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art_enthusiast

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  1. art_enthusiast
    I really hope Cinderella isn't something that has too many pantomime-esque/ostensibly "child friendly" elements that encourage lots of small children to attend. (No offence to them, I'm just wary of potentially disruptive behaviour during a performance).
  2. art_enthusiast
    Just wondering, why does it cost so much more to stage these original works? (In general)
  3. art_enthusiast
    Speaking as a younger audience member, I am thrilled for the opportunity to see Mayerling. I've never seen it live before. Never seen Cinderella either, so that sounds amazing. The Sleeping Beauty is a ballet I am very familiar with - of course the music/Rose Adagio is extremely familiar to everyone, even those who have no knowledge of ballet at all - but I have never seen it live. So also interested in that as well. As for modern works, I'm extremely open to trying them out. I do understand the frustration of people here who want to see some strong, original, unique Royal Ballet works brought back - as do I. However, I have also been very impressed by their recent modern works.
  4. art_enthusiast
    What are the COVID restrictions like at Sadler's Wells, if any?
  5. art_enthusiast
    Yikes. Did he need to share his opinion so publicly?
  6. art_enthusiast
    Does anyone know if Natalia Osipova will be back for one of the performances?
  7. art_enthusiast
    I think it's interesting and I agree with many of the opinions on here. It's not so much the fouettés themselves but their purpose - hypnotising Siegfried, the audience, whoever - so if there's obvious difficulty the audience will undoubtedly notice. I think that one of the most important skills a principal dancer must have is to presumably be aware of their own strengths and how far they can take risks. For example, if you know you're about to fall out of something - end it and go into something more manageable, like the pique turns. If done smoothly, everyone will assume that's what you intended all along. I didn't see Osipova in 2018 or O'Sullivan's second performance, but if that's what happened on those occasions then good for them. It's much better to compromise on a piece of choreography rather than risk doing it all and then causing yourself an injury. I found myself quite shortchanged by Hayward's first performance as I found it slightly obvious that the fouettés were stopped early and I don't think much was done to replace that part of the music/tension of the Act - e.g. by pique turns or some other piece of improvisation that could presumably be slotted in. That's part of being a professional, I believe - to improvise and cover up mistakes on stage. Of course, being a debut - as it was for both of them - it's definitely harder. Also, as these are much hyped post-pandemic debuts, there's even more expectation and tension involved. I was very impressed by O'Sullivan's debut as minus the slight fall, she did extremely well and her Odette was simply stunning.
  8. art_enthusiast
    Marianela - perfect performance of course!
  9. art_enthusiast
    Will Osipova still be performing in the Kyle Abraham work? As there's no actual cast list it's hard to tell. I hope she hasn't had a serious injury.
  10. art_enthusiast
    You can always return it for credit! I probably would not go again, despite the beautiful singing and the orchestra's extremely strong performance - there are so many lovely instrumental parts that add a lot to the overall production. I have no real criticisms, just that it is potentially not my 'cup of tea' as far as operas go. I'd never seen or heard of Peter Grimes ever so had no distinct expectations beforehand. The staging and sets are extremely high quality - I really loved the inclusion of the aerial dancer who I believe represented the drowning boy. That was stunning to watch, seeing how aerial dancers work in general is very interesting. It added a lot to the dream sequence. I didn't like the pub scene at all, despite the good quality vocal performances. Overall, it left me with a very depressed and heavy feeling upon leaving the theatre. Of course, that may have been the intention behind a piece like this.
  11. art_enthusiast
    I saw it on Thursday. Found the singing stunning. But the storyline is terribly depressing.
  12. art_enthusiast
    I slightly do agree with you there. Francesca's performance was great of course, but during Act 3 William Bracewell's technique definitely seemed more polished. Of course, he has done the role before so has more experience. Overall it was amazing though - Calvin Richardson was sublime as Benno, stunning performance. I also did feel a lot of chemistry between William and Francesca throughout.
  13. art_enthusiast
    Yep, on their website statement it says "before each performance" from the 28th though. In other news, amazing performance from William and Francesca. William's jumps are amazing, he doesn't seem to touch the ground!
  14. art_enthusiast
    No Ukrainian anthem today?
  15. art_enthusiast
    Yep, that's good to know. But for The Forsythe evening (sorry for the slight subject change here) they opened CC/DD. Don't know if there's a thread for this yet. I haven't seen William Forsythe works live ever, but I saw the ENB's YouTube clips and I see that this is a highly technical performance with lots of interesting footwork and so on, so it would probably be very bad to miss the feet!
  16. art_enthusiast
    I assume it will be streamed on YouTube as the others are?
  17. art_enthusiast
    Thanks. Are the stalls raked well? In case there's someone really tall in front Are the side stalls (row SG) good? I'm looking at getting one on either side
  18. art_enthusiast
    Indeed. Just wondering, does anyone know which are the 'good' seats in Sadler's Wells? I know that there are different definitions of the term. For me I like to be as close to the stage as possible, ideally in the stalls or at the side, so not in first or second circle. I notice that there are 2 rows at the front of the stalls in Sadler's Wells that are described as 'restricted/near to the stage' (DD/CC). Does that mean a significant part of the dancer's feet are cut off? Would be grateful for any advice! I have not been to Sadler's Wells very much before so am quite unaware of the different views from each level. Can't find a separate thread about Sadler's Wells seating so hoping I can ask here.
  19. art_enthusiast
    I would love to see Manon! I've never seen Requiem, it sounds very interesting.
  20. art_enthusiast
    Magnificent performance! I am speechless, Marianela and Vadim are the most brilliant partnership. Superb throughout!
  21. art_enthusiast
    But carried on like a true professional 👏🏼
  22. art_enthusiast
    Kudos to Anna Rose for her true professionalism tonight!
  23. art_enthusiast
    Interesting review - I have to say I do agree with their points about the rather unclear ending and the confusion between Siegfried/Benno, but of course the performance as a whole is spectacular. Bonelli certainly did look "half his age" as they say in the article - not that it's a bad thing to look your age though! I thought Fumi was beyond incredible on Friday, absolutely spectacular. I would go to see her dance in any role or any ballet, she's one of my absolute favourite dancers in the Royal Ballet/the world. The role of Odette/Odile really does appear as if it's made for her, given how natural and beautiful her performance was.
  24. art_enthusiast
    Just wondering, has anyone ever sat in the Lower Slips before and what is the view like up there?
  25. art_enthusiast
    Just wondering, how exactly do the solos show this? Don't mean to spark any significant conflicts or anything here! Just wanted to say, I saw Melissa Hamilton as both a Big Swan and Siegfried's sister and I think she was pretty good in both - but I'm not a Swan Lake technical specialist so not completely sure! I think she is an excellent dancer though. I thought she was a stunning Juliet and amazing in the Giselle Pas de Six and The Dante Project (and many other roles!) Definitely agree that Mariko Sasaki was amazing as Siegfried's sister and a Big Swan, she is superbly confident on stage. Also Letitia Dias, who did spectacularly well as a Big Swan during Fumi's performance and as one of Siegfried's sister's in Natalia Osipova's performance the night before. I've seen James Hay, Benjamin Ella and Luca Acri as Benno so far and they've all been pretty amazing!
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