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  1. Hear, hear. His great modesty in interviews is also very becoming: he praised Osipova last night and said she pushed him to improve - at which I involuntarily exclaimed- 'How can you get any better, Vadim!' ( and was hushed by my husband🙂)
  2. 99% of the time I agree entirely- and Muntagirov is to me the finest dancer currently to be seen- but, I must say that in this piece it was that very contrast between them that added a certain something to this performance, which I didn't get live last week- not sure why, but some chemistry seemed to click and I found Osipova irresistible and the whole Raymonda performance delightful! Ballet heaven in fact. Yasmine Naghdi and Hirano were sublime in Concerto, as many have said- it bears saying again but it was also wonderful to see James Hay and Anna Rose O Sullivan close-up on screen giving it their all- a fine pair they are; Laura Morera gave a peerless performance which it is so good to have filmed, but I did miss Gary Avis as Elgar. ( It was nice to see him interviewed but he didn't get the chance to say that much- there is still too much superficial 'It's amazing' chat to my mind.) It might have been Francesca Hayward's first time as Dorabella but she is made for the part and Ashton would surely have loved that performance. - and Reece Clarke and Itziar Mendizibal an exciting Hunagrian couple- goodness, such an impressive range and variety on stage tonight.
  3. Rather a thin [cinema] audience- what a shame! They don't know what they were misisng. Osipova was worth the price of admission alone- her expression during her stunning hand-clapping solo was priceless!
  4. My cinema does not look at all well sold, sadly, but then it is 5 November, when quite a few people still go out....
  5. Re the Leonardo celebrations, I have just seen the new film by the excellent team EOS ( Exhibition on Screen)- 'Leonardo- the Works'- which is absolutely excellent and ravishingly beautiful: I can very highly recommend seeing it - all the paintings, shown in high definition, very slowly and carefully with expert commentary and no nonsense...
  6. I would prefer them to go back to the old name of Amphitheatre Restaurant myself! But Covent Garden piazza was designed in homage to Italian piazzas by Inigo Jones in the 17th Century, so for once this is not a modern invention but the corect name for the area..
  7. Yes what a lovely photo of the brothers, so alike too. An interesting dual biography to be written there one day.
  8. Good point capybara, and the first half of the year seems very top-heavy compared to a very much thinner spring and summer ( much cheaper as well for me). Presumably there are reasons...
  9. I would just like to add that I thought my near centre/front amphi ticket was sensationally good value at £35 for a varied show of such top class dancing - and playing.
  10. I loved the triple bill- the sheer variety of style and tone, two of my great favourites and Raymonda as something we rarely see, -interesting to compare with the Bolshoi screening; and the wide range of dancers. There were a lot of cast changes- I made some notes somewhere...mainly Fumi Kaneko being out I think. ( What a shame.) For me it was Concerto where in some places more precison would have been welcome: Francesca Hayward was 'perfect' but I felt Corrales, whose energy and power I much appreciated, could have been more precise and perhaps especially in the arms? but am very happy to stand corrected..it was my perception though. Enigma is such a joy: and to see Gary Avis ( who I was delighted to spot peering out of the stage door on Floral St before the show) bringing every ounce of experience and acting finesse such that a gentle shift of balance on one foot spoke volumes. This is the highest class of dance acting, needs to be recorded. He and Christina Arestis - whose beautiful feet are displayed in such poignant lifts- really made magic on the stage and tears were shed. Alexander Campbell's super, fizzing Troyte was a real highlight for me: it should make you almost laugh, and it did. Raymonda was glitteringly beautiful- there are no real words left for Muntagirov but watching him soar in flight and as someone said 'in full grand pas mode' is surely one of life's best joys. Osipova 's hand clapping solo was pure soul ( hand claps very audible as has been said, as were the thigh claps from the corps earlier - sounded a bit painful!) I am not 100% sure these two fabulous dancers work best together- it is just a slight feeling that they do not together add up to more than the sum of their parts. Is that just me? I agree with JohnS that Mayara Magri really stood out in her variation. (I think perhaps the variations might be broken up a bit? Rather a long row of them.) And once again - my eye was drawn to and held by Joseph Sissens with his lovely lines and elegant precise dancing and I do want to see a LOT more of him SOON in more major roles, please. No there is no narrative really in Raymonda 3, but there is acting, as they portray a quite different sort of bizarre fairy tale character - I thought very convincingly and it was, for me, a great lift to the spirits especially that gorgeous finale. A wonderful afternoon that lousy weather and unpleasant trains could not spoil- (sorry for MJW - bad luck.)
  11. I agree Alison- it was sadly far from the best Bolshoi I have seen in the 10 years of screenings. ( and I have been to most of them and overwhelmingly enjoyed what I have seen.) The production could do with a re-think, in my opinion. Some of the Act 2 'orientalism' was embarrassing ( rows of grovelling slaves etc) and the whole look of it seemed rather below the usual standard, to my eyes. In acts 1 and 3 there did seem to be ghosts of delectably beautiful Petipa arrangements on the stage. But dark heavy sets, wobbly daggers, absurd head gear, laughable wigs, did the dancers no favours, also scenes such as poor Raymonda having to fall asleep leaning awkwardly on a pillar etc. I thought Olga Smirnova looked uncomfortable up until her glorious solo in Act 3. Act 3 seemed far and away the most attractive even without all the variations clustered together. It was interesting to see Igor Tsvirko ( who struggled valiantly with the role of gurning 'Saracen', complete with prosthetic nose) interviewed in interval 2, particularly for his comment that he hoped we might see more of the Bolshoi's modern productions in future screenings, and he mentioned 'Nureyev'. Possibly not everyone agreed that the 10th year of screenings should consist of just classics- this and their Swan Lake are really not their best work .....in my view.....
  12. What's daft about that? It is fascinating, indeed. Thanks for highlighting this segment, Bruce, really enjoyable.
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