Mary

Sorry - I have just realised I should have started my comments on this film on a new thread under Performances etc - perhaps a Moderator could move this part if it is felt to be worth it.

His was the best Hilarion I can remember seeing! marvellous jumps, genuine anguish conveyed. I also liked his green costume very much. This production told the story very clearly, I felt, especially the 'huts and swords' business which often confuses anyone who doesn't know it well. That was partly due to Potskhishvii's excellently clear communication through gesture and expression.

I did find Act 2 more moving than ENB, partly because there was more dancing for the men and I really felt they were hounded beyond endurance. I  wasn't made to feel that by the Mary Skeaping version, lovely- exquisite- as it was in so many ways.

No cast lists were available and though the full list was scrolled through at the end of the film, it was in very small faint type and went quite quickly - rather a shame. I particularly wanted to know the second of the men in the peasant pas de quatre.

I agree about Myrtha, Blossom. McWhinney was truly elegant and imperious at the same time.

I was very pleased to have the chance to see DNB anyway and impressed by the dancing overall.

I went to this this afternoon. Not a live screening but a film of a performance, I had forgotten that. However, although I rather missed some shots of the theatre/audience, backstage, I did not much miss presenters or lots of talking. There was no interval, just a brief pause. This made it all so much more intense, with nothing to interrupt the atmosphere created, which I liked. All in all it was a very good experience: Olga Smirnova was lovely and very moving indeed (partly because I reflected I had not see her since the Bolshoi screenings which I used to attend regularly, and thinking over the tragic circumstances which had led to her coming to DNB).

 The production is not as beautiful as ENB's but, I did find it a lot more emotional, and now need to ponder why that was.

7 hours ago, Roberta said:

Basically, Manon is a slut and Des Grieux is a fool and they move in the most unsavoury company . . . the most effective character, in fact, becomes Lescaut himself’, wrote Mary Clarke in The Guardian. ‘

 

https://www.kennethmacmillan.com/new-page-97

I disagree with this, and don't think it is what Macmillan meant at all.

Apart from the objectionable phraseology here...-if that were so, the ballet would be boring.

 it is certainly not as simple as that - and those pas de deuxs with which Macmillan presents the characters certainly do not reflect such a summary....they have always thrilled audiences, and partly because of the variety of emotion they convey, as the pair go through various phases of feelings about one another, from passionate excitement to -possibly- real love, anger, impatience to despair. You have to believe there is love there, for the ballet to work at all, and that they are both - foolish and weak as they might be -  trapped in a world that cheapens and degrades people - surely  not that they don't deserve any better.

I have never really liked the ballet, mainly because I greatly dislike the brothel scene - especially the attempts at presenting some very nasty situations as glamorous and humorous, which  I think are, at best, in poor taste.

- but we've discussed all that before in previous runs so I won't start that again.

But Des Grieux's first beautiful solo when he declares his love, and the scenes between the main pair I have always found quite compelling.

I agree, Dawnstar, that the music is beautiful, moving and works really well all the way through.

As for Lescaut being the main interest...I have always found the character  just plain unpleasant: one-dimensional, the drunk scene very unfunny indeed and rather boring.

There you go, I've stuck my neck out. Live dangerously.

2 hours ago, Geoff said:

I took a seat where I could hear really well but not see that much

it always amuses me that all my opera-going acquaintances now do this as a matter of course- doesn't say a lot for most recent productions!

I didn't comment on performances in the rehearsal as that's the usual form, but I did think Lauren Cuthbertson was excellent and really put her heart into a performance that was most convincing and beautifully danced.

2 hours ago, Rob S said:

I'm doing the survey now....really can't only give 5 options to question 5....surely it would be better to say which you DON'T need at time of booking

I did it in the end.

This question was absurd! It's fairly obvious- isn't it?- that we need to know the art form, what the work is, the date, the time- and filter by  morning/afternoon/evening - before booking.

is it really likely that 'related merchandise in the shop' is going to be more 'important' to anyone at all than these?

