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jmhopton

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  1. jmhopton
    I know what you mean Anna C and it does seem rude to both the dancers and everyone else who wants to see the curtain calls and show their appreciation. However, those of us out in the sticks often find it cheaper to book specific trains so while there is no urgency to miss the last train after a matinee you may still be on a tight timeframe to make your booked train/bus. Missing it means you have to pay the full fare which in my case can cost up to a ridiculous 3 figure sum for paying on the day. This Saturday I'll be getting the 8.59 from Preston for the 12.30 matinee and the 4.30pm train back. This should leave me plenty of time to make it to Euston after a 3.20 or 3.30 finish but an earlier train would mean an unseemly dash from the theatre.
  2. jmhopton
    if we're asking for info. could someone please explain to me who everyone is at the docks in Act 3? Who are the ladies dancing? Are they ladies or are they courtesans for the soldiers? I'm only unsure because they only have knee high dresses (though of course long dresses would make dancing difficult!) Also why are they there? have they just come to ogle the latest prisoners or do they want to help? Also the soldiers; what function do they have? There seems a lot if they're just to police a few half starved women. I've been wondering for a while. It may be explained in the programme but I don't buy them and the Southport cinema info just gave casting and no plot details. (I think they'd missed a page!)
  3. jmhopton
    Couldn't have put it better myself WoodlandGlade fairy! I too have not long got back from the encore screening which I possibly enjoyed more than the original screening as I was more tuned in to Sarah and Vadim and thinking less about the Osipova/Shklyarov performances which I loved. I think on balance now I am glad they filmed this performance and not the Osipova one (though it would be wonderful if they do that at the next Manon outing) Vadim is such a fabulous dancer with such elegant lines, especially in the fiendishly difficult opening solo I could watch him all day (Vadream indeed!) I did like Hirano's Lescault. However I did miss the bit of business in the first act when Lescault initially challenges the beggar about stealing the watch. However, I loved his drunken dance even though it was a bit OTT. The cameras really picked up his bemused expressions wonderfully. The lady who was with me who hadn't seen the ballet before thought that was brilliant and said she'd love to see it again so lets hope for a dvd. She also said at the end it is now her favourite ballet! I still think Sarah's last act wig is too tidy and I realised later that Thomas Whitehead's expression reminded me not so much of Alistair Sim's Scrooge but the fabulous Jeremy Kerridge's interpretation of the same character in Northern Ballet's amazing Christmas Carol (if you haven't seen it get the dvd if it's still available) The final pas de deux reduced me to tears (again!) and despite the sunshine outside I wouldn't have missed it for anything and only regret they don't do Encore Encore performances. I could watch it every day and hope the dvd isn't too long in coming. can't wait for next Saturday and seeing Francesca with Campbell as Lescault.
  4. jmhopton
    This seems very strange to me. What is the connection with Balletboyz? Are they going to be playing the male roles? As it is going to be filmed for cinema relay why is another filming needed, particularly one abroad? Why is it being filmed this summer and not shown until Christmas next year unless 2019 is a mistake? I suppose I've been criticising the BBC for not showing full length productions and now they are so I shouldn't complain but I hope it's not going to be an 'updated' Macmillan but I suppose Lady Macmillan wouldn't allow anything too non-traditional.
  5. jmhopton
    It is in the Odeon cinemas on September 30th. The 2 cinemas I checked (Preston and Blackpool) are showing it at 6.30pm. For anyone who loves traditional ballet it is a definite must see. As jmb says it has brilliant music, sets and choreography and is a great light hearted ballet, much underrated. I wish a UK ballet company would do it as it has great corps dances and brilliant roles for 2 leading couples. I have a dvd of Australian Ballet doing it from a while back and also a transferred video to dvd of National Ballet of Canada with Karen Kain. I think Hynd is a much underrated choreographer and I would like to see more of his work.
