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Everything posted by annamk

  1. My friends and I also only lasted until the interval - same at the working stage rehearsal. I'd been really looking forward to this, I love Khan's work and particularly his reimagined Giselle. The "music" was a relentless aural assault even with earplugs and unlike Giselle, there was no discernible melody. It's not just an "age" thing either my 25 year old daughter felt exactly the same ! I didn't find the choreography at all interesting and with the exception of the incredibly flexible Cirio the ENB dancers seemed woefully underused - poor Marie spent much of Act 1 pushing a mop around.
  2. At the Bridge Theatre recently it was almost a full capacity audience of whom I’d guess maybe 30% were wearing masks. I’ve heard that Anything Goes at the Barbican has been full capacity and not much mask wearing. I’m not exempt from wearing a mask myself but I overheat horribly and my glasses steam up. So for me it’s one thing wearing one on a tube which is a means to an end but rather different when I’m sitting in a theatre for enjoyment. If masks were compulsory my theatre trips would be pretty rare.
  3. OH NOOOOOOOOO 😪 😪😪 😪 I feel your disappointment Angela.
  4. Oh no - such a lovely theatre, thank goodness no one was hurt though.
  5. After the performance of Raymonda this evening, Olesya Novikova was promoted to Principal of the Mariinsky. The most deserving, outstanding ballerina - congratulations to her ! https://www.instagram.com/p/CQWvgDrDFFv/?utm_medium=copy_link
  6. There is a 30% off offer with the code ENBTELEGRAPH
  7. I went to the rehearsal and the matinee today and thoroughly enjoyed it. My highlights today were the duet from Dust in which Jeffrey Cirio was mesmerising; Corsaire pd3 with terrific solos from Hernandez and McCormick - slightly less convinced by Natascha Mair who joined as a principal recently; and Playlist (Track 1, 2). For a mid week matinee, it was well attended by an enthusiastic audience.
  8. More James Hay - oh yes please. If only, but I am becoming resigned to it not happening. I mean the Sleeping Beauty with James and Akane Takada a few years was such an outstanding performance I would expected other principal roles to follow but it just didn't seem to happen.
  9. I have exactly the same problem with mask and glasses fogging up, some people seem to make it work but I find it almost impossible. I am hoping that face masks in the theatre will soon be a thing of the past.
  10. Yesterday was the Friends rehearsal for this bill; the cast was the one for the live streaming. It's a terrific bill, I enjoyed it far more than I expected to. All three pieces looked well rehearsed and were well danced. Just to mention a couple of standout performances : Nunez/Muntagirov in Tchaikovsky pas de deux - what a joy ; and it's a long time since I enjoyed Dances At A Gathering as much as yesterday. In a very strong cast, Teo Debreuil caught my eye and Sambe's Brown boy was quite simply magnificent.
  11. I have been thinking McRae might make a more interesting Tybalt than Romeo.
  12. I went, so nearly didn't bother it being a Monday evening with the prospect of getting drenched on the way there or back. It was fabulous, what an uplifting evening, what a great mixed bill to return to the stage with. There was much variety in the 5 shortish pieces each of which was introduced by a brief video clip in the rehearsal room and a few words from the choreographer or dancers. I enjoyed everything, if I had to pick highlights it would be Russell Maliphant's Echoes for the stunning combination of lighting and movement, Stina Quagebeur's funny and warm Take Five Blues, the haunting Dido's lament in Sidi Larbi Cherkaoui Laid in Earth and the finale, Arielle Smith's superbly entertaining Jolly Folly. In the recorded clip Arielle Smith said she wanted to make us smile and she achieved that in spades. All the dancers were absolutely terrific, you could tell how much it meant to them to be back. It finished by 9 which included a short introduction from Alastair Spalding and Patrick Harrison.
  13. Fille gets my vote too but also I am really hoping that by the Autumn we won't have to wear face masks in the auditorium ..........
  14. I wonder if the Pite is not actually new choreography because the announcement says “two works new to the Royal Ballet” It would be great if they acquired the terrific Seasons Canon made for Paris Opera Ballet but I guess that is not very likely.
  15. I can’t see this mentioned anywhere here yet but would be grateful, mods, if you could move this if I have missed a relevant thread. Mariinsky did a live relay of Don Q on 4th Feb 2021 still available on Medici TV to subscribe or rent - for a week - I think. https://www.medici.tv/en/ballets/ Even if you’ve seen many performances of Don Q this is one to warm the heart: superlative artists Viktoria Tereshkina and Kimin Kim at the top of their game in the terrific Mariinsky production. Some fine performances in the supporting roles and the entrance of the matadors is guaranteed to lift spirits jaded by months of lockdown and loss of live ballet.
  16. A huge thank you everyone who posted about this otherwise I would not have found it; it looks gorgeous, particularly Act 2 and the dancing is fabulous ! A real tonic.
  17. I watched it too and thought it was wonderful. Fumi Kaneko's Aurora was so lovely she brought tears to my eyes, a poignant reminder of all we have missed these last few months.
  18. I don't know .... it maybe the logistics of more live dance were just too difficult to organise at this stage of the lockdown. As for the White Swan pdd I can imagine the dancers not feeling ready to perform that after 3 months out ! I'm more disappointed with the choice of output from the RB than the lack of it : Peter & the Wolf, Metamorphoisis, Winter's Tale, Anastasia, The Cellist, Fille ....... I enjoyed Men at the Barre although that was the BBC.
  19. To see the dark and empty opera house was sad and moving in a way that I wasn’t prepared for. I found the pdd for Hayward/Corrales very intense and affecting.
  20. Yes the cygnets, swans, shades etc don't embellish the narrative, they are simply devices for dancing but what dancing ! What incredible choreography - truly exceptional and memorable which I guess is why they have stood the test of time. I feel the Cellist is different in that although the characters seem to have been added to fill out the ballet many of them do belong in the narrative but crucially for me they are quite intrusive. So although the problem I have could be more to do with finding their choreography unremarkable, it is perhaps also that structurally these padding characters invade and deaden the central narrative of the Cellist in a way that the cygnets, shades etc don't.
  21. I watched The Cellist on youtube and I didn't find it any more appealing than when I saw it live in the initial run. It's too busy, too dark, the score doesn't work, many of the props feel unnecessary (the bar stool ) the choreography for the principal trio is so repetitive ..... sigh. It feels like a chamber piece that has lost any heart and soul in over expansion of time and space.
  22. I agree Alison, It was so interesting to see how differently NYCB perform this from the RB and the Russian companies. As soon as the curtain rose you knew you weren't watching a Russian company. I thought the style of dancing was somehow much more relaxed and flowing, as opposed to the grand and mannered Russian execution. I particularly liked Sara Mearns, her partner didn't make much of an impression on me. I thought the corps were not always in sync, the less extreme extensions everywhere are so much more attractive to see. Another big thank you to NYCB.
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