I like the way the Evil Genius and the Jester have been given such spectacular solos. I think the Jester role in particular is a great vehicle for a male dancer whose physique might not fit the 'danseur noble' ideal, yet who is technically brilliant and strong in character acting. Although some consider Simon Versaladze's designs to be outdated now, I love them - but I also loved BRB's costumes and setting (of similar vintage I believe). So that was a draw I don't know why, but in spite of my admiration for the Bolshoi version which is visually stunning and dramatically tight, I felt more moved at the BRB performance. It isn't fair to compare a film with a live performance, but I did see the Bolshoi Swan Lake live last year and felt the same way - enthralled yet not as moved as I would normally be. The greatest star of all is Tchaikovsky, whose score sounds as sparkling and fresh now as it did the day it was written. I never tire of hearing it.