  6. jmhopton
    Have slightly mixed feelings about the Bolshoi tour which is pretty amazing for me as I used to think the Russian companies the best in the world. It was seeing the Kirov (as it was then) in Manchester and Birmingham in 1990 that really started my huge enthusiasm for ballet and throughout the 1990s this excitement with them continued mainly because of dancers like Altynai Asylnuratova, Igor Zelensky and Faroukh Ruzimatov (remember his glittery hairnet when he was Solor?) and the sublime conducting of Viktor Fedotov. Then in 1999 the Hochhausers had a big Bolshoi season at the Coliseum and I was introduced to new dancers; Sergei Filin, Nina Anashiavilli and Svetlana Lunkina. Gradually I grew to prefer the Bolshoi, helped by ballets like Bright Stream and Pharoah's daughter, culminating in the arrival of Osipova as an amazing Kitri in 2005 and then that fabulous season at the Coliseum in 2006 (or 7?) when she debuted Don Q with Vasiliev and Acosta debuted Spartacus. A wonderful sellout season and not a Tchaikovsky ballet in sight! More recently there have been wonderful performances by Lantratov, Krysanova and Tikhamarova. However, now I find their rep. a bit dated and lacking in emotional challenges when compared to the RB. I was watching a dvd of Flames of Paris recently and though I love the ballet and the performances when it had finished I put on Winters tale and thought that's better; some meaty emotion to get my teeth into. The ballet as a whole isn't a huge favourite but I think my tastes have changed and I now prefer to be more challenged when watching and not just enjoy the technical spectacle and fireworks of ballets like Flames, Don Q and Corsaire. Also this coming year looks like being hugely expensive at the ROH and I don't know how much more I'll be able to afford in the summer. That said I will have a 'wish list' which will include Bright Stream Pharoah's daughter Marco Spada Possibly the new Nureyev though I don't know that much about it to say I'd definitely like to see it. Taming of the Shrew (I know they did it last time but I didn't see it thinking I wouldn't like it then saw it at the cinema and loved it) Definitely not Don Q Flames of Paris Bayadere Swan lake as we have (or will have by then) seen these comparatively recently with the Bolshoi themselves or the Mariinsky and RB
  7. jmhopton
    No, it happened at the Odeon at Preston too. I wondered what it was so it's good to have an explanation. I thought for one horrible moment it was the producer trying something 'artistic' and hoped it wasn't going to happen throughout and was relieved when it was obviously a one-off mistake. I have slightly mixed thoughts about the performance as a whole; mainly that it didn't seem to move me as emotionally as the Osipova/Shklyarov performances I saw live at the ROH. I was trying to analyse why and I think a lot of it was down to Sarah Lamb's performance. it was beautifully danced but I didn't get the raw emotion off her I did off Osipova, consequently I didn't seem to get as emotionally involved in the performance itself. I wished when I saw those performances that they were the ones to have been filmed and, on the whole, I still wish that though Vadim's performance was superb as always; his line, elegance and yet passion made for a beautiful interpretation and I found myself wishing (not for the first time) that he had danced the role with Osipova. I think they would have been breathtaking together. I know it's a silly, small thing but I found Sarah Lamb's wig in the last act too smart and styled. it looked as it she'd just had a 'Peter Pan' haircut whereas Osipova's was wild and somehow 'uglier'. Macmillan was never afraid of having his ballerina's look 'ugly' when he thought it necessary and I think he would have approved of Osipova's look more than Lamb's in the last act. Also I didn't feel the raw emotion in the gaoler's scene that I felt with Osipova. The final pas de deux was breathtakingly spectacular, though as always I wondered what happens next to De Grieux, alone in a swamp in a foreign country with the body of his only true love and wanted for murder! I don't want to sound negative. I did really enjoy the performance and I want to go to Southport and see the encore on Sunday as Preston cinemas aren't showing it (anyone from the Forum planning to attend?) I loved Hirano's Lescault as did the ROH audience. He got more laughs in his second act solo and especially the pas de deux and it was great to see the close-ups of his bemused, fuddled expressions. I particularly loved the hand gesture for Mendizabel to raise her leg to make it easier for him to grasp and the shot of him and Gary on their way to the dressing rooms arms round each others shoulders after Gary had killed him! James Hay's Beggar chief was brilliant and Mendizabel and Clare Calvert were really good but I didn't like Thomas Whitehead's gaoler as much as either Gartside or Avis (especially Avis. I wish Gary could play Monsieur GM and the gaoler in the same performance). The close ups of Whitehead's expressions didn't do him any great favours. For some reason it reminded me of Alistair Sim as Scrooge! Anyway, another great performance and a great international statement that (for me at least) the RB is the best company in the world for being able to combine amazing technical dancing skills with equally amazing acting skills and where even the humblest beggar or harlot is constantly in character and plays their part in contributing to an amazing performance.
