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Bruce Wall

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About Bruce Wall

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    Bruce Wall

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  1. Isn't there a saying: 'all dressed up .... '? .... I suppose we shall see.
  2. This isn't the RB's Firebird - but I didn't want to create a different strand for a single item. Just thought the visual presentation in this trailer for NYCB's Firebird was fascinating in it's 3D dimension attempt ... (Costumes for the Balanchine/Robbins Production are by Marc Chagall)
  3. I took it as an 'opening night' premiere kind of affair on the Friday replete with its cannon of streamers into the house and glitter fall from above on the Company - as much as for the director's speech and the extended film of historic pictures and poignant list of names/active positions of those ENB personages now passed to the thrilling playing of the Bolero by the ENB Philharmonic. The latter items were, after all, not in the running order on the cast sheet EVEN ON THE FRIDAY. Much as creating choreographers/staff as a rule ONLY appear following the first performance/premiere - I just understood it to be the same in this instance. The electrics of the Etudes certainly made for a definitive end of the other performances. I honestly don't think the intent was for anyone to feel cheated. The stage displays were the REAL fireworks ... and golly what a stunning show they were. (As it was a goodly number of people got up and left during the Bolero on the Friday ... which I thought was rather rude given the number doing so. Five people pushed past me in the front row of the balcony certainly ... one woman hitting me with her rather alarming shopping bag - my body still smarting - and one dedicated balletomane across from me left as the concluding applause for the Etudes began on the same night - I'm sure thinking it was all over - and thus missing what was to come.)
  4. So pleased to see Morera repeating her stellar turn in the Scarlett.
  5. I thought this perhaps the best produced/presented gala I have ever been to. The transference from film to staged item and from one segment to the next in a first act so stuffed with sweets was immaculately seamless and meaningful. No easy feat. The work of the ENB Phil was mesmeric and massive. Such a joy to hear the Coppelia mazurka come alive in a thriving tempi and pulsing in a wittily staged variety. Standouts for me were Kase, Frola (is there ANYTHING he can't do? - That Apollo segment, his partnering of a zealous Rojo in Carmen and, my word, that display in Etudes were oh, so thrilling in part as much as in toto. - Can there be any question but that this is a major world talent who certainly - at least for me - more than lives up to the triumphant memory of his Paris Nijinsky) and Cirio - who has the feet and elegance of Bujones - and that - to my mind - is the highest compliment I know to pay in this particular realm. That new ENB facility is obviously paying dividends. The fine work of the ENB corps paid testament to that last night. As to what to revive ... I would love to see them do Lifar's Suite en Blanc again ... so too would I adore for them to keep Ashton's R&J alongside the Nureyev. Ashton's is one of the best I know - much as ENB's stunning Skeaping Giselle is my favourite production of that historic landmark. ... Too, I would love to see them do some of the Balanchine that they had owned o'er time. That said I think it is clear they are in the safest pair of hands possible. I have a ticket for Oneign for tonight - but I have decided in my heart to go to the ENB gala again. I suspect this may well be the last time we see the extraordinary Ms. Rojo dancing on a London stage and it would break my heart not to honour that. Having been entranced when I first saw her as a teenager to now the lady has given us all a vast treasury of joy. Happily she continues to forge a keen array of riches which are testament to themselves as much as they are to the visions of Dolin/Markova, Beryl Grey and oh, so many others. Bless her. Bless her BIG TIME!
  6. Just to add to the many shouts about last night; thought Nunez's coda in the first act - replete with those retarding turns on the diagonal that nuzzled her flashing eyes - was breathtaking. Thought too that Muntagirov was as stunning in the dramatic department as he was - as expected - technically. Am oft bored stiff by that boat ride but Muntagirov made his very much a personal journey of the soul rife with a defined beginning, middle and end. No small feat.
