maryrosesatonapin

5 hours ago, penelopesimpson said:

Did he damage hisAchilles tendon a few years ago?  Love the way he lets us into his life and his gorgeous family.
 

on a different note, I do wish Ed Watson would communicate with his fans a little more.  One hundredth of what Macrae does would do!

I can understand your wanting to know more (so do I) but I don't feel dancers should be obliged to share any information about their private lives at all.  McCrae and Watson have such different personalities (partly perhaps because of their different nationalities) and McCrae seems to be naturally a relaxed, positive and open person.  Maybe Watson is very private - who knows what personal problems he may be facing?  I love both of them as dancers and wish them both the greatest possible health and happiness.  

In the case of self-promoting 'Celebrities' (usually people who actually have little or no actual talent) I feel it's fair enough to demand information and photographs.  That type live for their latest display of fashion and artificial appearance etc.  But our dancers - even the most starry ones such as Zakharova - are entitled to privacy.  They have more or less sacrificed their whole lives for their art, and they work harder than most of us could imagine on a daily basis.  But they are not obliged to give even more than they already do on-stage, night after night, for our intense enjoyment.

@penelopesimpson I know what you said is only because you care, and am not criticising you here!

I've been thinking about poor Steven McCrae and came across this video from last year in which he speaks about Manon as being the ballet that made him decide on dance as a career, and also about his previous Achilles tendon injury.  He was out for a year last time..... eek!

I very much enjoyed last night’s performance but (thanks to my cat) it’s the only one I have seen this time.  Last run we saw Muntagirov who was wonderful, with a partner who was OK but not wonderful.

My thoughts on the Osipova/Hallberg performance:  I felt a distinct and powerful chemistry and affection between the two of them throughout, right until the very last curtain call in fact.   Osipova danced beautifully (I have never seen her do otherwise).  She isn’t one of those ethereal, magical ballerinas but instead solidly human and able to project something unique each time she performs.  And she was absolutely heartbreaking in the final act.  When Hallberg first appeared I nearly made an audible gasp as his stage presence was so powerful and completely elegant from blond hair to clever feet.  He is stylish enough to be well worth watching, with moments of great beauty of movement, even though he is no longer at the peak of his powers, and I was glad to see this pairing although from others’ reports I do wish I had bought tickets for Hayward/Campbell too.   (While I can imagine Francesca being a wonderful Manon, I’m not a fan of Alexander but will make an attempt to see them together in future in order to possibly be converted!)

I’m not a fan of Hirano either to be honest, although he did his usual decent job and the audience loved him.  Claire Calvert danced nicely as Lescaut’s mistress but wasn’t really memorable in the part.  Gary Avis was a suitably brutal gaoler.  What a difficult role that must be for a decent man! But really, everyone was overshadowed by Osipova as I suppose one might expect. She was at her best as ‘playful’ Manon in the second act, and I suspect that is closest to her real-life personality!  But I am haunted by her broken, abused and ultimately destroyed Manon of the final act – such a contrast, so movingly enacted.  It will stay with me for a long time.

Stix-Brunell was ably replaced by O’Sullivan as one of the courtesans – I hope Beatriz is OK. It was good to see Lukas Bjørneboe Brændsrød making a super job of his minor role and visibly enjoying it, and I am looking forward to seeing him develop.  It was good, also, to be reminded of how very interesting a choreographer McMillan is.  He stamps his complex personality on every work.  As a woman myself, I feel he really understands women and empathises with the plight of a victim.  He is one of the most humane and emotive of choreographers, especially considering he was working quite some time ago in a somewhat different place from today’s world.  And the music is so beautiful – I was reading in the excellent programme notes how Lucas and Gaunt selected a wide range of pieces from Massenet’s output – extending from operatic to symphonic and even religious works – and very successful they were too in melding them together to make an enchanting, satisfying ballet score.  Not quite up there with Tchaikovsky, but such a relief after Lamagna’s ‘sound design’ for Khan’s Giselle which I still can’t erase from memory.

2 hours ago, Richard LH said:

Actually I didn't see any  problem in the height difference between Reece and Akane - they were fine together, especially considering the  short notice.  She has danced as Kitri with Muntagirov, with Polunin (at least in a gala) and with Golding, as Giselle with Soares and Ella, as Odette/Odile with Bonelli and Bracewell, in Woolf Works with Watson, as  Juliet with Hirano.....etc. etc.  I'm not sure how all these gentlemen compare in height but she has certainly not been constrained by  needing  smaller  dancers.    

