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EMoo

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Everything posted by EMoo

  1. It’s all subjective but for me lightness and speed are an integral part of musicality – there has to be something to balance the creamy stretch, otherwise it’s too much cream for my taste, and not always a specific response to the music. In the case of the fish dives I do think the music wants something quick and explosive (surely the reason the fish dives were introduced?) but it is the dancers’ choice and also no mean feat after so many months off! Plus the added pressure of international streaming…. As Dan says, so many talented dancers each with different qualities and styles – always plenty to enjoy.
  2. I often forget to watch these streamings but I’m so glad I remembered this one. What a treat! I found Three Preludes quite hypnotic. It put me in mind of ripples on a lake, constantly moving and evolving but somehow within a wonderful stillness. Loved the atmospheric lighting design too. I’m fascinated by Suite en blanc – the split level set, the corps scuttling about striking poses, the classical steps given a little tweak or thrown off balance. I thought this was a really impressive performance, showcasing the quirkiness of the choreography without making it look awkward. And the finale is a real free-for-all – fantastic energy. The icing on the cake is the interview with Charles Jude who talks about each movement of Suite en blanc with lots of interesting insights. (I enjoyed his story about the naming of the ‘Cigarette’ variation – apparently on one occasion during the creation of the ballet the dancer missed her cue and arrived to dance with cigarette still in hand!) It’s available for a few more weeks, so if you’re like me – don’t forget!
  3. Love the Massenet! Two of my favourite musical moments from the ballet in their original form: Manon and Des Grieux at the port: https://www.youtube.com/watch?v=TqvhArCM6Lc And that magical final pas de deux! https://www.youtube.com/watch?v=iYM7Peqvvis
  4. Enjoying the gala so far - just wanted to mention the beautiful, delicate playing of Ryoko Hisayama in In the night. All such exposed pieces, sensitively handled (not always the case!).
  5. Really lovely to see this production again. I was one of the party children back in the day (sadly absent here!) so it brought back a lot of good memories - that red living room! And of course 10-year-old me was SO smug knowing how Drosselmeyer's tricks were done. Sadly I can't remember much more about the show apart from the spectacular flying goose, but I enjoyed this reduced version anyway. I liked the addition of the male snowflakes, and I thought the dancing was all very strong - unfussy and refreshingly direct. Wish we could have seen (or that I could remember 🙄) the Act 2 set, which in Youtube clips looks stunning. For me the 1984 RB version will always be the gold standard, as I grew up watching the VHS with Lesley Collier and Anthony Dowell. I can see how it might come off a bit stuffy compared to other versions but to me that's part of the charm - even the infamous wigs (which I love! Perhaps in a minority of one). Such beautiful designs (the owl clock, that deep blue dropcloth before the snow scene, the SPF in gorgeous ivory and peach). I like the sense of hierarchy in the Kingdom of Sweets, with the SPF welcoming Clara and Hans-Peter to the court and reappearing for the PDD - she is established as a character rather than simply showing up to dance. I much prefer Hans-Peter's mime to a return appearance of the Rat King himself, who I think should be defeated in Act 1 and left there! That being said, I do not particularly enjoy the various changes that seem to have accumulated over the years - too many angels and too much Clara/H-P (sorry). If the BRB goose could fly over to the original RB version then that would probably be my perfect production! But then I have never seen Balanchine's....
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