  8. jmhopton
    Interesting to see Osipova and Hallberg doing Anthony Tudor's The Leaves are Fading and a new commission by Ratmansky. It's a pity Tudor isn't performed more. I don't know if I've ever seen any of his work so now is my chance and danced by Osipova and Hallberg as well! As it's her programme do we assume she will be dancing it at every performance?
  9. jmhopton
    But that is what I mean; the BBC show a Macmillan doc but it is SkyArts that shows a 'new' full length performance of Manon, which incidentally seems to be the POB version recorded a year or 2 previously with Aurelie Dupont. Just new to them but at least they are showing full length performances as this comes only a week or so after showing Osipova's Fille and Northern Ballet's Casanova. I know they are an arts channel and the BBC has to show a full range of programmes but I do think both opera and ballet performances fare very badly on the BBC and they do have BBC2 and BBC4 to show performances on.
  10. jmhopton
    Judging by all the rehearsals/insight evenings I've seen online (a brilliant idea for us non-Londoners) I get the impression that ballet coaches put as much emphasis on the acting element of a performance as on the technical aspects. Indeed, I'm sure Christopher Saunders said as much in the 3 gents Manon rehearsals when he was emphasising their characters as much as the technique. Also Christopher Carr and Lesley Collier have said something similar and suggested different scenarios that characters might be feeling. I especially like Lesley Collier's suggestion that the girl in 2 Pigeons could be fidgety because she 'might be wanting to go to the shops with her friends'! Obviously knowledge of the steps and technique is needed to give the dancer confidence to know what they're doing and where they should be on the stage but after this has been mastered then individual character interpretations are equally important to make the ballet come alive and the audience engage with that character and not just be a series of steps. I hadn't heard before about Nicholas Hynter possibly being involved as an acting coach. It is an interesting idea but I think the ordinary RB ballet coaches are very aware of the need to develop acting skills and not just for the principals but all the way down the cast to the humblest beggar or most obscure prostitute or gent. To me, this emphasis is what makes RB productions of story ballets among the best (if not the best) in the world today.
  11. jmhopton
    I find it difficult to find any superlatives that haven't been covered by others about last night's performance (especially Bruce's wonderful prose!) Like penelopesimpson I felt I was at a truly memorable great performance, one I will remember and treasure for many years. Everyone and everything seemed to come together to make for a magical unique evening. it was just a pity this brilliant performance wasn't captured on film so the whole world can see the Royal Ballet is one of the top companies (if not the top company) in the world. However, I'm sure that Lamb/Muntagirov will also do this. It's just a pity both could not be filmed. I went to the stage door afterwards to see them and congratulate all concerned. there were about 25 of us waiting there. I asked Joseph Sissens for his autograph and he seemed a bit shy and embarrassed so I didn't like to ask him for a photo too. (Is there some sort of protocol whereby you don't approach corps de ballet for autographs or is he naturally shy?) Incidentally, his autograph was the smallest I've ever seen! Naghdi and Sambe were lovely as always. Yasmine very pleased she got 2 shows this time! When the 2 principles came out they looked tired but were very pleasant; smiling for photos and selfies and signing. Osipova seemed to have a bit of a cold. You wonder how she could have given such a performance if she was feeling a bit under the weather but I suppose the training kicks in. All in all a very pleasant end to a wonderful evening.
  12. jmhopton
    I saw this recording but rather gave up on it as I was disappointed with the rest of the cast; Monsieur GM, Mistress, Gaoler etc. It seems no one but the RB appreciate the need to be in character all of the time and that a ballet like Manon especially depends as much on the commitment of the subsidiary characters as the principals.
  13. jmhopton
    I just bought a ticket for the Osipova/Ball matinee on June 15th for £38 amphi row H which must have recently become available as they were sold out when I tried to book last week and I was forced to buy an evening performance which isn't good when you have to pay to stay over. There is still one seat available next to me at this price!