I agree a petite woman with a tall man doesn't look too bad on stage or off.  At least I hope not as there is a ten inch difference between my life partner and me!  What I don't like in ballet is short men with tall or medium women.  Of course, in 'real life' that is fine too.

What a legacy she has left.  Even in old age she was every inch the prima ballerina assoluta.

Does anyone know if taxis are operating around the ROH, or have Extinction Rebellion blocked the area?  I gather they are occupying tube stations in the next few days too so am worried about travel to upcoming performances.

This must have been very disturbing for poor Takada also.  My heart goes out to McCrae... 

24 minutes ago, Jeannette said:

I'll be in London on business a week from now. Is this show recommended?

 

I'm definitely going to the mixed bill at the ROH but was wondering whether or not to tack-on this show.

To help  you make up your mind, here is a review of her similar but not identical programme:
http://seenandheard-international.com/2018/09/in-pure-dance-osipova-can-seem-to-be-speaking-a-language-not-her-own/

I'm going as there are some great dancers, choreographers and (recorded?) music - but I don't expect to enjoy every minute of it.  It depends on your taste.

Cracking noise doesn't sound good...... oh dear.

3 minutes ago, Rob S said:

Akane Takada and Steven McRae are fantastic tonight! 😍 

I have huge admiration for McRae.  (This comment is not meant to take away from Takada.)

4 minutes ago, redshoesgirl2 said:

popular in japan is one thing, popular and well-known world wide outside of ballet circles is another. 

let's put it this way, when i got back into watching ballet it was because of polunin's "take me to church" and the other films, advertising, etc he did. the poster ROH made with him leaping into the sky was amazing. it grabbed your attention, made you say "whoa!"

i used to be part of this forum when bruce ran it years ago.

art may speak, but it doesn't necessarily translate to $$ which can be put away for when the art is silent.

What you say is very valid, @redshoesgirl2.  But different artists have different strengths.  I have actually used Polinun's magificent 'Church' video to gain new converts to ballet.  Given them dinner, good wine, forced them to watch and now they buy tickets!  Organisations and individuals do need to drum up the dollars/pounds/euros  in order to keep the wonderful art of ballet (and opera etc) going.  Sometimes less talented dancers are actually more able to help with this than the most brilliant.  I don't think Vadim is cut out to be anything other than a supreme ballerino.  He's not pushy, he's not self-aggrandising, he's just a hard-working disciple to his Art.  I am grateful to those who are willing to be 'stars' and push ballet out to the wider world, but it doesn't suit everybody.  And sometimes having a particular star shine out to the wider audience doesn't necessarily translate to that wider audience appreciating other, more authentic, dancers gaining appreciation unfortunately.

If ROH placed a well designed poster in just the top three Tube stations (passenger-wise) they would attract the attention of many hundreds of thousands of people.  I know I've been attracted by posters in the past!  They need to use an iconic, powerful image.  I imagine few organisations possess a better library of photos fit for this purpose.  What is the matter with their marketing department?  Even those of us who regularly browse the Internet are more likely to be drawn to a large, mesmerising image whilst waiting for a train.  Busy people with disposable income but a lack of joy in their lives are the perfect target.

4 hours ago, capybara said:

... there were some very unpleasant smells coming from 3 sides of me last night....

Oh how appalling!  A few performances ago the people next to me smelled very strongly of garlic, so that I had to put my nose inside the neck of my blouse to get a whiff of Chanel instead every now and then.  In the interval they were discussing the lovely meal they'd had in the Hamlyn bar beforehand, so I guess ROH catering was the culprit here   However BO is inexcusable and I'm not sure I could've stayed watching.  Poor you.

52 minutes ago, redshoesgirl2 said:

i think vadim needs more aggressive marketing. modeling gigs maybe. something that gives him the kind of exposure sergei or bolle had. something to generate excitement other than he is a very good dancer.

