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jmhopton

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    reading, ballet, dogwalking

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  1. I'm sure it's been posted elsewhere but I just thought I'd post this link to the ROH 2019/20 cinema offerings. https://www.roh.org.uk/tickets-and-events/all?event-type=cinema-broadcasts,bp-big-screens The RB cinema broadcasts are:- Concerto, Enigma Variations/Raymonda Act 3 5th November Coppelia 10th December Sleeping Beauty 16th January New Marston/New Scarlett 25th February Swan Lake 1st April The Dante Project 28th May Additionally, not mentioned here, during last weeks triple cinema broadcast Kevin O'Hare said there would be a Christmas cinema screening of the 2016 Nutcracker. This prompted me to wonder why more past broadcasts weren't screened as the Bolshoi do. It would make sense if people hadn't seen them for a while. Also I wonder if we can get an inkling of screen casting as a photo of Naghdi/Ball was used for the Sleeping Beauty and Takada in Swan Lake. or is that just coincidence?
  2. I saw this triple bill at the cinema and it would be tempting (though rather frivolous) to say that the bit I enjoyed most was seeing Vadim warm up behind the curtain before the performance. He seemed to be doing a very energetic series of turns and possibly leaps though it was difficult to see as Ore and Darcey kept getting in the way! Personally I would be quite happy to see an entire night of Vadim doing anything like this (he even makes standing still interesting, and possibly even 'relevant'). Perhaps Liam Scarlett could devise a suitable programme. After that the official programme was slightly anti-climactic and panned out much as I thought it would. I quite enjoyed Within the Golden Hour, which, as expected, was my favourite of the three. I agree with Dawnstar that I found it similar to Asphodel Meadows and while it was very pleasant it didn't personally engage me. Perhaps I need to see it again. However, the dancing was wonderful and an unexpected treat to have my first glimpse of Hayward before the Romeo and Juliet performance I've booked next Saturday. Medusa, well.... Found it rather tedious and pretentious and kept wondering when it was going to end. No doubting the commitment of the dancers, especially Osipova who was terrific; just a pity they hadn't something more worthy to commit to. Flight Pattern didn't do much for me either. The best bits were seeing Joseph Sissens; even in a small role he shone through as did Kristen McNally. Good to see her in a recognisable rather than character role. Great to meet up with Jamesrhblack in the little Rye Kino cinema which was about half full. Like many others I find the high rate of injuries very concerning both from an audience but more importantly the dancers point of view. I increasingly wonder about the decision to front load the next season with so many full length ballets, especially with so many performances. However, the problem might be more to do with the constant switching from classical to modern this season so perhaps next seasons decision to separate them more and have a classical first half of the season and a more modern spring and autumn might be better. Autumn is all classical, Winter; the only 'modern' ballets are the Marston/Scarlett double bill and they tend to be classically oriented choreographers anyway. The main modern programmes are in spring and summer with only the Tombeaux triple classical in the summer and the Heritage Linbury programme in May. Time will tell whether this works better from an injury point of view. Incidentally, I've saved the 2019-20 seasons calendar http://www.roh.org.uk/seasons/2019-20 on my toolbar as an invaluable booking and information aid and cannot understand why Onegin (and La Traviata) are part of both the autumn and winter season. How can they be both and how do you manage for booking? As Onegin doesn't start until January how can it be part of the autumn season? The autumn season is going to be expensive enough without adding Onegin to it!
  3. Apologies for being a bit late posting this but I see SkyArts are showing the 2017 Ashton triple The Dream, Symphonic Variations and Marguerite and Armand (Yanovsky's farewell performance) today at 12.45pm. I know it's been available on dvd for a while but it's 'New' to SkyArts so presumably hasn't been shown there before. It is followed by a programme called Why Do We Dance? 3pm to 4.15 (no details given) The latter may be part of a series as there is another programme of the same name on Tuesday 21st May at 9pm; this one headed New, and presented by Akram Khan who 'examines how dance is often used to feel a sense of unity and to find solace and refuge'.
  4. I've been waiting for the single word Onegin in the Royal ballet seasonal announcement for what seems like forever and it's here at last! Christmas has come early! That said I'm still disappointed at no cinema broadcast. I didn't really expect one because of the control Reid Anderson exerts over the ballet but it seems such a shame when you imagine all the fabulous potential RB performances of it there will be. Still the main thing is it isn't vanishing from the RB rep and will hopefully be performed by them for many years to come. As regards the rest of the programme I am rather underwhelmed. Though I thought the same a couple of years back and still enjoyed some fabulous performances of ballets I wasn't initially bothered about seeing but saw some stunning debut performances. No doubt it will be the same this year. Like many others hugely disappointed at the lack of Ashton. Difficult to understand as his ballets sell so well, unlike more modern triples. The current modern bill was showing many unsold seats until recently and I don't know how many of the expensive sold ones are student reductions. They wouldn't have this problem with Ashton. Also re programming apart from Sleeping beauty, Swan Lake and Coppelia there doesn't seem many ballets where you can see 2 ballets for one overnight stay, something important for us non Londoners. It makes all the difference to see more than one ballet for your hotel visit though of course casting is important too. Finally I was very disappointed no mention was made of Margot Fonteyn in any of the briefings. I'd hoped they would repeat and film Sylvia as a belated tribute but not to be. I think it is disgraceful that our only prima ballerina assoluta is treated so shabbily as just to have a seemingly unplanned gala as her only tribute. Has the programme even been announced yet?
