annamk

still looking .....

Looking for a SCS if anyone has a spare please message me. Thank you. Anna 

33 minutes ago, alison said:

 

You had your eyes on them for every second of Act I?   I'm used to seeing both Giselle and Albrecht disappearing offstage at various times.

Me too - I think they disappear off stage. 

In his acceptance speech Liam Roddick referred to coming into his last season with the (Richard Alston) company. I hadn't heard this before, maybe I missed an announcement, but does anyone know where he's going ? 

20 hours ago, RobR said:

'if you can’t say something nice, it’s better to say nothing', and, whilst generally welcoming constructive criticism, I have begun to wonder if some of the more recent postings have become unnecessarily critical in both content and of persons.

32 minutes ago, penelopesimpson said:

Well, well.  When you read on a discussion forum that 'if you can't say something nice, it's better to say nothing,' there's only one action to take:

 

Exit stage left - followed by a bear!

 

Happy ballet everyone.

I'm not sure what falls into the category of "unnecessarily critical" ? I do try not to be rude but this is supposed to be a discussion forum not a fan club so if you can't say anything negative what's the point of contributing ? It feels to me as though it is becoming more difficult on this forum to criticise performances. 

Just to take one example, and it wasn't me who said it, the poster(s) on the Giselle thread who pointed out that Matthew Ball almost stumbled in one of his variations, was criticised for saying so. I mean dancers are praised if they dance well, they are praised if they act well  so why not say it how it is when it doesn't go as well ? How else can someone who didn't see the performance know what was good and what wasn't so good ? Are we supposed to deduce from what's not said - which is what some of my posts are being reduced to lately. 

On 10/02/2018 at 13:48, ChMeBa said:

I have to disagree on one small point. Alexei Popov, I thought, was dance-wise slightly disappointing, with some trouble in partnering and lifts, though he acted convincingly, displaying passion in the duel challenge. For me, the Lensky to top all is Friedemann Vogel in Stuttgart, though now having been given the Onegin role, will alas be scarcely called on to dance Lensky. 

I agree with you about Popov - I was being generous  The Olga/Lensky Act 1 pdd was not a highlight, I assume nerves & the mismatched heights didn’t help. I thought Popov improved in Act 2 though: as you say his acting was convincing and I thought the pre duel solo was well enough danced. Sadly, I’ve never seen Vogel dance it, my current favourite is the Bolshoi’s outstanding Semyon Chudin. 

On 10/02/2018 at 10:57, Angela said:

 

Oh yes, he is! Kondaurova is another dramatic dancer who should go abroad for roles like Tatiana or Marguerite.

I thought it was a great debut: thoughful, sensitive, with a great respect for the role that maybe only the Russians have, because they have read the book many times. I loved his first solo, all danseur noble, but the wide jumps looked almost yearning - he was clearly lost in himself, not arrogant like so many other Onegins. I loved how he developed the scene at Tatiana's birthday, starting almost friendly

but getting more and more irritated by her demeanor, until he was shocked about Lensky's reaction and how far he himself had gone in provoking it. (It was a bit odd to see an Olga so much taller on pointe than Lensky and Onegin - Prisca Zeisel is a nice dancer, but this was an unfortunate combination). I loved Shklyarov's scenes in front of the curtain - how concerned he was already before the duel, for example. So many Onegins play these scenes too haughty. The last pdd was very passionate, even sensual sometimes. My only small objection was the mirror pdd where Onegin is supposed to be Tatiana's hero: radiant, bold and just a little demonic - here Shklyarov was still self-absorbed and sinister like in the opening scene. No smile, no love for her - but wow, his exit through the mirror looked great.

Let's hope he will dance the role again, with some more performances he could be one of the great Onegins - a dancer who wants to understand the soul of Pushkin's hero, not demonstrate what kind of dandy this person is.

Beautifully put Angela  

5 minutes ago, bridiem said:

 

Absolutely, and that's a great review in the Telegraph. The Dance Tabs reviewer seems to have a very fixed opinion of what an aristocrat/Albrecht should look like and since Alexander Campbell doesn't fit that mould perhaps it prevented her from 'seeing' any further. But I thought it was a grossly unfair review myself.