  14. jmhopton
    Yesssss!!! Nunez/Muntagirov/Osipova in Bayadere. My dream casting and to be filmed too. I've always wanted to see Osipova/Muntagirov together and to be in Bayadere... My cup runneth over!!! Also Osipova/Coralles/Nunez; another fabulous casting. November is going to be expensive and Christmas presents severely curtailed! Interesting Osipova/Nunez are alternating Nikya and Gamzatti which seems contrary to recent RB policy. Perhaps it's just as well Mayerling casting is rather uninspired as I couldn't afford 2 lots of brilliant casting. Re Mayerling broadcast I'm disappointed Bonelli/Morera aren't being filmed as I thought they were terrific in the last run. Finally Muntagirov/Nunez also being filmed in Nutcracker; Christmas has just come early. Like Bruce I'm disappointed about the lack of casting for Symphony in C but as I can't book until public booking July 25th perhaps more will be known by then. A shame there is no matinees. if I go at all it will probably be Nov 23rd as Hayward/Ball are dancing and weekends are better for me. Interesting Kevin seems to be splitting up some partnerships; no Hayward/Campbell or Sambe (perhaps to do with Campbell doing the Australian exchange) but no Naghdi/Ball either. Still it makes for interesting dynamics.
  15. jmhopton
    According to my Sky box it is the Osipova/Macrae la Fille. Also Thursday 19th April at 6am there is a modern ballet, Rain, music by Steve Reich Northern Ballet's Casanova is still available on SkyArts catch up as is the Mariinsky Bayadere with Shklyarov. However, where is the ROH 'partner' the BBC in all this? What a disappointment Tony Hall has been to opera and ballet lovers. it is ironic that the former ROH boss goes on to be Director General of the BBC and there has never been so little live opera and ballet on the BBC. Yes, there are documentaries but scarcely an annual appearance of actual filmed performances. It's not even as if they have to go to the expense of filming them as they're already filmed (assuming they use the cinema broadcasts) .
  16. jmhopton
    Just see that Australian Ballet are doing their Ronald Hynd's Merry Widow at cinemas on Sept. 20th. It's one of my favourite ballets but I've never been able to see it live as no UK or visiting Company seems to do it (though I have 2 recordings of it; one of them Australian Ballet) so it will be great to see it on the big screen. Next best thing to a live performance. I don't know how many cinemas are showing it but it seems to be at most of the Odeon cinemas.
  17. jmhopton
    Well... I was just blown away with last night; still haven't really recovered. I was nearly in tears by the end and still very emotional when I phoned my husband after the performance (Have to stay overnight for evening performances). If that was Shklyarov's debut performance can't wait to see his next one (which I am lucky enough to have a ticket for). I thought Osipova gave a great performance too, very nuanced and passionate. Like earlier reviewers I too thought the 1st act transition between being passionately in love with De Grieux and fallsing for the sleazy 'charm' of Monsieur GM a bit too rushed to be credible but you really saw her struggle with her emotions. She had enough of her brother in her to be seduced by the material trappings of wealth but unlike him she had to sell her own body to achieve it and the struggle definitely showed. I was lucky enough to have a stalls circle seat fairly close to the stage and not too expensive (£36 I think) so could see virtually everything. I found this works well for Macmillan ballets as I think it is better to get up close for them as there is so much going on both in the corps and personal emotions of the principals it is better to have this and sacrifice not seeing the occasional move in the corner of the stage. When Osipova was saying her 'farewell' to De Grieux lodgings she sat on the bed for at least a couple of minutes, rather than just touching the curtains to highlight her struggle. Similarly earlier when she had pulled up her dress to entice him she quickly pulled it down again and physically shrank away from him as if she'd realised what she had done. In the last act she spat on the gaoler when she realised he was dead. There are many more details I'm looking forward to see at the next appearance. Great performance by Sambe after what seemed to me a bit of a shaky start; I thought the landings of some of his first jumps didn't seem quite right but was he making his debut too? Naghdi's performance too got going more for me in the second act when I thought she came into her own more. In the first act I kept seeing Laura Morera's performance as the mistress which I think is pretty definitive. Plaudits too for Gary Avis as Mr GM and Bennet Gartside's gaoler (though I think on balance I prefer Gary Avis' interpretation.) I thought the final pas de deux was terrific (though it might be by that time I was so emotionally wrung out I would have cried if they'd danced a minuet (!)) Shklyrov's final silent scream was so heartfelt I nearly screamed with him! An incredible performance and one I felt privileged to attend.
