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Posted (edited)
58 minutes ago, Sim said:

I am sure he wasn't being insensitive;  he probably just assumed that, 24 hours before the show, the official announcement had been made. 

 

Hmm, maybe, but I am not sure it was for him to make that assumption without checking first.

Although  I suspect  the ROH are  just being dilatory, there may be some good, or sensitive,  reason the ROH has yet to post the cast changes. So  I still think it is preferable for all concerned that  social media posts do not pre-empt  official announcements in such cases. 

It is not even as if Sambe were himself the dancer replacing anyone.

Edited by Richard LH

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Knowing dancers as I do, I am sure he does not have the time to trawl around the ROH's current website looking for cast changes.  

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1 minute ago, Sim said:

Knowing dancers as I do, I am sure he does not have the time to trawl around the ROH's current website looking for cast changes.  

 

or the inclination...

 

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Posted (edited)

No I mean this Alison :) 

Within the Golden Hour

Christopher Wheeldon

n's ballet to a specially written score by Ezio Bosso has been acclaimed as one of his finest works.

Credits

 

Choreography

Christopher Wheeldon

Music

Ezio Bosso and Antonio Vivaldi

Costume designer

Jasper Conran

Lighting designer

Peter Mumford

Performers

Conductor
Jonathan Lo
Principals
Concert master
Vasko Vassilev
Orchestra
Orchestra of the Royal Opera House
Edited by Xandra Newman
.

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14 minutes ago, Richard LH said:

 

Hmm, maybe, but I am not sure it was for him to make that assumption without checking first.

 

 

 

Dancers don't have to make assumptions or check first, they are right in the middle of all the action. They are the first to know if/when they have to replace a colleague. 

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2 hours ago, Richard LH said:

Actually I also think it is rather  insensitive of Sambe to post this before it has been officially announced. 

 

So it’s insensitive for Sambe to post about a confirmed cast change involving dancers he knows well; but when people speculate on a public forum about whether a dancer recovering from injury will make it back in time and wonder who his replacement might be, that’s just part of being in the public eye?

 

Please forgive me my confusion!

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I belleve that there are rules concerning what dancers may, or may not, post - in terms both of information and images. But, sometimes, their enthusiasm gets the better of them and regulations get overlooked.

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11 minutes ago, capybara said:

I belleve that there are rules concerning what dancers may, or may not, post - in terms both of information and images. But, sometimes, their enthusiasm gets the better of them and regulations get overlooked.

 

In which case, he'll probably get a bollocking and we'll all move on.  But, when it boils down to it, that's nothing to do with us and the world will go on turning.

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1 hour ago, Richard LH said:

 

 

It is not even as if Sambe were himself the dancer replacing anyone.

 

But he is dancing with the person concerned

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2 hours ago, Sim said:

I am sure he does not have the time to trawl around the ROH's current website looking for cast changes.

Although he does seem to have time to use social media to announce it himself.... 

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7 minutes ago, Richard LH said:

Although he does seem to have time to use social media to announce it himself.... 

Is this really such a big deal?  Thanks to Sambe for keeping his audience informed.

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7 minutes ago, penelopesimpson said:

Is this really such a big deal?  Thanks to Sambe for keeping his audience informed.

 

And laughing....the clip Beatriz Stix-Brunell did earlier of him and Giacomo Rovero had me chuckling for some time.....obviously I do hope that the 10 seconds it took them to do it doesn't affect their training

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1 hour ago, Lizbie1 said:

So it’s insensitive for Sambe to post about a confirmed cast change involving dancers he knows well; but when people speculate on a public forum about whether a dancer recovering from injury will make it back in time and wonder who his replacement might be, that’s just part of being in the public eye?

 

Please forgive me my confusion!

Perhaps rather insensitive, yes, or perhaps a bit thoughtless. I don't think you need to be confused.. the distinction surely is that the cast change, if correct, has yet to be officially announced, so not "confirmed", and the change information may be sensitive in terms of timing, or even  inaccurate, and he is a member of the Company and presumably subject to the sort of protocols Capybara indicates. I would have thought that anyone who is  on this Forum talking about a dancer whose has a confirmed injury is reasonably free to speculate about its ramifications, subject to the normal sense of decency and provided they are not themselves Company members (you would not expect a Company member to speculate publicly about other dancers in the Company).

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19 minutes ago, penelopesimpson said:

Is this really such a big deal?  

No not really! Just a passing thought on my part. I admit to being disappointed for Akane and concerned about her, so probably feeling rather disgruntled all round...

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Are you going to 'unfollow' him in disgust? 🙄

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47 minutes ago, Richard LH said:

Although he does seem to have time to use social media to announce it himself.... 

