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Bruce Wall

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Everything posted by Bruce Wall

  1. One thing I have come to miss is the wonderful company Kobborg cobbled together in Romania. I only saw them during two different trips for work but the fine ensemble and the gloriously imaginative rep really spoke for itself. Janet, who is NG?
  2. Quick question: I bought a ticket at the Coliseum box office for the ENB gala and there is a £1.80 surcharge per ticket that I was told had been put on by ENB. I asked the BO assistant what this charge was for - I never mind paying for it as long as I know. He told me that they had been given no information by ENB. I found that rather strange given that they had been authorised to take the money. Does anyone know what it is for? Is it for the new building?
  3. The only catch being that the wonderful Novikova has been there for some considerable time ... with a goodly number of others having been upwardly promoted in and around her during that sojourn .... One might have thought it would - sorry might - have been otherwise.
  4. Congratulations of course to the deserving - most especially the ever illustrious O'Sullivan ... but NO promotion for SISSENS .... Can they be serious???? ... Surely this may have been some administrative error in the release.
  5. How sad. Surely we will ALL miss him and send him very best wishes for his further artistic adventures. We were lucky to be able to share in his enormous gifts when we were.
  6. Just wondering why this is in Performances Seen (when it has not yet happened) as opposed to having this strand in News. Maybe I'm missing something.
  7. And Bellussi is a RBS grad ... Congrats to all
  8. That is most regrettable indeed. I so hope the house had been full at the Hippodrome for Bintley's farewell. I'm sure it must have been. After such a long tenure there must have been so, so many people wanting to pay their respects.
  9. Thanks so for those wonderful pictured moments, Alison. So sad I had to miss this. That said I am in Hamburg and saw Balachine's Liebesleiber and Brahms Schoenberg Quartet last night and there were two senior members of the Hamburg Ballett Company who were giving their final performances in a full ballet and were thrown a goodly number of bouquets from the audience; no speeches however. Perhaps that will come tonight in the five hour and five minute Nijinsky Gala. The only reason I bring this up is my admiration for the Hamburg audience (opera house capacity 2,100) that Neumeier has so carefully cultivated. I have gone to the last three performances here (including one which was new works loosely based on Shakespeare's sonnets created by three senior company dancers and employing both the Company and the School) and they have been hugely well attended. I pray that Sadler's Wells picked up sales for Hobson's Choice from that which I saw when I last looked at the seating chart on Thursday. Can someone report on this? Each level then had 100+ seats available reading against it. I would like to think that to especially honour this esteemed occasion it might have been full. (Grateful for a report on the Second Circle - if anyone hereabouts actually sits there. [I'm always so envious of people who make repeat visits sitting in the stalls or stalls circle equivalent. I could never afford to attend the amount I do if I didn't peer down from the Second Circle with the much appreciated Senior Specials - or standing on those occasions where it is actually sold out.]) My ticket for the Hamburg Ballett last night cost seven euros (not discounted in any manner) and I was at the very back but with a completely full sight line without duress.
  10. Perhaps it is just harking back, Fiona. Antony Tudor did a celebrated one act R&J in 1943. https://www.nytimes.com/2008/04/14/arts/dance/14tudo.html
  11. ABT has announced its Fall 2019 Season lineup: https://www.abt.org/abt-2019-fall-season-announced/
  12. Best perhaps to steer clear of the second act of Giselle in this case.
  13. Indeed he did. https://www.oncovia.com/blog/en/stephane-bullion-professional-ballet-dancer-at-the-paris-opera-living-normaly-for-me-meant-dancing/ My admiration knows few bounds in this extraordinary artist's regard.
  14. I earnestly believe that Symphonic Variations should be for the RB what Serenade is for NYCB. They are both acts of artistic divine justice ... and ably build the strength of the respective Companies and - most crucially - audiences at one and the same time.
  15. How interesting. I was up and down about it too. I have to say, however, that with Muntagirov I felt it was a different show entirely. He brought a Russian soul to the proceedings that seemed somehow to magically weave flesh unto all other characterisations. He was a noble yet tellingly vulnerable heart. He and Sarah Lamb siphoned ours. It was utterly magical. Well, that's how I read it.
  16. SO sorry I'm going to have to miss this. I would have loved to have seen it - but work demands I be elsewhere. You would have thought that a work like this would have been sufficiently popular to fill more than three performances over two days - but I just checked the Sadler's website and there are 100+ seats on EVERY level for EVERY performance - and that with the cheapest seats being considerably less dear than those in Birmingham. I honestly can't help but feel that something is not quite right with that picture. It seems the balletic art form - outside of the ROH itself - gets ever more niche - at least in London.