  5. The only time I've ever sat in expensive seats in the ROH was when I was in the Grand Tier for the Kirov (as they were then called) rehearsals in the early 2000's. I used to be a Friend of the Kirov just for the privilege of buying Grand Tier rehearsal tickets for £10. I sat on the front row next to the left hand wall and had a great view of all the stage. Also, being at the edge of the semi circle you felt a lot nearer to the stage than if you were more central. A couple of times I tried a box just to see what it was like but both times concluded the Grand Tier was a far better view. Never having been able to afford a Grand Tier ticket for ordinary performances I now much prefer side stalls circle where I find I can usually get a good view both of most (or all) of the stage and also see dancers expressions and small acting details. Nowadays I much prefer this experience than peering at the action through my binoculars in the amphi, though because of the increasing prices I sometimes have to revert to the amphi.
  6. Afraid I wasn't at the Saturday evening performance but I did really enjoy the matinee. Despite slight reservations the first time I saw Vadim as Romeo in the last run I thought he was really tremendous on Saturday. As someone said previously he and Sarah Lamb take you through all the emotions and technical expertise of the roles without their personalities taking over and distracting you from their wonderful performances. After seeing this performance and the Sambe/O'Sullivan one I'm even beginning to like the ballet! Vadim was so happy when in love, his smile really lit up the stage and conveyed the joy of young love. I thought fleetingly if he came to my part of the world and harnessed that smile to the national grid there would be no need for fracking and the only earth tremors would be caused by his passion! His style and elegance and Sarah's passion and acting skills made for a brillian combination. Also it was a joy to see Sambe as a wonderful, expressive, energetic Mercutio, one of the best I've seen since Northern Ballet's Jeremy Kerridge. Finally, Theo Dubreill (?) was a wonderful Benvolio. before seeing him I always thought Benvolio rather a boring role but I never realised there was so much in it. I didn't realise he seemed to initiate the street fight in the first act and actually took on Tybalt. Also he was wonderfully mischievous in the ballroom scene, going in between couples and then 'apologising'. Bravo to everyone for a really great performance. I have to say I think my enjoyment was heightened by where I sat in side amphi. (C92) I was very close to the stage and thought I would miss a lot but it wasn't too bad at all and these days I often find it pays to miss a bit of the action but being close up to the drama and being able to see facial expresions clearer. That said. for this ballet I think if you're being close to the stgae on the 3rd row it is better to be on the left side though these seats sell quicker and probably weren't available for public booking. Now I'm looking forward to seeing Hayward/Coralles and Naghdi/Ball.
  7. That's very interesting as the only performance of Vadim's I've ever attended when I've not been really bowled over was a Romeo and Juliet performance in the last run. I put it down to Vadim not being long with the RB at that point and romeo and Juliet not being a favourite of mine. Be interesting to see what I think tomorrow especially as I'm in the stalls circle though too close to the stage to see everything.
  8. Of course Muntagirov/Lamb are performing tomorrow afternoon not evening as I just said. Was thinking ahead to the Hayward /Coralles performance I'm also really looking forward to on the 25th.
  9. Many thanks to Briedem for her fabulous review for the Muntagirov/Lamb Romeo and Juliet. Really whetted my appetite for tomorrow's evening performance which I am attending. Did anyone else attend this performance? I'd love to hear what other people think of their performances.
  10. I've only seen the first half but spent more time trying to work out whom the male dancers were and why it is deemed necessary to hide their identities in such hideous masks! I then had to go and watch The Dream; proper ballet and beautiful music (though probably not at all relevant to anything apart from my appreciation of beauty and excellence!)
  11. It's part of a triple bill with The Dream and Marguerite and Armand. https://www.amazon.co.uk/Ashton-Ballets-Various-Opus-OA1264D/dp/B07DSJ666F/ref=sr_1_16?keywords=the+dream+ballet&qid=1555577413&s=dvd&sr=1-16
  12. This is an interesting point, especially as I think I myself consult the Links section less than I used to but I'm not sure why. I log on the the Forum once or twice a day to check the Performance and Information pages but unless there has been the first night of a production I don't often bother with the Links. The restrictions imposed by certain newspapers are a nuisance but I tend to think if there aren't any relevant reviews there's nothing there for me; which is probably wrong. I wonder if it would make a difference if the links were put daily in the Information section with the days date at the top then people could click on that and see what's new. it may be better used this way if people don't have to come out of the 2 main topics and into another one.
  13. Alina is the only dancer I can remember whom (I think) played both Olga and Tatiana in the same run when she was still very young. I think it was the Ross Stretton period. Both were amazing but I have a particular fondness for her Olga to Ivan Putrov's Lensky and Rojo's Tatiana and Adam Cooper's Onegin; fabulous casting and performances all round.
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