Posting something on Instagram takes about 15 seconds.   Trying to navigate the ROH website takes much longer than that.  

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6 hours ago, Nogoat said:

Triple Bill – Thursday
What completely by-passed me last time was the sheer amount of time Osipova spends on stage. Apart from the two costume changes, she is constantly there - and at the centre of the action as well. Was an amazing feat of sustained, intense and captivating acting and dancing – she might well be playing the role of a Gorgon, but as a dance/actor she is an absolute Titan.


 

I agree Nogoat Osipova is a Titan and Hirano a god.

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1 hour ago, Richard LH said:

Perhaps rather insensitive, yes, or perhaps a bit thoughtless. I don't think you need to be confused.. the distinction surely is that the cast change, if correct, has yet to be officially announced, so not "confirmed", and the change information may be sensitive in terms of timing, or even  inaccurate, and he is a member of the Company and presumably subject to the sort of protocols Capybara indicates. I would have thought that anyone who is  on this Forum talking about a dancer whose has a confirmed injury is reasonably free to speculate about its ramifications, subject to the normal sense of decency and provided they are not themselves Company members (you would not expect a Company member to speculate publicly about other dancers in the Company).

 

So in short we should hold others to a stricter standard than we do ourselves. Got it!

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1 hour ago, Richard LH said:

.. the distinction surely is that the cast change, if correct, has yet to be officially announced, so not "confirmed", and the change information may be sensitive in terms of timing, or even  inaccurate,

Richard, if you are suggesting that nothing is official until it appears on the ROH website, then we are living in cloud cuckoo land. The website is a mess and has been so for months. The website does not contain all cast changes, not even ex post facto - we all know that. We weren't even told what were the cast changes in the cinema broadcast - just that there were some. Big help, especially with those costumes! I suggest the media posts of the dancers are not just desirable, but positively necessary All power to them. The idea that Sambe might face criticism is absurd - the criticism should be directed to the website managers for their culpable slowness.

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So sorry to read Richard LH you are feeling so disgruntled and so disappointed you will not get to see Akane Takada in the roles you had hoped to see her and therefore have found it so hard to read Sambe's IG post announcing he is dancing with Fumi Kaneko tomorrow.

Please rest assured the dancers replacing Takada tomorrow are equally outstanding.

 

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Plenty of seats still available for tomorrow's matinee. I might be able to sit in a different seat for each part!

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The local Curzon was only half-full for the live filming of this. How different from when one of the Classics is performed!

 

I am a rather naïve and unsophisticated lover of ballet. As such, I myself am most fond of the Classics, and haven’t generally found “abstract” i.e. non-narrative ballet that interesting. So, looking at the descriptions of the three ballets being performed, I thought I would probably appreciate Medusa and Flight Pattern, but find Within The Golden Hour something of a challenge. I couldn’t have been more wrong in my prediction!

 

I was bowled over by Within the Golden Hour. I marvelled at the amazing “logic” (I can’t think of a better word to describe my impression) of the choreography. Every movement of the bodies, arms, and legs, seemed to be part of a perfect moving pattern. Nothing out of place, nothing unnecessary, like a composition of Mozart as described by Salieri (in the film Amadeus). And all fitting in so well with the very beautiful musical score. I must admit I had never heard of Ezio Bosso before, but I will be looking out for anything by him from now on.

 

I had of course heard of Christopher Wheeldon. I have seen Alice also through live transmission, which I enjoyed, but to nowhere the same extent that I appreciated WtGH. I will bow to the superior taste of the more knowledgeable people on this forum if I am wrong, but it seems to me that WtGH is a minor masterpiece, perhaps even a major one.

 

It was of course, to my undiscerning eyes, danced impeccably. What an unexpected joy to see Francesca Hayward as one of the unlisted changes! She is one I find difficult to take my eyes away from when she is on stage. But I also found Beatriz Stix-Brunell compelling. Actually the whole ensemble, both the central six, and the back-up eight, were entrancing. It is actually rather unfair to single anyone out, but those two did especially catch my eye.

 

I have not seen a ballet which better demonstrated to me the possibilities in abstract non-narrative dance. I know that there is supposed to be a story in the differing relationships of the three central couples, but I must admit that I didn’t get that aspect of it. It didn’t matter. I was just content to take in 35 minutes of brilliant “eye candy”.

 

After this wonderful opening, I am afraid I found Medusa and Flight Pattern rather disappointing. Hearing and reading about the choreographers, and their motivations for these ballets, I wanted very much to like them. But I found both, in different ways, rather tedious. A lot of movement in Medusa, but unlike that in WtGH it seemed to me rather unstructured. A lot of arm waving to little purpose. Flight Pattern I just found grey and depressing. I must confess I actually fell asleep briefly during it.