  18. jmhopton
    For me, seeing it at the cinema, the mixed bill was a mixed bag. I quite liked the Macgregor though the rather Buddhist like costumes were a slight distraction but the music and choreography were quite lyrical. Dancers like Francesca were underused; you'd hardly know she was there, but it was quite watchable though quite short. Felt I'd need to see it again to really appreciate it. Sets and costumes for Age of Anxiety were wonderful, especially the finale where Tristram Dyer was walking towards the New York skyline in sunrise. Dancing was splendid; Campbell, Gartside, Lamb and Dyer all brilliant. Good to see Tristram in a bigger role; haven't seen him in many solo roles. But I thought the Wheeldon totally dreadful; didn't like sets, costumes, music or choreography. Also it went on for far too long (though I realise that was more to do with the choice of music than Wheeldon's choice). I found the much discussed costumes really off-putting; white tights for both sexes and a sort of white bra for the ladies (though I quite liked the long skirts worn by some of the ladies) but it was the really ugly broad black straps they both had on their upper bodies I really hated; looked like very thick strips of black elastic which I found very distracting. However fashionable this designer is it didn't do anything for me. I thought I might appreciate the ballet more if they just danced it in the practice costumes we saw at the rehearsal. At least they wouldn't be a distraction. Also as they had their hair flattened it was difficult to tell who was who so I spent time trying to sort out who was dancing (trying to distract myself from the ugly costumes), then spent the rest of the time going thorough which Ashton ballets I'd rather be seeing (answer; any of them!) Debated about walking out but it seemed a bit wimpish for a ballet lover so reluctantly stuck it out. Hope if it is ever staged again it is last then I will walk out. However, the chances of me paying to see this ballet again are zero (unless it's staged with 2 Ashton ballets)
  19. jmhopton
    Fonteyns centenary is 2019 so there may be celebrations in the 2019 season.
  20. jmhopton
    I must admit much as I'm looking forward to seeing Bayadere again (especially with the hope of some exciting debuts!!!) I don't like the RB version and wish we could acquire another one. I have fond memories of going to see POB's version every day for a week at the Lowry about 12 years ago and this is possibly by favourite version though I like the Bolshoi and Mariinsky as well. I'm not a big fan of the reconstructed final act (though I know it makes more dramatic and plot sense to have it). However, for me you need to leave out too much to accommodate it though at the time the RB acquired it in the 80s I think there may have been issues of orchestra overtime for ballet with the powers that be trying to get programmes finished in 3 hours (not something opera seems to have to bother with). Perhaps it may be possible to review the ballet and put back some of the omissions such as the Indian dance and Nikyia's 'happy' dance at the betrothal when she thinks Solor has given her the flowers. Also, is the slave pas de deux missing? There is no elephant or parrots and the procession that starts the second act which I usually love has hardly anyone in it as there are no Indians and the bronze idol is in the last act. Don't get me wrong, I'm still really looking forward to it. It's been missing for far too long but I would like to see it amended somewhat.
  21. jmhopton
    Am I imagining things or did the RB used to announce Autumn casting with their yearly schedule up to a few years ago? Does anyone have any idea when Autumn casting will be announced? In time for Premier friends booking on May 29th? Anyway, it's fun to speculate. Perhaps it's had to be delayed these days because of the embarrassment of riches on offer. I agree with bridiem it must be nearly as difficult for KOH to choose dancers as it will be for us to choose performances. I think it's a good job there aren't any Russian Companies coming this summer as it will take ages to save up all I need to see the RB (and even then I'll probably need a substantial lottery win to see everything I'd like!) Incidentally I too am pleased to see the return of Frankenstein as I really enjoy it as a ballet and might even see it at the ROH as well as the cinema relay. For me it's major flaw is not making more of the actual creation scene. Surely it is the pivotal moment of the book and should be of the ballet? It's great to see the creative 'technology' and wonderful set but there should at least be a pas de deux between Frankenstein and the Creature when the latter is expressing his wonder to be 'alive' and then gradually looking for love from his 'creator' and Frankenstein himself expressing his growing horror as to what he has done and rejecting the Creature, resulting in the Creature then exiting hurriedly in great distress. This would not only explain the creature's subsequent actions but make the ballet more dramatically credible.
