emmarose

46 minutes ago, Dawnstar said:

 

If only!

 

I know there are supposed to be more last minute ticket sales nowadays but I cannot believe that can account for every seat below amphitheatre level suddenly showing as sold for tomorrow matinee today while tomorrow evening still has a sprinkling of seats at all levels. There must have been something to cause all the matinee seats to go rather than the evening seats and what could that be other than a substantial discount for the former performance but not for the latter? (If it was due to people preferring one cast over the other then surely there would have been a difference in ticket availability since shortly after booking opened, like the Nunez/Muntagirov performances selling out, whereas up until yesterday the evening performance had fewer tickets available than the matinee.)

I was interested in the evening tickets because so any of the were stalls, and expensive seats, whole rows, then they're gone. They don't seem like the kind of tickets people pick up last minute at those prices.

It's all very odd.

25 minutes ago, Rob S said:

A Gamache like figure goes out in to Covent Garden and throws tickets at people 

If she could just let us know when, we could all be ready for her

45 minutes ago, capybara said:

 

I believe you @bangorballetboy but maybe you could say a little more?

 

 

I would love to know how big sections of empty seats suddenly disappear, it seems almost impossible to shift quite so any so quickly.

14 minutes ago, Dawnstar said:

 

This evening's performance also suddenly looks suspiciously well-sold compared to the last few days. As someone currently nervously hovering over my computer praying I can get Friday rush tickets for tomorrow, because £52 is the maximum I can afford, it's a bit depressing to think that many in the audience will probably have got much better seats for much less money!

 

Added: At least I've got tickets for tomorrow. (I wish I didn't find ticket buying so damn stressful though. I'm all shaky from the anxiety right now.)

I thought that, there were so many tickets yesterday, including boxes, and a lot in the stalls, and now they're all gone all of a sudden? It seems very strange that they would all go last minute.

On 28/09/2023 at 17:28, Sabine0308 said:

Voting by email is so old school 🙄

This is such a strange way to vote, just odd.

40 minutes ago, Missfrankiecat said:

I believe Vadim wrote in his book - I hope I haven't imagined this because I have lent my copy so can't check - that he wore lighter makeup if the performance was being filmed, but otherwise there was no difference to his process.

I haven't read his book, so that's interesting. It's fascinating how there's so many doing the same thing with different processes. 

On 08/10/2023 at 12:56, Scheherezade said:

That is interesting, Emma Rose, and perhaps also because the qualities required for a convincing film portrayal are somewhat different from the stage. It’s still noticeable, I’d say, that many of the truly great stage performances do not translate well either to TV or to the cinema screen, both of which are far more intimate, with the result that any element of ‘projecting’ comes across as overblown. 

There's a lot to think about too, so with it being a different beast. When performing on the stage, that performance has to reach the amphitheatre, but the same performance that's being captured by film will also be using close ups, so it's about finding the balance of not being overdone in the close up, but still reaching those far away audience members. 

I don't know if anyone has watched Kathryn Morgan and her deconstruction of Nunez's black swan, which is fascinating anyway, but she says a few times about her choice, that she doesn't want to overshoot something and be messy, so she's making a safe choice, and obviously that was for a cinema screening, so it adds to the insight of what you go for when you know it's being projected.

3 minutes ago, Scheherezade said:

To deliver the unforgettable, the performer has to be prepared to throw caution to the wind, with the inevitable, accompanying, inbuilt risk. 

It's interesting when I've heard a few speak about being filmed/cinema casts, in that they have to give a little more in some places, but hold a little back in others because they're very aware that if they fall that'll forever be on film and they don't really want that. I find it so interesting that those performances are somewhat held back to a degree compared to how they might normally go into it.

15 minutes ago, Morgane said:

That may be what this is; my two previous Kitris were Osipova and Nunez (setting a very high benchmark).

Any other favourite dancers (not necessarily at ROH) for the Kitri part?
(Emmarose, sorry to hear you could not be there yesterday).

