zxDaveM

14 hours ago, Lizbie1 said:

I'm bringing it up on this thread because people have mentioned her above as an exemplary Giselle and I'd like to know if seeing her earlier would have shown me something else - those who've seen her throughout her career might have an interesting perspective. Also, I like to see minority opinions aired so I shouldn't just leave it to others to be brave.

 

I should probably delete my account now!

On Cojocaru: in the RB production, I remember one time during the 'mad scene', she looked out into the audience whilst plucking the imaginary petals, and a tear rolled down her cheek. That just set me off, I can't deny.

Oh - and don't you dare delete your account! 🙂

20 minutes ago, Roberta said:

 

Also it used to be the case that dancers in white acts painted themselves in something called 'wet white'.

Was that the stuff that gave them lead poisoning?

Just now, PeterS said:

? Bruce Springsteen's Giselle ? 🙂

LOL

Giselle leaps up onto the stage from the audience, and all that

1 hour ago, PeterS said:

It is a bugbear of mine that contemporary choreographers spend months in the studio creating masterpieces that are so poorly underlit that the paying audience can only guess at what they are watching.

I share your woe! There's 'atmosphere', and then there's dancing in the dark. In black costumes. With a black set...

10 hours ago, alison said:

 

BTW, any reports on today's casts?

I went to the Saturday evening performance and found myself once again astounded by Erina Takahashi. She has been dancing with ENB from virtually the first time I saw them, and just does not seem to age! (A picture in the attic?). Her performance was emotionally rivetting, and technically enthralling. Good rapport with her Albrecht, debutant Daniel McCormick, and ably supported by the rest of the cast, including a compelling Emily Suzuki as Myrtha, and other-worldly Zulma/Moyna showing from Ivana Bueno and Francesca Velicu (who also did a very fine peasants pdd with Shunhei Fuchiyama, both making debuts in the roles) respectively.

A most enjoyable and satisfying performance all round.

1 hour ago, RobR said:

Well, that’s a perspective but I have to say that I positively prefer the Scarlett production. 
 

I have never missed the tutor dancing with the children, Siegfried’s friends getting ‘tiddly’, the six dancing princesses …. Oh, I could go on but ….. 

Yes, the National Princesses leading their national dancers is way better than having 6 prospective brides clashing in the same dress!!

My only problem (a small one) is the ending. But then many other SL's falter there - so much plot to get into a short stretch of magnificent music

11 hours ago, Finnbarr said:

Madison  Bailey  is a really characterful Clara. What's the percentage chance of a Clara becoming a principal?

 

are the angels on pointe under their robes?

 

 

I think Francesca Hayward was the first since Alina Cojocaru (this century anyway). Since then they have come more frequently it seems. Used to be that the Rose Fairy's went on to dance SPF (and become Principals) rather than Claras

I very much doubt the angels on point; they are supposed to do tiny steps to move around, without disturbing their 'robes' to look like they are floating

ticket now spoken for

6 minutes ago, bridiem said:

 

It was a bit difficult to see at times, but (given that I already know the story!) I really liked the lighting - a reminder that this is actually all happening in the dead (literally) of night, but lighter when showing the Wilis in their element.

fair point 🙂

Have to rehome my Manon ticket for the 3rd Feb at 7pm (Naghdi/Bracewell cast) - SCS D36

Can't go myself, as I'll be in Wales

Cost is £14. Send a PM, and post here to say so, so we can make the exchange arrangements

2 hours ago, Mary said:

(No whooping, popcorn - it was being touted but with few takers-  phone problems or standing up, near me anyway - a pleasant relief)

I did hear a few whoops, but that doesn't bother me a lot - but I did get a strong whiff of popcorn in act 2. What ARE they thinking of!! Atmosphere shredding, or what!

No probs with anything else as in the balcony front row, scrunched up to peep through the 'box' created by the board and the rail (good view - but my back not thanking me this morning!)

As to the performance - what a pleasure! Katja Khaniukova is a dancer I like a lot, and apart from the dreaded 'hops' on pointe in Act 1, was glorious. Giselle is probably my favourite ballet, and it's always great to see for me. And I do like this production, no denying.

One slight bother though, was whenever the Wilis were chasing anyone but Albrecht, the lighting went into 'save mode', so it seemed, making it quite difficult to see.

45 minutes ago, Rob S said:

I wonder if the 'excessive bright' will be from people filming it on mobile phones😄

saves on the leccy bill for lighting...

1 hour ago, Rob S said:

 

It did indeed say the Linbury but as the seat can't be chosen (at least in advance) I assume we stand on the stage with them

I imagine all the seats removed and the dancers move amongst the audience, or have designated areas that the audience move around.

Sounds a bit like the piece he did at Print Works (in SE London) 'The Dreamers Ever Leave You' which was terrific. Though that was in a HUGE space, so not sure how it will pan out in the confines of the Linbury stage/audience area

1 hour ago, Geoff said:

Um, a film star tap dancing en pointe:

 

https://www.instagram.com/reel/C12OmRoJS5p/

 

 

The insurers of those $1m legs must have watched that from behind the sofa!!!

