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Found 7 results

  1. As I have not dared to travel to Amsterdam or even London since the start of this pandemic, I have had to make do with live streaming. Today I watched the Dutch National Ballet's performance of The Nutcracker and the Mouse King. This is the first i have watched it. The reason I had not seen it before is that I had assumed that it would be very much like English National Ballet's. I quite like Eagling's version for ENB but not as much as some of the company's previous productions and certainly not as much as Sir Peter Wright's for the Birmingham Royal Ballet and the Royal Ballet or Peter Darrell's for Scottish Ballet. I enjoyed this very much more than ENB's and I think that is because of Toer van Schayk's designs and the very straightforward story. I hope to see it on stage once this pandemic is over. I shall write a full review for Terpsichore as soon as I receive a cast list and photos from the company but here are some of the ballet's features. As in the Royal Ballet's production there is a prologue but in the Dutch version it shows Hans and Clara getting ready for their parents' Christmas party. Hans is making a thorough nuisance of himself splashing water about and annoying his sister and nurse. There is then a party in which Drosselmeyer distributes his presents to the kids including a Nutcracker to Clara, The Nutcracker actually walks and is the most ingenious nutcrackers I have ever seen. More like a robot than a toy. No wonder Hans takes an interest in it. When his sister is not looking he grabs it. Clara tries to grab it back with the usual consequences. The ballet is called "The Nutcracker and the Mouse King" and there is a reason for that, The rodent plays quite a big role in this ballet. He is part of the entertainment at the party. He and his fellow rodents fight the toy soldiers and he also shows up for a duel with the Nutcracker in Act II. He is even in the start of the snowflakes divertissement which is beautifully staged and beautifully danced. That scene ends with Clara, Drosselmeyer and the Nutcracker taking a selfie. Van Schayk's set for Act II is fascinating. It seems to centre around a circular feature which seems to represent a cat's eye in one scene and a black hole in another One way or another the mouse disappears down it and the Spanish, Arabian, Chinese and Russian dances follow. The Arabian dance seemed to be something out of Le Corsaire. Men were being led about in chains. The mirleton divertissement was also very different. It seemed to be set in ancient Greece and vaguely reminded me of L'Apres Midi d'un Faune and Papageno and Papagena from the Magic Flute but I can't think why. Today the leading roles were danced by Maia Makhateli, Jakob Feyferlik and Edo Wijnen. There will be another live streaming on Christmas eve at 13:00 our time with Anna Tsygankova, Constantine Allen and James Stout. It will set you back 12.50 euro which is less other leading companies charge for video streamings. I had a reviewer's ticket but I would gladly have paid to see the show. I see that this website is celebrating its 10th anniversary. I joined it in December 2013 so I suppose I am no rather an enfant terrible. Maybe a veillard terrible. Merry Christmas all.
  2. 2021 Live on Ballet TV Melbourne season New York Dialects (Balanchine: Serenade; Four Temperaments. Tanowitz: Watermark) Available to watch in real time at 7.15pm AEST Friday 11 June, or at your convenience until 5.30pm AEST Sunday 13 June Anna Karenina (Yuri Possokhov) Available to watch in real time at 7.15pm AEST Thursday 24 June, or at your convenience until 5.30pm AEST Saturday 26 June Romeo and Juliet (Cranko) Available to watch in real time at 7.15pm AEST Thursday 2 September, or at your convenience until 5.30pm AEST Saturday 4 September Harlequinade (Ratmansky reconstruction) Available to watch in real time at 7.15pm AEST Thursday 16 September, or at your convenience until 5.30pm AEST 18 September Priced at $25 each or $80 for the season package https://australianballet.com.au/the-ballets/live-on-ballet-tv
  3. Sarasota Ballet have announced a true 'Heritage' programme for their upcoming Autumn digital season and for which you can buy tickets to watch. I have a feeling that many hereabouts may want to do so as it features some true Ashton gems that we don't oft get to see hereabouts nowadays. PURITY IN MOTION (Program 1) 23 – 25 October 2020 FSU Center for the Performing Arts George Balanchine's Donizetti Variations Ricardo Graziano's Amorosa Paul Taylor's Company B BEYOND EXPRESSION (Program 2) 20 – 21 November 2020 Sarasota Opera House Sir Frederick Ashton's Birthday Offering Sir Frederick Ashton's Dante Sonata Sir David Bintley's The Spider's Feast ROMEO & JULIET (Program 3) 18 – 19 December 2020 Van Wezel Performing Arts Hall Sir Frederick Ashton's Romeo & Juliet Composed by Sergei Prokofiev
  4. Apologies to all having issues with the stream. OMG, Mayara Magri and Matthew Ball in Carousel. Steaming. 💐 💐 💐 Am loving the gala format which shows us pieces like this that I hadn't seen before. Also reminds me of the incredible talent of the RB, who don't all get the attention they deserve, like Sarah Lamb and Ryoichi Hirano (gorgeous in Diamonds) and Akane Takada and Federico Bonelli (so moving in Swan Lake). So grateful to be watching them all.
  5. This doesn't really fit under either television or cinema, so I thought it might be a good idea to have a thread for news of the increasing number of live-streamed performances etc. (although the Royal Ballet Insights/rehearsals have their own thread). From the "German" thread:
  6. This just in: The Importance of Being Earnest Free live stream on Saturday 2 April at 7.25pm (BST) If you couldn’t get tickets or want to see it again – the chance is here as we bring you The Importance of Being Earnest live and for free on the Royal Opera House YouTube Channel. After a sell-out run at the Linbury Studio Theatre in 2013, The Royal Opera has taken Ramin Gray’s production of The Importance of Being Earnest to the Barbican and now online. Oscar Wilde’s great comedy is refashioned in a suitably bold and bonkers way by Gerald Barry in this acclaimed operatic version. The plot alone is packed with comic potential. Jack and his friend Algernon are in a pickle: they love Gwendolen and Cecily, but there is confusion over who is called Earnest – a name of which both girls are very fond. The comedy unfurls through a wonderfully idiosyncratic score of virtuoso orchestral colour, giddy with cucumber sandwiches, smashed plates and megaphones. Gray’s production is surprising and inventive as it delights in the opera’s kaleidoscope of music and manners. For the anarchic-at-heart, this is definitely a must-see. So join us online on Saturday 2 April at 7.25pm (BST). The live stream of The Importance of Being Earnest is delivered in association with BBC Arts. The performance will be available to watch shortly after the live stream on the BBC Arts online page and the ROH website for 30 days.
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