Sometimes we can't help but compare, other times it helps to try to forget those previous things and go in with no expectations and let that cast take you away.

Thanks, I'm OK, it does happen but it is what it is. I was looking forward to the cast, especially Marci, who I always love to see. 

1 hour ago, Morgane said:

We very much enjoyed yesterday evening’s performance, and there was such great energy in the House- both from the dancers and spectators! That being said, there were a few underwhelming moments for us. The Kitri Act I variation was not quite what Osipova or Nunez do (oh, just look at their splits..), a couple of lifts were wobbly and Magri could not quite hold certain positions with the same precision. I note that the feedback on Magri’s dancing is very positive so far - are we being unreasonably picky or is anyone else in the same boat?

But again, a fabulous evening and congratulations to both Sambe and Magri on making their characters come alive!

Funily enough, I think the opening night really set the bar exceptionally high. So much so that I had tickets for last night (I really wanted to see Natalia)  and the person I took to opening night said they didn't want to go as nothing could really be as good again, they thought they would be picking fault for not living up to it.

I myself couldn't go yesterday as I was having a bad pain flare up.

8 minutes ago, Emeralds said:

Of course, one doesn't  have to be a principal to dance Kitri or indeed Basilio. Carlos Acosta picked Fumi Kaneko to dance Kitri shortly after she joined the company and  was at the time still a First  Artist who hadn't danced any featured roles yet. And look at her now!

This must be something he loves to do, he also picked Marianela as his own Kitri to replace his injured partner when she was only a FS. 

16 minutes ago, capybara said:

Goodness - that’s harsh MAX.

Given the wide and wondrous range of qualities evident across the RB’s Principals (and indeed the variability of opinion about them), it would be interesting to know what you expect of a Principal.

Well, is it though?

Every dancer reaches a level or limit, and I am a fan of Gasparini, but I'd say first soloist of the Royal is probably about the right level for both dancers and there's no shame or insult in that.

Maybe they would be a principal in another company, but there's a stable full of principals at the RB. I think Valentino said something along those lines in that documentary. 

24 minutes ago, LinMM said:

Hinkis has never been a “go to” dancer for me but did love her in Like Chocolate ….and I really like her as Vera in Month… as well. 
Im sure she’d make a great Swanhilda or Lise in Fille. 
Although I can understand disappointment at not seeing Takada I think she might surprise in Don Q as it is a role I think she might suit but I just prefer not to see her in big purely classical Pieces…..she may be better as Kitri than as Queen of the Dryads for example …..though of course Kitri is a big role!! 
I hope it’s a success for her anyway. 
 

 

For the first time ever I got an ROH offer today!! But then saw was for only three days all days I can’t do! So can take that up. I got the Dupres code too. I can only see this if I go on Oct 25th and was thinking of trying for a standing nearer the time….unless ROH extend the offer of course!! 
 

I had a look in my inbox and I've been sent a 25% discount for Anemoi and The Cellest.

21 minutes ago, Linnzi5 said:

I feel the same way. I hope she recovers quickly.

She's just such a beautiful dancer to watch, so ethereal at times, I hate to think of her injured and she seems to get so unlucky with injuries. 

23 hours ago, capybara said:

 

Really upset for Akane. She is a lovely Kitri and would have been a great 'match up' for Luca.

I do hope that she recovers soon.

I'm just so upset for Akane, such a beautiful dancer who keeps being held back by injury. I hope she recovers quickly. 

17 hours ago, PeterS said:

Whilst I agree on one hand that today’s principals have too few performances, on the other I wonder if, like in the tennis world for example, better nutrition and sports/dance fitness and rehabilitation from injury is creating a bottleneck at the the higher echélons of the company.

In the past might some of the current ‘senior’ principals have retired by now making way for those coming up behind them. Are we in danger of having a ‘lost generation’ of principals who never get the promotion they might have once received. Much as there is a generation of tennis players who have been deprived of winning a grand slam because medical science has prolonged the playing careers of Roger, Rafa, Andy and Novak. Perhaps a mandatory retirement age needs to be introduced like with the Paris Opera Ballet? It might also trim the wages bill? 