  7. Am up to my eyeballs in work - but just can't let this evening pass without saying how miraculous Katja Khaniukova's Medora was - Truly inspired - and so gloriously musical - as was her Conrad, Jeffrey Cirio. Such an illustrious partnering is theirs. He's up there as a partner with Jock Soto; with Dowell; with Muntagirov, with the extraordinary Alexandre Riabko. Cirio is elegance incarnate and, as such, totally deserving of - and fitting for - Khanlukova's galvanising magic. That cave PDD has never flowed so creamily. The woman behind me - who had never been to a ballet before - was audibly cooing. (She'll be back.) This was a VERY true love's knot - and held EVERY member of its large audience bound in total rapture. Their stellar performance of that specific piece deserved the prolonged burst of applause that met its conclusion and travelled on well into the next segment. Daniel McCormick ONLY ever goes from strength to strength as Ali and it was breathtaking to watch him vary his own solo variations. Every challenge he sets for himself is met and then some. He makes us all PROUD. Above and BEYOND was Frola as Bribanto. (Talk about 'luxury casting') - Frola was - as we have come to expect - supreme. He even made me forget Corrales' eyes. This was Douglas Fairbanks Jr. to the life. (Didn't think that was gonna happen somehow.) The choreography through his concerted instrument punched the air in a way here that gave the thin narrative new life; a richer meaning. Suddenly it palpitated. So many jewels to be had tonight in this particular theatrical crown - all wrought under the concerted majesty of Sutherland's baton. I so wish I could write more .. but am already past a couple of deadlines ...
  8. I would dearly love one if that was possible. Sent PM
  9. I agree. He is simply spectacular ... Much as he has been for a little while now More, please. MUCH more
  10. What a fantastic evening .... The dancers - ALL the dancers - were on fire and the stunning ENB Phil provided the flames. Every aspect was a thrilling winner .... I'm sure there will be those who will write a page - and this performance deserves it. Sadly I have a mound of work to still get through. I just wanted to say that I thought Cirio and - most especially - Frola were entirely world class this evening. Frola's jump! My word --- talk about levitating .... and then to land in silence with perfect placement. I well remember cheering alongside DonQFan at the Theatre des Champs d'Elysees when Frola was giving his Nijinsky for the NBoC in Paris - a performance he, himself, lists as the highlight of his career on the ENB website. That was certainly one of the highlights of the teens for me. No question. I have no doubt in my mind but that his performance in Le Corsaire this evening will mark out perhaps the first highlight of this current decade. Stunning. Simply stunning - as were ALL. Oh, and God Bless Gavin Sutherland. (Certainly I do!!!)
  11. I would imagine you would. Here is principal casting from their last Toronto showing of the Nureyev SB in 2018. (Some dancers have left, e.g., Tedaldi sadly - and Evan McKie (who some may remember from Stuttgart's last visit at the Wells) and Piotr Stanczyk were injured at that time. I would hope that we might see both on the ROH stage as well. Of course, there are new dancers too.) Princess Aurora Heather Ogden (March 8, 14 at 7:30 pm/March 18 at 2:00 pm) Svetlana Lunkina (March 9, 15 at 7:30 pm) Jurgita Dronina† (March 10 at 2:00 pm) Jillian Vanstone (March 10, 17 at 7:30 pm) Xiao Nan Yu (March 11 at 2:00 pm/March 16 at 7:30 pm) Elena Lobsanova* (March 13 at 7:30 pm) Alexandra MacDonald* (March 17 at 2:00 pm) Prince Florimund Guillaume Côté (March 8, 14 at 7:30 pm/March 18 at 2:00 pm) Harrison James (March 9, 15 at 7:30 pm) Naoya Ebe (March 10 at 2:00 pm/March 13 at 7:30 pm) Francesco Gabriele Frola (March 10, 17 at 7:30 pm) Peng-Fei Jiang* (March 11 at 2:00 pm/March 16 at 7:30 pm) Brendan Saye* (March 17 at 2:00 pm) Bluebird Francesco Gabriele Frola* (March 8, 14 at 7:30 pm) Skylar Campbell (March 9 at 7:30 pm/March 17 at 2:00 pm) - now a principal Kota Sato (March 10 at 2:00 pm/March 13 at 7:30 pm) Siphesihle November* (March 10, 17 at 7:30 pm) Naoya Ebe (March 11 at 2:00 pm/March 15 at 7:30 pm) Dylan Tedaldi* (March 16 at 7:30 pm/March 18 at 2:00 pm) Princess Florine Emma Hawes (March 8, 14 at 7:30 pm) Tina Pereira (March 9 at 7:30 pm/March 17 at 2:00 pm) Jenna Savella* (March 10 at 2:00 pm/March 13 at 7:30 pm) Miyoko Koyasu* (March 10, 17 at 7:30 pm) Jillian Vanstone (March 11 at 2:00 pm/March 15 at 7:30 pm) Rui Huang* (March 16 at 7:30 pm/March 18 at 2:00 pm) *Debut †Company Debut +Guest Artist
  12. I think, Ruth, a big part of the selling factor IS the Opera House itself - and, of course, SB is a balletic standard. I remember SFB selling very well at the opera house but sadly very poorly last year at Sadler's Wells. Also the Sleeping Beauty will be sold as part of a ROH booking season. In terms of marketing I fear the Coliseum does (at least in my experience) little for anyone. I agree certainly that it is a greater risk than the Bolshoi or the Mariinsky (or practically anyone) doing Swan Lake. Time, of course, will tell. It always does.
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