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annamk

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  1. annamk
    I did enjoy it. I'm not familiar with R.B.M.E. other than to know that it was created by Cranko on his most important dancers, but I think on reflection that I'd have got much more out of it had I read this review beforehand: https://www.seeingdance.com/stuttgart-ballet-remember-me-230727/#:~:text=The dance nestles perfectly with,ballet of so many highlights. I know Requiem from the Royal Ballet (although I asked myself after why it has been more than 10 years since they performed it) the music is so beautiful one can't fail to be captivated and of course it was beautifully danced by the Stuttgart company. While I'm here I may as well add (although it's not the right thread) that as well as the Vogel /Badenas Onegin we also saw the performance on 21 July with Paixa/Aleman. I haven't seen this pair in Onegin before and I was really impressed. I half expected the performance to be a poor relation of the one the following night but it absolutely wasn't. A tribute to the company that they can field many fine casts. We particularly noted the young Gabriel Figueredo as Lensky - his pre-duel solo was a thing of astonishing beauty. I think David Mead nails it here with this review https://www.seeingdance.com/stuttgart-ballet-onegin-230730/ except I'd delete the ? at the end of the first sentence int he title ! Both reviews were in the links, I just reposted them here for convenience.
  2. annamk
    25 years ! He's an amazing artist, I hope he doesn't have plans to retire any time soon. I saw his performance as Gremin on 22nd July in the Onegin cast with Friedeman Vogel and Elisa Badenas (both of whom were completely MARVELLOUS of course) and his portrayal was full of the nuances and sensitivity that come from a lifetime of performing. I so wish I could have stayed for his performance in the title role but sadly it wasn't possible.
  3. annamk
    Apologies if you are aware of this already Susan, but, up to 24 hours before the performance, you can return your ticket to the box office for a credit note less a £4 fee. I think you have 2 years to use the credit note.
  4. annamk
    The Remember Me bill had quite a few performances already in the season just finished (I saw it earlier this month) so I would be surprised if you have a problem getting tickets even for a Saturday. I was too late to get our tickets via the pre-booking (they only accept a certain number) but I had no problem buying them on line when general booking opened. I've bought tickets for Stuttgart performances both via the pre booking and online when general booking opens and I've never not been able to get tickets. If you choose to sit in the stalls it's worth being aware that the seats in the very centre are offset so you are less likely to have a problem with your view being obstructed by someone tall in front of you. I would like to have seen Remember Me from the Front row of the 1st rang rather than the stalls. The box office are very helpful if you have any queries and they reply to emails quickly.
  5. annamk
    Ticket spoken for.
  6. annamk
    Bumping this up before I return to the BO.
  7. annamk
    Both tx now spoken for.
  8. annamk
    D38 is spoken for.
  9. annamk
    £14 each, message me if interested. Anna
  10. annamk
    Frankly, irrespective of the fact that Sergei Polinin’s dancing is a poor shadow of what it once was, his open support for Putin (see his Instagram) means that I never wish to see him dance again.
  11. annamk
    Totally agree with you, the phrase a jack of all trades and master of none comes to mind. I really had my eyes opened by Tiler Peck's Turn it Out; two dancers particularly caught my eye : Jillian Meyers and lex Ishimoto. They danced with an extraordinary fluidity that I have not seen here in classically trained dancers in contemporary work. I think the forum has discussed this in relation to Natalia Osipova's forays into contemporary work.
  12. annamk
    D37 £10 Message me if interested. Anna
  13. annamk
    After all that the Don Q standing are £14 ! Pleasantly surprised as I didn’t see the earlier posts.
  14. annamk
    This doesn’t fall strictly in the title of the thread but as it’s the summer ballet recess I have to get my fix from clips on youTube and Instagram. There’s a very exciting young (just 22) Georgian dancer (Giorgi Potskhishvili) that at Dutch National Ballet who’s recently been promoted to Soloist - one rank below principal. Only a matter of time before he hits the top slot. https://www.operaballet.nl/en/dancers/giorgi-potskhishvili He puts clips on his Instagram account https://www.instagram.com/reel/CuPDu8bIDVY/?igshid=Y2I2MzMwZWM3ZA==
  15. annamk
    Interesting what Reid Anderson said re Onegin and the Royal Ballet. Hopefully that means we can expect it in the 24/25 season. Fingers crossed.
  16. annamk
    I was wondering if anyone saw Lauretta Summerscales performance in Bayadere in Munich.
  17. annamk
    @Sim "perfectly pleasant" really sums up Wheeldon's choreography for Cinderella. I'd also add that I found pdd repetitive and full of unnecessarily complicated, awkward lifts. Such a pity because it just didn't enable the two fine dancers (Takahashi and Frola) to shine as brightly as they could have done.
  18. annamk
    Thank you, they did ! And I believe it's available for 2 weeks to re-watch at leisure
  19. annamk
    I have checked it and I have emailed them.
  20. annamk
    Hmm I have a zoom ticket but I haven't received my link .....
  21. annamk
    I think it would be amazing if Ratmansky were to create something on Vadim.
  22. annamk
    @JNC I found your review very interesting, thank you I've probably said this before somewhere on this forum but I feel it's our loss here in London that we do not get to see much Ratmansky in this country. I'm not thinking so much his reconstructions but the outstanding one act ballets for example: Concerto DSCH, Russian Seasons, Seven Sonatas, Pictures at an Exhibition, Serenade after Plato's Symposium. Ratmansky's work always has such a strong connection with the music and he seems to inspire dancers to produce their best performances, drawing on their classical training - although 24 Preludes for the Royal Ballet was not particularly well received, Rupert Pennefather was a revelation in it. By contrast, Wayne McGregor puts what is, to a significant degree, contemporary choreography on to classically trained bodies. The Royal Ballet dancers are outstanding classical dancers but maybe this hybrid style of McGregor does not show them off to their best advantage and vice versa.
  23. annamk
    it’s really not all so one way …. Crystal Pite created the outstanding Seasons Cannon (IMO way superior to Flight Pattern) and William Forsythe’s Blake Works 1 both of which I travelled to Paris to see. As for La Fille - we in London will have to go to Paris to see it next season since it has not been scheduled here for some years. And I can add to that Bayadere which I enjoyed at the Bastille last year. Balanchine seems to be revived more in Paris than London ….
  24. annamk
    I just don’t understand why you feel it necessary to make a comment like that. McGregor’s early work for the RB was thrilling and groundbreaking but for a number of years I have found most of his new work choreographically uninteresting. Nonetheless, as a huge dance fan I live in hope and of course I’d give a new MvGregor a go. Sadly, this latest work (which I only saw at the rehearsal) has done nothing to change my view that McGregor has run out of ideas for the RB and they both need to move on.
  25. annamk
    I could be wrong but I think I recall from an insight some time ago that McGregor doesn’t choreograph to the music. He creates the choreography in silence and the music is added later. It sounds odd but maybe explains why there’s no connection between the dance and the music in most of his work for the RB.
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