I agree with the why but I disagree completely with the mandatory retirement age, if it's to be followed Marianela Nunez would be forced into retirement and scenes like last Saturday would be denied of to her and the audiences who have been provided so much joy from her artistry. 

36 minutes ago, PeterS said:

special shoutout to Marco Masciari who led the urchins last night.  his pirouette sequence at the start of the village scene was exemplary, magnetic to watch and awesome in its precision and perfection.  his every movement thereafter drew the eye, sometimes away from the principals.  he also created an honest and believable character not holding back when tussling with Liam Boswell's Sancho Panchez.   he really is 'one to watch' both right now and in the future.

I've had my eye on him for a while, it's good to see he's being used a little bit more, I think he's someone who is going to have a stellar career and I can't wait to see him climb through the ranks.

3 minutes ago, LinMM said:

Wow I think Sissens will be terrific as Espada!! 

Completely agree, although I think he's terrific in pretty much anything, but this is exciting!

This was probably a symptom of having to wait so long between the opening and another cast taking to the stage, we don't have anyone else to talk about yet!

41 minutes ago, Mary said:

I do think Muntagirov is very special,  and it won't be forever.

 

It was already 3 months or more since I had seen him dance and it could easily now be 3 more. That does seem a bit absurd. I shall have to fork out for Don Q again. (Honestly I am supposed to be retiring but he is forcing me to carry on a bit longer!)

And much as I really enjoy DQ I would like to see him in something else.  (The Nutcracker pas de deux is glorious but it's a lot of money for a few minutes.)

 

I do wonder why when the RB has such stellar dancers who can sell the house we don't see more of them when we have lots of empty seats for The Cellist and Dante. It seems hard to believe the dancers  really do prefer 12 hour flights etc.

 

 

 

 

 

 

 

I'm almost reluctant to say this, but you're right in what you say, it won't last forever, and Vadim (from his Dance Europe interview) is very aware of this. He spoke about his impatience during lockdown that these were his prime years and he was stuck not dancing and that has led to him taking up a lot of offers to guest around the world.

I hate to think it, but if the RB do not use him to his advantage, there may come a time when he thinks he might be better used in a different company that might make better use of him in the latter years of his career. I hope it doesn't come to that, but I also hope that he's better used. I am honestly baffled that his beautiful style and technique do not inspire anyone at all that are currently on the Royal's payroll.

19 minutes ago, Mary said:

Seems rather incredible really.

I come back to my point I've made earlier, Vadim is one of the most talented classical dancers in the world and there is nobody at the royal who is creating anything ON him, seems a complete waste at times.

5 minutes ago, oncnp said:

 

Tokyo 

 

Maki Asami Ballet Company "Sleeping Beauty" - Maki Asami Ballet Company (ambt.jp)

Lucky them!

11 minutes ago, capybara said:

 

They are not cast for anything with the RB between the 19th October and the 5th January so they might as well!

What a shame for us, but obviously a joy for others who get to benefit.

I did see they're going somewhere with Sleeping Beauty in December too.

11 hours ago, oncnp said:

After which they may have to forget the RB version (again) and learn whatever version they are dancing in Israel at the end of the month.

 

Don Quixote (israel-opera.co.il)

They are indomitable! And obviously they cannot get enough of Don Q!

10 minutes ago, Balletfanp said:

If they have any sense, I’m sure they would have flown business class and managed to stretch out!

 

I’m impressed by the fact that they are having to learn a whole new production of Don Q in about a week, having spent the last several weeks rehearsing the RB production - and then come back and try to forget the one they have just learned and get their heads back into the RB version! Vadim said at the stage door that they had deliberately chosen not to start learning the Jo’burg one over here, to reduce the risk of confusion (very sensible!). But that means, of course, that they have to learn it from scratch.

My word! And then they'll have to come back and forget it all and go back to the RB version. 

This seems a lot more difficult than going over and doing a completely different ballet.