annamk

Dear all, I have heard from a friend in Russia and they still have the HD link on the Bolshoi youtube account here: https://www.youtube.com/watch?v=Emt57z3CE3c

 

If you travel to Russia or know someone there. or have an IP address proxy account such as DotVPN for chrome. Then you can watch the whole performance online. I hope this helps.

Very grateful for the tip easy to set up. 

Floss's comment came to mind during this afternoon's performance: I think both dancers came pretty close - at the least, they managed to make the steps seem pretty ... inconsequential? in the grander scheme of things.  Comparing that with certain other performances I've seen over the years by more senior dancers where executing the steps perfectly seemed to be paramount, the difference was striking.  Perhaps there is something to be said for letting 2 junior dancers find their way through the whole thing: it will be interesting to compare and contrast with the performance by Francesca Hayward, who is in a rather different situation.

 

 

It's the same point : yesterday I noticed Jonny Cope and I was reminded of something he said in an insight evening towards the end of his career. I can't remember exactly the words used but I think it was in response to someone asking if he had any regrets ? His reply was something to the effect that he wished he had spent less time and energy concentrating on perfecting the steps ...... 

Simply terrific Romeo and Juliet debuts from Matthew Ball and Yasmine Naghdi. Throwing caution to the wind they danced and acted their hearts out and treated the oh so lucky audience to a display of the most believable young love seen on the RoH stage for a considerable time. 

I've seen a few casts in this run (but not the first cast) and in every performance there has been plenty to enjoy (and also some things to criticise) but principally what has been lacking for me is that no couple has yet found a powerful chemistry of the kind that makes for a really memorable performance. I was reflecting yesterday that last summer Shklyarov & Vishneva injected the creaky Mariinsky production of Romeo & Juliet with more magnetism and passion than I've felt at Covent Garden this autumn. In this context I find these comments that Matthew Ball makes about Johan Kobborg and Sergei Polunin interesting  http://www.gramilano.com/2015/10/matthew-ball-the-royal-ballets-prince-in-waiting/2/ 

Sorry, Bill, but I stand by what I wrote. There are very few reviews online but The Stage magazine's review feels the same way I do.

Fiz, I feel the same as you do about McRae's boyishness - I don't book to see him as a romantic lead any more. Mark Mohanan reviewing this R & J  in the Telegraph summed up what is missing for me when he said McRae "is a dancer more of boyish brio rather than animal magnetism" 

is there any news on Matthew Golding's visa problems? I have a ticket for his performance with Francesca but would be intrigued to see her with Vadim.

 

 

Whatever his visa problem was it seems to have been sorted for the time being. He danced the Family Welcome Performance on Saturday and he and Francesca ran through the bedroom pdd in the Linbury yesterday evening. It was a combined RB/Cas Public Romeo and Juliet Insight. 

Mary, on 23 Sept 2015 - 3:52 PM, said:

Nonetheless, I would be interested to know if anyone thinks there is a better male principal, on  a technical level, at the RB, and why

 

I doubt it.  Anybody?

 

Perhaps it depends what exactly "technical" means. There are different aspects, some of which may be down to body type. McRae is certainly incredibly quick: he turns at supersonic speed and he generally has neat feet but I think that others have more height on jumps and more elegant arabesques. I think Vadim Muntagirov is close to perfection and Matthew Golding can also be technically very good and Sergei Polunin had it all  

My post was edited because in my frustration I could be a lot worse about Mr.Polunin. Considering his past reputation, the fact that the girl who has the same name as the new tattoo he has on his left hand has already ruled herself out of the Autumn program....I think it isn't too much of a cynical stretch of the imagination.

 

Also, in reading the comments about Osipova and the ROH replacements, which may not be peoples' 'cup of tea' in style etc.. It was also a reminder about how things could be worse in terms of nearly EUR1,000 for flights, hotels and tickets to originally see David Hallberg, and then when all is planned and dress (Ms SBF) has been bought etc..

