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Found 2 results

  1. The Viviana Durante interview in today’s links launches this programme in February, with dancers including Durante and Begoña Cao performing Duncan’s Dance of the Furies, Ashton’s Five Brahms Waltzes and a new work. More here: https://www.barbican.org.uk/whats-on/2020/event/viviana-durante-company-isadora-now
  2. Just back from seeing this. An interesting evening but first a few gripes. I hadn't been to The Pit before and was disappointed with a number of aspects. The lighting was virtually non existent when entering the auditorium and very difficult to find seats, with tiny seat numbers. Many people struggled. I mentioned how dark it was to an usher but it seemed it was intentionally dark to help create an appropriate atmosphere. Adding the extra row AA seriously compromised the view for me in row B. Rows AA and A are at the same level and the step up for row B is minimal. With just row A I imagine the view would have been ok and I'll look forward to seeing what I missed when the performance is available on line. It didn't help that a guy in row AA kept his hat on throughout the performance. The Stravinsky and Martin music were recordings and I found the Stravinsky particularly distorted. The House of Birds was much better with a live pianist. My final gripe is that the extract from Danses Concertantes was pretty minimal - little more than a couple of minutes. I think the audience was pretty surprised/disappointed that it was over so quickly. That said I'm very pleased to have gone. The extract from House of Birds was good and I enjoyed seeing Lauren Cuthbertson, Thiago Soares and Sayaka Ichikawa in the lead parts. The setting also worked well and I guess would have been great from row AA. Given how short the extract from Danses Concertantes was, it's difficult to say very much. Again good to see Akane Takada with Jose Alves if only briefly - I see Benjamin Ella is dancing the performances on 20 and 21. The highlight for me was Laiderette performed in full - very disturbing but fabulous to see Francesca Hayward make so much of the role in such an intimate setting. Thiago Soares was again very strong. At the the end of the evening there was a 15 minute panel discussion and it was fascinating to hear how Laiderette was notated from a black and white film although at the end the questions did rather fall into the deferential 1950s BBC style 'Is there anything you would like to say Minister'. The panel discussion features at every performance. I very much hope the ROH will put on such an evening when the Linbury reopens but with full ballets or certainly more generous extracts. With all the work gone into recreating Laiderette it would be good to see it performed in a more comfortable setting with significantly better views.
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