Just to put the other point of view here ...... I wasn't at the schools' matinee but I did see Act 1 of Hayward/Campbell's public debut and I entirely share Jann Parry's (DanceTabs) opinion that Campbell was inexpressive and miscast. I've enjoyed watching Campbell in a number of roles (Two Pigeons, Hans Peter) but I was disappointed with his performance on Friday evening and I thought I could see why he wasn't originally cast as Albrecht. I was in the stalls circle near the stage and to me in Act 1 Campbell was a blank page. I thought Ball, at the Saturday matinee, was a better actor, using small gestures and changes of expression effectively. Ball's dancing was also a considerable improvement on his recent Nutcracker prince. 

Also at the Saturday matinee James Hay gave by far the best account in this run of the pd6 lead male role - such a pity he wasn't given the opportunity to dance Albrecht.

I hope that Fumi Kaneko stays injury free so that by the time of the next run we can see her dance Giselle - she will surely be wonderful. 

Angela thank you for posting this !

My friend and I went to Munich for the performance because we adore Vladimir Shklyarov  he's a fine dancer with great charisma. I always thought he would be fabulous in the kind of dramatic ballets which sadly the Mariinsky doesn't have in it's rep so I was very happy when it was announced that he would be dancing in Munich with the opportunity to expand his rep. Recently the Bavarian State Ballet have started to post casting for his performances further in advance it's possible to organise tickets and flights. It was fun to bump into other London ballet-coers who also made the trip !

There were role debuts for the four principal parts on Sunday evening : Shklyarov/Amista Popov/Zeisal and they gave a very good account of themselves. The final pdd between Shklyarov and Amista was finely acted, with great attention to detail, very emotional. 

The audience were hugely enthusiastic, I lost count of the curtain calls. 

10 hours ago, bridiem said:

I saw Takada/Ella tonight - what a wonderful performance. Her dancing was beautiful throughout. After the porcelain delicacy of her opening scenes, she seemed to become transparent as the life drained out of her during the mad scene, which was quiet, almost reflective, as if the horror of what she was experiencing was too great to be fully expressed. And in Act 2 she was the epitome of grace and goodness, forgiving and supporting Albrecht without question, and so also winning her own final repose. In forgiveness we not only give but also receive redemption. And I really enjoyed Ella's performance - excellent dancing, and a very credible and touching portrayal of Albrecht as a young, foolish but sincere lover who got way out of his depth and then wanted desperately to turn back the clock.

 

I also loved Fumi Kaneko as Myrtha - light, beautiful and slightly wild. Chillingly happy whilst going about her evil. But also, somewhere, a sense of loss; the knowledge that Giselle's is the better way. Because both Takada and Kaneko were so light, so fast, so exquisite, it made me realise that without her forgiveness, Giselle could have turned into a Myrtha. Slight echoes of Odette/Odile, and adding layers of significance that were very moving.

 

Hilarion was danced by Kevin Emerton - new to me, and I thought very impressive. Full of character and with a strong stage presence, and so full of remorse for his behaviour when he realised its terrible consequences.

 

And a mention for Moyna and Zulme - Olivia Cowley and Beatriz Stix-Brunell (last-minute cast changes) - who ran on for their entry so quickly that it was positively terrifying, as if they really were spirit creatures who didn't need the ground beneath them. Poor old Hilarion.

 

 

I agree with all your lovely comments about the characterisations.

The quality of the dancing from Takada, Ella and Kaneko was exceptionally high. The Act 2 pdd was remarkable for the synchronisation between Takada & Ella: all three of the cross stage jumps were executed and landed EXACTLY together ! 

Ticket has gone. 

It's an e-ticket. Message me and post here. Anna 

The full ballet is there now

https://www.bolshoi.ru/en/

it seems it can be watched online in the Bolshoi website until 9am Moscow time tomorrow. I haven’t tried the link yet though. 