 

A neck 'disease'? I am sorry if I am not less cynical about the events leading up to this, nor the effect it upon seeing the 'Artist' well, all I can say is. Once bitten... as the English say.

 

I wrote previously that for the replacement it is a sign for people to keep working to get the chance to 'star'. I have no issue with him, and wish him the best and will show my support as loud as anyone. 

 

The fact that it is physical and 'artists' working with their body, I can ALSO understand how frustrating 'A PAIN IN THE NECK' can be....

SBF whilst I can understand your disappointment and frustration, I really don't think it's fair to insinuate that Sergei Polunin is not genuinely injured. 

Casting is now up for the Bolshoi live relay of Giselle on 11th October. Zakharova & Polunin (interesting they bring in an outsider for a live relay), Martha is Shipulina. 

I live in London and recently I've really become annoyed by how dirty the streets are, not just in Central London but around where I live in South London. The main problems are overflowing bins, commercial bagged rubbish sitting on the street and urine. My sister was visiting from Vancouver (famously clean) this summer. She didn't say anything but I felt quite embarrassed by the state of the London streets. I think that there need to be more rubbish collections, stricter controls on leaving bags of rubbish on the street, and jet cleaning or something similar of the pavements and alleyways (or, alternatively, an obligation on the traders to clean the area in front of their 'shop fronts'). Public urination should be an offence punishable on the spot by a stiff fine.

 

London will never be pristine but we have so many fantastic buildings, parks and open spaces, many of which have been improved over the last couple of decades, and it is a shame that our capital city is so rubbish strewn and smelly. It must create a very negative impression to overseas visitors.

I was there but, as it was a rehearsal, I won't comment on it.

I was also there but is it balletcoforum policy that rehearsals should not be commented on or is it ok to give some comments ? 

As you appeared to have hated the company so much Mr Wall, I'm surprised you returned.

 

It is unusual for one of the dedicated touring companies to undertake a London season and in many respects quite brave, especially as they don't have the state resources of the Bolshoi or Kirov or the limitless coffers of an oligarch like the Mikhailovsky.  Having actually worked for a Russian touring company (not this one) I know a great deal of the challenges involved, particularly in regard to punishing schedules and the continual headache of acquiring male dancers.  Far more female dancers are trained to a high standard in Russia than males and with the top companies creaming off the best, it often takes a sharp eye to hoover up talent that has been overlooked, but the quality of the men goes up and down like a graph and if the company ballet staff (a rather distinguished bunch at StPBT, if you bothered to read the programme) find a diamond in the rough, before long that diamond will move to greener pastures, as I have mentioned above.

 

Funny isn't it that such an apparently awful company managed to achieve what so many more established companies (including NYCB) failed to do, namely sell out the Coliseum completely, even standing room.  In the past two seasons I believe only Carlos Acosta and Sylvie Guillem managed that feat and with fewer performances.  There were standing ovations for all the performances too, even at the matinee.  I would call that a resounding success .

Just for the record I don't think they sold out the Coliseum completely did they ? The Upper Circle on Sunday afternoon had plenty of empty seats and from the little I could see of the Balcony the same appeared to be the case. Nor did I see any sign of a standing ovation at either of the performances I attended. 

I agree that It was brave to put on a London season but personally I found the dancing average at best with the exception of the strong but workmanlike and emotionally flat Kolesnikova and Denis Rodkin, who was outstanding. 

  Not impressed.  Do we know where, and in what price bands?

Certainly all the stalls circle standing D1-6 and the equivalent on the right side so that accounts for 12 of the difference. 

For anyone interested the balletalert thread discussing Osipova/McRae performance starts here 

http://balletalert.invisionzone.com/index.php?/topic/40160-spring-2015-giselle/page-9

some interesting comments - not all positive. 

Simon - I just found it on the Bolshoi Theatre YT channel  

What an amazing lady she is thanks for posting this Amelia. 