I get the feeling Muntagirov is all about Art; passion for dance, not for commercialisation.  Yes, he was shy as a young man, but he's older now and well used to the limelight so I don't think that would hold him back.  He isn't flashy and I don't think he wants to be.  He isn't even particularly handsome IMO but he is beautiful to watch on stage and I believe him to be beautiful inside too.  Let the man continue to embody good taste and lack of ego.  It serves him well and he serves his Muse well.

Re ticket sales: we are at such a turbulent time, politically, when we just don't know what is happening with our country.  Manon unfortunately coincides with the worst timing of this.  People are probably uncertain of future finances and so on.

22 hours ago, penelopesimpson said:

It is surely an individual emotional connection that defies any specific logic.  I always had it with Cojocaru and Kobborg who just made my heart lift and my stomach flutter....

I am with you there, Penelope.  I really miss them.... although of course Johan is of an age when he's moving on to use his other talents.  I'm looking forward to seeing them together at Sadler's Wells in February; there is just something indescribable when they are together.

3 hours ago, Fiz said:

Seriously, can you “be in love” with a dancer? I have several favourites who always move me tremendously and others who dance equally well, if not better yet they do not move me anything like the same way. “In love” is the wrong expression, I’m sure, but it’s akin to it. Is there even a proper expression for it?

I definitely feel a real 'love' type thing for a few dancers that I've seen; Nureyev, Zakharova more recently, Kapstova.  Definitely Fonteyn, whom I've only seen on film. And there are others I really admire but they don't do much for me emotionally.  Others, I detest to the point I avoid their performances even though they really aren't that bad and other people like them.  But this isn't about Manon so I'd better stop there

8 minutes ago, Lizbie1 said:

I don't hold Bolle responsible for this in any way, but some dancers seem to attract followers who apparently view them as a celebrity first, a dancer second.

It isn't so bad when they are worth it (as Bolle is) but I can think of at least one other example where the 'celebrity' followers are having a very adverse effect

From the review, some of the problems seem to have been due to the venue rather than the company, I think?  The pictures certainly look absolutely gorgeous.  Thank you for the report.

I very much enjoyed all your varying descriptions of last night's performance.  Thank you everyone.  I felt so sad at having to miss my lovely mid stalls seat to watch Bolle for possibly the last time.  I wasn't expecting Bolle to be a particularly 'good' des Grieux; he is more of a God or Hero (capitalisation intended).  And of course he's well into his forties now so we can't expect his dancing to be what it was.  I always think (having seen him dance a number of times) that, on stage, he isn't Armand or Romeo or Prince Siegfried, he is Roberto Bolle in all his superhumanly handsome magnificence, and I accept and enjoy that as I wouldn't from almost anyone else.  To me, the ultimate Des Grieux would be Muntagirov who although now nearly thirty still has, and will probably always have, something student-ish about him.  In my opinion Muntagirov dances as well or better than Bolle ever did and his own personality and even body language are subsumed by his deep and, for want of a better word, humble/ego-less characterisation.  He's not trying to be a superstar - he's trying to produce the best art he possibly can.  Saying that sounds a bit unfair to Bolle whose main fault is being too handsome, too statuesque, too - Bolle.  A fault I am very happy to feast my eyes on, and which I deeply regret having missed one final time.  (My cat is fine by the way - he broke a leg with an awkward jump so had to have emergency surgery late in the day.)

I've never sat in the amphitheatre but once went to have a look after a matinee - and it seemed to me the stage was a tiny dot in the distance, and you felt as though you were very likely to fall down on top of it.  Stalls circle seats are much better!

4 hours ago, redshoesgirl2 said:

is anyone looking forward to Núñez and Bolle? the rehearsal pics are beautiful.

I was ... until 5pm when I had an emergency vet appointment for my cat.  I'm devastated that I won't be able to get there now, and am eagerly awaiting everyone's reports!

In the current ROH magazine there is a nice little interview with Salvatore Scalzo, the front of house manager.  He mentions people giving birth in the foyer, wanting to bring into the auditorium an 'emotional support' rabbit and storing a roast chicken under their seat!

Thanks for the heads-up, @Lizbie1.  I've been wondering about this since seeing an advert in the Bolshoi brochure.  It looks as though it will be a delightful evening, although tickets are pricey to say the least!

I just checked the Mariinsky website and nearly all the dancers there were trained at the Vaganova  academy.  I couldn't see any that trained at the Moscow State Academy.