Vladislav Lantratov, Ekaterina Krysanova and Igor Tsvirko gave unbelievably intense, passionate and committed performances yesterday. The enormous red minimalist sets looked terrific on the Bolshoi stage. Typically Ratmansky, the choreography is very busy; a lot of small movements made very quickly, as Tsvirko said in the interval. It takes some getting used to a different version when you know another like the back of your hand (MacMillan in my case) and whilst occasionally I longed for some MacMillan style choreographic stillness there were some immensely powerful moments to more than compensate: Juliet rushing on in the balcony scene took my breath away. When I saw the National Ballet of Canada dance this at Sadlers Wells in 2013 I was uncomfortable with Ratmansky's choice of ending, but yesterday it felt astonishing and brilliant. I only wish there was an encore showing. 

I must admit I would never have thought of  Ben Ella as a replacement for Steven McRae. Nothing to do with his dancing which impressed me recently as Hans Peter but that Albrecht is such a monumental role in every sense : solos, partnering, and acting, it requires  incredible stamina. All of which makes his debut yesterday so impressive. Because he looks very young I think he had to work extra hard to be convincing. I was standing close to the stage and it helped considerably that even from his first entrance he looked comfortable, if he was feeling the pressure of the occasion, it didn’t show from my vantage point. His solo dancing was pretty much faultless: tidy landings, everything cleanly finished. His partnering looked secure - the Act 2 high overhead lift, no problem and again 30 seconds later, no problem ! His acting was credible, I mean you wouldn’t expect it to be full of every little nuance at this stage, but he definitely has presence. Very very promising indeed for him. 

IMO Akane was wonderful - as well as being completely secure technically she brings a lovely softness and musicality to her dancing and her arms are exquisite. 

Clare Calvert’s Myrtha was everything you want that role to be, she’s really blossomed over the last couple of years and with that has come an increased confidence in her dancing. The corps also were very impressive.

8 minutes ago, Sim said:

I agree, Blossom.  He was excellent in The Invitation and I think he would make a lovely Lensky, so I hope he is given the chance next time around.  Mr O'Hare?!  😀

Yes I definitely agree with that Sim ! 

10 hours ago, alison said:

 

I'm guessing you saw his first two performances, which clashed with the Mariinsky, then?  Bearing in mind that Watson was off for foot surgery shortly after his last two, and that I thought something was a bit "off" with him in both those performances, I'm not sure how much to base my assessment on them - hence my comment about wanting him to be fully fit this time.  OTOH, because of the time between performances, he will of course be 3+ years older, and that may make a difference.  I really regret that he had to miss his second run of performances due to injury

I was thinking of his 2014 performance with Hayward but I probably also saw him in 2008 with Mara Galeazzi. 

Totally agree with other posters here who praised Cesar Corrales Jeune Homme - what a powerful and unbelievably mature performance Cesar gave this afternoon and what terrific chemistry between him and Jia Zhang's woman.  I can't wait for the opportunity to see more of him at the Royal Ballet next season. It worked out that I saw largely the same Sylphide cast in both performances : Alison McWhinney, Aitor Arrieta ,Henry Dowden and Stina Quageneur. ENB may be losing one of their star male dancers but they seem to have others absolutely ready to take on leading roles and Aitor Arrieta's James blew me away: nuanced acting, great balon, razor sharp feet. I hadn't come across Henry Dowden before but I'd be happy to see more of him. This afternoon I found Alison McWhinney's Sylph very touching and Stina Quageneur was marvellous on both outings. The entire company danced with charm and sincerity. I really regret not seeing more casts. 

21 hours ago, buflesse said:

I’m torn between Osipova/Hallberg/Naghdi and Hayward/Watson/Campbell...thoughts? 

Just to put a different opinion out there I wouldn't put Watson in my top three Des Grieux any more. The RB has many wonderful Manon's and it's hard to choose between most of them but for Des Grieux I'd choose Bonelli, Hallberg, Munti (alphabetical order) however,  if I was restricted to one cast I might just pick Reece Clarke making his debut with Lauren Cuthbertson. 

Hi, I'm interested. I sent you a PM. Anna

I am sorted for this

If anyone has a ticket they can't use please message me. Anna

5 minutes ago, LinMM said:

Would like to have seen Hay given a chance at that

I couldn't agree more ! 

I'm pleased that KoH has chosen to give a promising soloist an opportunity in such a major role. Ben Ella danced and acted his recent Hans Peter very well indeed and at the time I mused that it would be interesting to see him dance something substantial - I didn't for a moment see it coming this quickly though. Best of luck to him !