I hope they don't being Hamlet - not that I've seen it but it didn't get good reviews in Moscow. I believe it's more dance theatre than dance and I'd have thought that it would be quite risky for ticket sales.

Hmm. So we now have Cubania, Casablanca screenings, the Buena Vista Social Club and Ben Folds occupying the main house between the 27th of July and the 12th August this year, so I guess maintenance starts at the usual time.

 

At least it means I won't be sweltering in a theatre at the beginning of August, but I'm not entirely impressed how the 'russian season' has been replaced with 4 things I ain't bothered about.

Sooo disappointing :(  I thought there was no "russian season" because of the new works to the house but it doesn't look as though that's the case unless the timing for work has fallen behind ? 

I am NEVER without my binocs, Tony, so I am sure they will help;  I have never stood up that high so wasn't sure what my prospects were going to be!  I can't upgrade as I think it is now sold out....someone posted up two SCS tickets this morning but someone beat me to it! 

I was in SCS for the last part and the amphi for the first two. I thought the amphi was a better place to be because with the SCS I could only see part of the wave projections. Maybe it's better in the central SCS ? Balcony standing must be the plum spot !

The FT review was by Louise Levene.

Yes I just realised. I saw him there so I just assumed and as someone told me at work many many years ago to assume can make an *** out of u & me  

And Ed Watson - so three!!!!

and there you have it - 3* from CC  'A luxurious production and fine dancing cannot redeem Wayne McGregor’s familiar choreography"

I had mixed feelings about it. Last night I thought I wouldn't want to see it again but now I think I will. These are rather random thoughts .... As with most McGregor there was plenty of striking imagery, I enjoyed the score and the lighting was incredible. Within each of the three very distinct parts I didn't feel that the choreography said anything notable to me about VW but then I'm not familiar with her writing - TIP it's vital to do some background reading beforehand. Part one was more neoclassical style choreography - old & young Virginia and friends attractively kitted out, engaged in a sequence of pdd around three giant moving wooden picture frames artfully lit with a back drop of video film. I wish I had known what the Watson/Dyer pdd represented at the time because it just left me rather puzzled. I found the 30 minutes it a bit boring, maybe I didn't feel the choreography told me anything about the characters, maybe I needed to understand what was supposed to be happening - it didn't help that the cast sheet didn't attach names to any dancer ? I'm interested in Bruce's comment about Kenneth MacMillan feel to this because my friends who were sitting much closer were really moved by this act whereas in the Amphi the reaction was quite muted.  Act 2 is much more traditional McGregor choreography, plenty of fast movement and contortions. Some utterly ghastly costumes I guess supposed to reflect the cross dressing Orlando. The laser lighting was the star of this part - from above it was amazing ! It could almost stand on it's own as part of a triple bill though and again it didn't communicate anything about characters it was just a spectacular showoff piece. Act 3 reminded me of Carbon Life. Lots of the "class" style choreography - were the corps supposed to represent waves ? There was an enormous video projection with wave imagery. Again I found the choreography just a tad repetitive and boring. There was a standing ovation in the stalls which I thought was hard to justify but my friend said she had to stand up because the people in front of her and she couldn't see ! It will be interesting to read the reviews. I haven't mentioned dancers by name because everyone looked excellent. Anyway, it's a huge improvement on Raven Girl in every respect.  

I think some of the Act III choreography might remind you of Carbon Life too

I'll add my voice to those saying that the opening night with Morera/Muntagirov was the most enjoyable of all 

Me too absolutely loved the partnership: nothing showy, just genuine, unaffected charm & warmth with effortless dancing and perfectly pitched Simone from Tuckett and Alain from Kay  

At those prices SCS are a bargain. Maybe other people have different experiences but it seems to me that demand for SCS now way outstrips supply. Unless you are at least a Premium Friend (or friend thereof) or student the only way to get SCS is to be super lucky in public booking, on balletcoforum, scouring the RoH website for returns or to day queue. Next season the day queue won't be an option.