  22. jmhopton
    Yes bridem, you beautifully sum up my reservations about the ballet. I hadn't really got round to articulating them but they are just this; the lack of clarity about relationships. And the ending is more downbeat than joyful which it should be given the amazing revelations in the last act. I think it is ok as a ballet but is never going to be a favourite. I still think there is too much angst in the first act, too much divertissement type dancing in the second and the third act is too rushed. Take 5 minutes off each of the first 2 acts and put them on the third and make relationships clearer and I think the ballet would be a lot better and easier to understand. (IMO) Having said that there have been some wonderful debuts/performances in this run which help to make up for any possible shortcomings in the ballet itself.
  23. jmhopton
    Well now I've had time to look at the full press release as well as the performance dates I can give a more considered opinion of the new schedule. First a request to Mr O'Hare: please, please, please could we have Muntagirov in the cinema Bayadere!!?? I know there are rumours that he may be dancing it but I have wanted to see him as Solor since he first came to RB and to see him at the cinema (and possibly a following dvd; one can only hope!) would be really brilliant. it would also be wonderful if Osipova was cast with him as I have long wanted to see them together but it's never happened. Also could we please have more variety in casting the cinema broadcasts, giving some of the more recent principals/soloists a chance. For example I would love to see Hayward/Sambe in Don Q and Nagdi/Ball in Romeo and Juliet. Just examples, I'm sure others would have other ideas, but it is frustrating for those of us who depend on the cinema broadcasts to see the same casts again and again. As I've said a million times, those who don't know the dancers won't care who's dancing and those who do would like to see different dancers. It's great we have some Ashton and really pleased to see Patineurs (keep seeing Sambe as the Blue Skater!) and Pigeons (one of my favourite ballets, have nearly worn out the dvd!); would love to see Hayward and Nagdi in the lead. Just slightly disappointed there isn't an Ashton evening as such; pity Patineurs or Month in the Country isn't with Pigeons. Also disappointed there isn't more different Ashton. Given his huge output it would be great to see something that hasn't been staged for a while. However, intrigued to see the RBS doing Pigeons. That is a lovely idea and a great ballet to allow many to be on stage as a friend or a gypsy as well as 4 leading roles. Re the lack of Swan Lake I've been wondering that as the RB seems to like to film new productions as much as possible to give them greater exposure perhaps this is another reason for it being postponed until later; so it can be filmed again. Just been struck by how often Don Q, Winters Tale and Frankenstein have been filmed for broadcast; it seems more than other ballets. I was particularly annoyed this season when Winters tale was filmed again and not Sylvia which hasn't been filmed for ages. Anyway, really pleased generally with the new season. For the first time in 3 years I'm not disappointed with the rep. The only problem will be how to afford all the performances and debuts I'm sure I'll want to see! The lack of Onegin is a disappointment but we must leave something for the 2019 season so fingers crossed see that then and also possibly Fille and Sylvia (Hopefully Sylvia will be filmed next time, preferably with Vadim) Also as 2019 is Fonteyn's centenary there should be a celebration of this as nothing has been mentioned for later this season.
  24. jmhopton
    Alison, Romeo and Juliet appears to be at the end of the season as it's being filmed for cinema release 11th June 2019. Yes I too am a bit surprised as to no Swan lake repeats now I've had time to think about it but with so many other treasures on offer I don't really care!
  25. jmhopton
    Fabulous news!!!!! Several items from my wish list including Bayadere (which ticks all the anniversary boxes of Petipa, Nureyev and Fonteyn), 2 Pigeons, Patineurs, Month in the Country and Winter dreams. Like Anna C above my only disappointment was no Onegin but I suppose we have to leave something for another season! Some great programmes filmed for cinema as well. Where are the details; dates etc? Do they follow later?
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