Yes, Southern trains run into Victoria (platforms 9-19) this weekend coming

11 minutes ago, art_enthusiast said:

 

I haven't really read any of Atwood's works fully, but I am familiar with the Handmaid's Tale, in particular the response to the show. I believe quite a lot of its audience started to fall away as the show went on, because it became too unnecessarily violent and graphic for them. It becomes exhausting and repetitive after too much exposure.

Once The Handmaids Tale left the original book, the TV series flagged a bit for sure. As so often happens (see Game of Thrones).

I do like Margaret Atwood's books (the ones I've read) - and Maddaddam currently in my 'to read' pile...

22 hours ago, Fonty said:

So many of us have commented on the slow pace of the music.  I am sure the original score is clearly marked with the speed at which the composer expected it to be played,

I personally don't mind it being played a bit slow - watching old performances it always looks rushed, and the steps half finished or clipped

I suppose it's what I'm used to

17 minutes ago, bridiem said:

 

The Darcey Bussell programme was excellent - a lot of lovely extracts of her dancing and more wide-ranging than I'd anticipated.

I finally caught up with it last night, and really enjoyed it. Just think, even as recently as the 90's there was ballet on Blue Peter for the country's youngsters, as well as on daytime TV. Plus of course, performances from ROH which seem to have dried up over the last few years, as they have gone to the cinemas or streaming instead

2 hours ago, Janite said:

I thought Raise the Red Lantern looked interesting.

It's a terrific piece, and would recommend it without reservation. They performed it back in 2008 at the ROH and I remember being blown away!

10 hours ago, TSR101 said:

I think it's clearly an example of using performances to maintain company morale. Nutcracker is a sure seller regardless of dancers, post-Christmas Nutcracker is even less pressure - no critic is going to mark the company performance on its post Nutcracker performances. It is therefore easy for the AD to give a hardworking dancer (who perhaps doesn't have it to become a principal in the RB) a go at SPF one of the most iconic roles in the entire ballet repertoire - the role that many ballerinas first grow up wanting to dance. Even for those who aren't given the opportunity this time round, it holds out the opportunity in the future for them - yes they might not get the promotion, might not get some of the other roles but they could get to do a SPF.

 

If you don't let 'hardworking dancers' 'have go' (jeez, what a mean-spirited comment for the season of goodwill), then you won't find how far they could go. There was one dancer that last year rather disappointed when given her 'go', but then this year absolutely nailed it. I'm sure we all have favourite dancers that never made Principal (or get there much later in their career than we'd like) because they never 'had a go' when it could have made a difference, but are very capable of doing some, if not all, Principal roles given the opportunity. There are some Principals I wouldn't go watch if given a free ticket, but I wouldn't wish to stop others enjoying their performances

2 hours ago, Emeralds said:

Those concrete padded steps are definitely not fun in winter, @zxDaveM! I must admit I prefer their counterparts at Sadler's Wells....and certain areas of ROH (must choose carefully). But do you mean you'd go to see a favoured artist if there was a stallls or upper circle seat reduced to padded concrete price? 😉 (Don't worry, you don't have to answer that or carry it out- just a hypothetical musing!) 

not fun anytime!

If I could get tickets anywhere else in the Coli at the upper circle price, I would jump at the chance... except for their Nutcracker. Wild horses, and all that

28 minutes ago, Emeralds said:

I see none of our members appear to be attending ENB Nutcracker after Christmas....

I find their current production an easy swerve, tbh. I went a few times when it was brand new, wasn't keen, so only went when a favoured dancer was in a lead role - but now, even that is too much (especially as my budget only stretches to the concrete, padded steps at the top of the theatre). A few of us were discussing this the other night, and agreed we probably wouldn't go again until this current production replaced

Just now, TSR101 said:

I would be v surprised if 24-25 does not include MacMillans R&J. Very popular, good for sales. 

I know - just my wishlist...

I too would like to see Onegin reappear.

Sylvia would be a joy, and Fille of course! - and tempted to say Ondine, but then I remember that when Ondine not on stage, it becomes rather tedious

More Balanchine - Symphony in C and Serenade well overdue

Always welcome is Symphonic Variations, and would love to see Symphonic Dances too

A season with NO 3-act MacMillan would bring relief!

Don't think I'm adding anything new to the list, but here's what is hopefully floating my boat (at least for the first 6 months of 2024)

ENB's Giselle (the Mary Skeaping version - worth a numb bum on those coliseum 'seats')

Alina Cojocaru's 'Strada', especially with Johan on stage too

Yasmine Naghdi's Manon and Odette/Odile

Fumi Kaneko's Manon and Odette/Odile

Sarah Lamb's Manon and Odette/Odile

The new choreography shows - could be fantastic (or rubbish!)

Requiem in the MacMillan triple

ALL of the Ashton triple bills

The Americans visiting -  NYCB and Sarasota Ballet

Scottish Ballet's 'Streetcar Named Desire'