  17. Symphonic Variations most definitely. Square Dance (or some other short Balanchine work emphasising joy of which there are many - Could be done together as but one act of a triple with the above). [Month in the Country - and this is selfish only because I love it so - so perhaps not a realistic proposition] If it was to be a full length (and I realise that would be difficult and crowding - perhaps every other year) I'd plumb for Jewels From MacMillian I'd take Concerto - but would love to see this balanced with Ratmansky's Concerto DSCH - representing a 21st Century masterwork.
  18. This doesn't surprise me somehow. I saw Victoria four times at Sadler's And the attendance was always undeservedly though on the second circle. Would that it had been otherwise… as it so richly deserved!
  19. Funny how the new update notice posted yesterday around the Kennington Park hoardings still lists the active launch as being 2020! Someone on their marketing/PR needs to read the ES!! ... or BcoF!!! .... it seems
  20. Truly - and with Novikova!!! Wish I could see it.
  21. She is also (regarding the upcoming season) a stunning Aurora. Well worth anyone's visit.
  22. Thanks for this, Alison. Have looked for the article but came up as having been removed from their archives! That was quick. If you see anything about the dates grateful if you could post. The Battersea extension had been scheduled to open next year. I wonder why the delay. The bit around me seems to be very much on schedule as towards its completion.
  23. The ROH has a re-sale policy. There is a £4 levy per ticket returned for re-sale. There is no guarantee of re-sale - especially if there are equivalent places at a similar price. I would try here first and if you can't sell your ticket then return it to the house for re-sale. The Bolshoi in the past have sold out so you might well be lucky. Fingers crossed.
  24. Rome Opera Ballet has announced its 2019/20 season. https://www.gramilano.com/2019/06/rome-opera-ballet-announces-2019-2020-season/ Depending on the casting dates I think I may have to make my way to this new Corsaire. The idea of a Novikova and Sarafanov (plus Hernandez) outing is too exciting to miss. Their Giselle (e.g., the husband/wife combo of Novikova and Sarafanov) with the Mikhailovsky in the days when the Coliseum still featured major ballet company visits will I think always remain one of my most treasured ballet memories in London. Sad that the audience for that would - at best - have been but just over a quarter full. It was totally stellar nonetheless.
  25. Further to my list immediately above - well, the item immediately before this one - e.g., now on the bottom of the previous page at the system's dictate - (so glad I didn't have to paste and copy it at length) - a few more highlights to note that no one else has mentioned thus far - have entered my weary brain: (i) Seeing Stephane Bullion give a blistering performance as Armand opposite the exquisite Eleonora Abbagnato in Neumeier's Dame at the Garnier. The first time I saw this piece was 22 years ago in Paris with Bullion. In between he has been ravaged by cancer and returned victoriously. I continually read with admiration on these boards of people bursting into tears at the deaths in Mayerling and R&J. I found Bonelli's (RB) and Frola's (ENB) final moments in Manon very moving certainly. I rarely - if ever - find myself weeping I must admit. I did tear with joy filled pride at seeing O'Sullivan and Sambe's debut in the Tschai PDD in NYC. Here as well Bullion's personal history (one which I have shared) mixed with his stunningly committed performance made this Dame a complete eye-weller for me on more than one occasion during the traffic of its stage. Memorable certainly. (ii) A stunning performance by DNB of Ratmansky's Serenade After Plato's Symposium - which is, after all, the name given to the Bernstein Score. This is the same music that Wheeldon used for his Corbanistic Dances. There, I fear, any comparison for me ceases. It was ravishing. Another of his masterworks. (iii) Some vivid memories of the Festival Week of Ballet in Munich. Ashley Bouder dazzling in Rubies - as was Shklyarov rapturous in Diamonds. Laudere glistened as usual in Neumeier's Dame aux Camelias and England's own Lauretta Summerscales (at LBC on Monday) opposite her husband, Yonah Acosta - SO improved in his partnering skills since ENB as almost to be a different dancer - entertained vividly in Cranko's Taming of the Shrew and the fact that Osiel Guneo actually DANCED Spartacus - somehow managing to hold to his balletic line - was much to be applauded. Sure there are more ... but these must suffice. Again, so much to be thankful for.
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