If they honestly have to ask us whether we need to know the above before we book, I rather question whether they are the right people to be designing and running an opera house website.

I got this too - it's the latest of many such. but surely they don't need to ask me what the website needs to do?

I should have thought it was fairly obvious really.

Thanks to all: I am short,  so no stalls for me I think.

..this is all very helpful.

I haven't been to the Palladium for - gulp, er - 53 years! I expect it might have changed slighltly.

Does anyone have advice for where to sit for dance- mid range seats - though I don't mind paying a little more than usual as it is such a good cause.

I hadn't watched this since it was first on but have vivid memories of how much it inspired me.

One thing I really like is how it keeps surprising the viewer:  Fonteyn clearly enjoyed taking an unusual path through the subject and not doing the obvious thing. She is entrancing to watch, her delivery utterly charming and the whole series is itself  - magic.

I love her interview with Astaire- he is completely unable to explain in words how he makes dance/dances, but watch his hands:  they never rest while he attempts to explain- then at the end of a long attempt,  he just says - 'Oh I just dance' and she laughs. Magic.

Then the interview with Nureyev - as you say Lin - I could watch that forever.

The clip of Nureyev and Seymour in Sleeping Beauty must be some of the best dancing imaginable.

32 minutes ago, Beryl H said:

What memories this brings back, they took such risks!

 

Yes indeed, I saw them many times, they were wonderful in Manon, seemed able to do anything with perfect chemistry together.

Anyway lots of good casts to come.

Yes.. indeed revolting. But so brilliantly 3 dimensional and  believeable done by Avis .

Hard to take my eyes off Gary Avis

Delightful as are Cuthbertson and Ball.

What an actor. I'd love to see his Macbeth. Or Antony.

Anyway..ballet...

Delighted to see Lauren Cuthbertson again after- years. 

Matthew Ball is always on duty when I get to a rehearsal    Always pleased to see him .

So - look forward even though I don't like the ballet! 

I felt the same, John.  For me, the emotion just was not there, although overall the production was of ravishing beauty with high quality dancing.

It will be interesting to compare Dutch National Ballet's version in the live screening on Sunday.

That's an interesting view.

If we can't post and discuss minority/unusual/even unpopular views we might as well close down the forum and go home!

It seems unlikely to me that the Director alone decides what is scheduled and how long runs are. I am sure there is a great deal of committee work, discussion and compromise: he must be hemmed in by many constraints, and especially given the bad financial situation generally these days. In fact he must face huge frustration at every turn.

Perhaps it is impossible to say how  good a job Mr O 'Hare is doing unless we know all the constraints in some detail.

Even in the best of times it must be very demanding looking after a large company of dancers,  each of whom is both passionately committed and vulnerable to all sorts of troubles- and then there's all the other staff as well.

The company is certainly on very good form and we have not seen people leaving in high dudgeon at all on his watch. On the contrary, dancers speak warmly of his supportive approach, especially when they face problems like injury. He is also friendly and approachable to the public.

So, given how difficult the role must be, I would say he appears to be doing a very good job.

No, I don't agree with all the artistic decisions, but then,  I am not sure how far they are just his decisions.

It's very worrying. I am guessing Gary Avis will not be impressed, great stalwart of the arts in Suffolk (Ipswich I think) and always very generous with his time in Suffolk arts causes.

So glad Morera stayed on to coach, she is a treasure...and what a good comment about the generosity of ballet as an art form ' 'people saying 'Have what I did, and let me help you make it better' '- Indeed!

Yes we could have done with something along those lines last night- I kept waiting for Albrecht to do something that looked really exhausting.

Hilarion too. It was a bit hard to quite believe they could have been so easily knackered.

Agreed - it sounded more like a doorbell than the Chimes at Midnight.

Well, Dawnstar if the trains are working,  which they seem to be that's a plus,  and  it is not a late show so coming back would not be so late as usual. I think it's worth seeing and it would be good to know what you think. You have seen a great deal more ballet than I have lately. Arrieta is a good Albrecht- 'tall, dark handsome', someone said! and a fine dancer too.