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annamk

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Everything posted by annamk

  1. In the Linbury at RoH on Sat at 2pm a Circle standing place. It's an e ticket, message me if interested.. Dance Umbrella: The Future Bursts In with post-show talk
  2. Very interested to read your detailed thoughts Irmgard, thank you for taking the time to post them. It had slipped my mind when I posted that even I, someone with a tin ear, found the tempi yesterday insufferably slow. I agree with your thoughts about the ENB orchestra and Gavin Sutherland. I had a similar revelation in Stuttgart recently where the Staatsorchestra made the Mayerling score sound immeasurably better than it ever does in London.
  3. You can only write what you feel and even if others don't agree most people on here appreciate hearing another point of view, and sometimes it can even lead one to change one's own view (as happened to me once) ! The vilification crosses my mind when I post on here not sharing others enthusiasm for Campbell but I enjoy contributing to this site and I can't only post when I feel positive and agree with everyone else.
  4. Some terrific performances this afternoon. Hayward a pitch perfect sultry, utterly alluring Manon. Corrales charismatic Lescaut debut was outstanding - acting and dancing of the highest quality. Magri’s mistress debut was classy. Alas, alas though for myself Campbell’s Des Grieux was totally miscast. His partnering was fine but where was the poetry in his dancing ? Those yearning solos that can speak so much were pedestrian. It’s not just down to stature - some smaller men can dance in a way that extends into the space beyond them - James Hay being one. Unfortunately too in my opinion, Campbell’s acting was two dimensional and lacking nuance; he had but two expressions: happy and pained. Sorry 😐
  5. Ticket prices must play a part in the poor sales but I still think that Manon has been wheeled out again too soon, to my eye the production is looking tired and dated and maybe that has also played a part. Nunez and the guest Bolle sold out but with other casts struggling to fill 2/3 of the seats it's hard to avoid thinking that the RB principal roster is short of bums on seats star power.- that level of unsold tickets would surely never have been the case with Carlos Acosta or Cojocaru/Kobborg.
  6. Hi both, I'm sorry re the inbox. I have fixed hopefully and will PM Yumiko.
  7. I made a mistake in my earlier listing. The ticket is for this Wed. It’s an e-ticket. Message me if interested.
  8. Circle B14 £25, it's an eticket. Message me if interested.
  9. It's an e ticket, message me if interested. Anna
  10. i think Manon has simply been on too often in recent years (also by ENB) and people are maybe tired of seeing it. It needs a re-design (like Stuttgart Mayerling production to inject some new life into it) There is also casting - personally, in this RB run there is only one cast where I want to see both the Manon and the Des Grieux. The current poor sales are surely an embarrassment for the RoH and for some of the principals - only the guest Bolle has sold well. As for Osipova at Sadlers Wells the ticket prices are ridiculous ! More expensive than ENB Khan's Giselle which was a full company performance with a full Iive orchestra.
  11. A friend and I made the trip to Stuttgart to see the new production of Mayerling. I don’t know the Stuttgart company well although the opportunity to see the production and Friedemann Vogel in particular was a huge draw. It’s hard to find the words to add anything to the review of Gerald Dowler and the comments from Duck on the costumes. In short, my friend and I were simply blown away. The new production is triumph. It feels clutter free, somehow streamlined and clean and allows the choreography to shine in a way that the original production now does not seem to. The sets are beautiful in their simplicity and with very effective lighting create memorably striking images. The costumes are stunning, somehow of the period but at the same time modern and unfussy. To my eyes the ballet has been reinvigorated in a way that I could not have imagined possible before seeing it. Like the Royal Ballet, the German companies have something of a dance acting tradition so it’s not surprising they chose to acquire Mayerling and after barely a handful of performances it fits them like a glove. The company has talent in depth and we thought all the soloist performances were worthy. The highest praise to Elisa Badenes as Mary Vetsera but towering above all was the magnificent Friedemann Vogel. A superb actor (nothing overdone) , dancer and partner and with only a few performances in the role he turned in one of the very best I’ve ever seen. I’d return in a heartbeat. The entire Stuttgart audience gave a huge standing ovation.
  12. Clore Studio. A6 & C37 £20 each - e tickets. Message me if interested.
  13. I can't recommend this highly enough - absolutely fascinating and frank insight.
  14. I'm selling B14 & B15 in the Circle £25 each. they are e-tickets.
  15. I really enjoyed watching Part 2 of this fascinating documentary - huge thanks to you Naomi for alerting me to it
  16. I think there is definitely something is seeing it from the Second Circle which increases it's power. I asked ballet friends for advice on Sadlers seating and both said they enjoyed it most from the second circle and I absolutely agree with them. Not just that the music is powerful but to see the patterns of the corps too.
  17. This opened yesterday evening, I was at the matinee today. I've seen it at every revival and I still find it a mesmerising, raw and powerful piece, perhaps even more than I did when I first saw it. Personally, I find it better not to spend too much time trying to work out the detail of what is happening; it wasn't entirely clear at the premiere and it still isn't. But for me the broad brush of the story line is there and is more than enough to be satisfying. The hypnotic beat of the music (brilliantly played by the ENB orchestra) drives the ballet forward and enhances the sense of raw and ferocious tribal energy in the opening choreography. I love the choreography: there is a frantic intensity for much of the corps in Act 1, but moments of stillness too. In Act 2 the Willis are terrifying, but the final pdd for Giselle and Albrecht is sublime, full of tenderness and forgiveness. I found this afternoon's principle performers simply superb: Giselle (Fernanda Oliveira), Albrecht (Aitor Arrieta), Erik Woolhouse making a stunning debut as Hilarion. The second circle was filled with many young teen school kids and it must be a huge tribute to the quality of the performance to note that even in the quiet moments you could have heard a pin drop (except for a mobile phone going off which I cannot say belonged to the kids) !
  18. I think I made a mistake here and it was Hinkis/Sambe not Choe/Acri.
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