 

However, it was as usual good to see the marvellous Osipova, although even she couldn’t redeem Medusa for me. And it was nice to see Kristen McNally getting a prominent role in Flight Pattern.

 

I haven’t yet had time to read many of the reviews in this forum, but I note that some whose views on ballet I greatly respect, liked Medusa and/or Flight Pattern. And of course both these works and their choreographers have been much praised. I am glad of that, as I applaud what they are aiming for in these works. I therefore attribute my lack of appreciation of these works to a lack of aesthetic sensibility on my part. The fact that they both earned rapturous prolonged applause from the ROH audience would confirm this.

 

One problem, for me, was the order of the works. After the overwhelming impression of Within the Golden Hour, perhaps most ballets would have seemed  a little stale to me in comparison.

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2 hours ago, FrankH said:

The local Curzon was only half-full for the live filming of this. How different from when one of the Classics is performed!

 

I am a rather naïve and unsophisticated lover of ballet. As such, I myself am most fond of the Classics, and haven’t generally found “abstract” i.e. non-narrative ballet that interesting. So, looking at the descriptions of the three ballets being performed, I thought I would probably appreciate Medusa and Flight Pattern, but find Within The Golden Hour something of a challenge. I couldn’t have been more wrong in my prediction!

 

I was bowled over by Within the Golden Hour. I marvelled at the amazing “logic” (I can’t think of a better word to describe my impression) of the choreography. Every movement of the bodies, arms, and legs, seemed to be part of a perfect moving pattern. Nothing out of place, nothing unnecessary, like a composition of Mozart as described by Salieri (in the film Amadeus). And all fitting in so well with the very beautiful musical score. I must admit I had never heard of Ezio Bosso before, but I will be looking out for anything by him from now on.

 

I had of course heard of Christopher Wheeldon. I have seen Alice also through live transmission, which I enjoyed, but to nowhere the same extent that I appreciated WtGH. I will bow to the superior taste of the more knowledgeable people on this forum if I am wrong, but it seems to me that WtGH is a minor masterpiece, perhaps even a major one.

 

It was of course, to my undiscerning eyes, danced impeccably. What an unexpected joy to see Francesca Hayward as one of the unlisted changes! She is one I find difficult to take my eyes away from when she is on stage. But I also found Beatriz Stix-Brunell compelling. Actually the whole ensemble, both the central six, and the back-up eight, were entrancing. It is actually rather unfair to single anyone out, but those two did especially catch my eye.

 

I have not seen a ballet which better demonstrated to me the possibilities in abstract non-narrative dance. I know that there is supposed to be a story in the differing relationships of the three central couples, but I must admit that I didn’t get that aspect of it. It didn’t matter. I was just content to take in 35 minutes of brilliant “eye candy”.

 

After this wonderful opening, I am afraid I found Medusa and Flight Pattern rather disappointing. Hearing and reading about the choreographers, and their motivations for these ballets, I wanted very much to like them. But I found both, in different ways, rather tedious. A lot of movement in Medusa, but unlike that in WtGH it seemed to me rather unstructured. A lot of arm waving to little purpose. Flight Pattern I just found grey and depressing. I must confess I actually fell asleep briefly during it.

 

However, it was as usual good to see the marvellous Osipova, although even she couldn’t redeem Medusa for me. And it was nice to see Kristen McNally getting a prominent role in Flight Pattern.

 

I haven’t yet had time to read many of the reviews in this forum, but I note that some whose views on ballet I greatly respect, liked Medusa and/or Flight Pattern. And of course both these works and their choreographers have been much praised. I am glad of that, as I applaud what they are aiming for in these works. I therefore attribute my lack of appreciation of these works to a lack of aesthetic sensibility on my part. The fact that they both earned rapturous prolonged applause from the ROH audience would confirm this.

 

One problem, for me, was the order of the works. After the overwhelming impression of Within the Golden Hour, perhaps most ballets would have seemed  a little stale to me in comparison.

Frank, I don't see how you can say you lack aesthetic sensibility when you write so beautifully about Golden Hour!  You simply didn't like the other two, that's all.   For just about every performance discussed on this forum, there are widely varying opinions of every aspect of the production.  That's what makes it so interesting! Nothing is set in stone with art; it affects us in some way, and how boring it would be if that way were the same across the spectrum of those who engage with it.

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FrankH I agree with you- as do a good few others I think.  I have always liked Wheeldon's abstract work, (and apart from Winter's Tale, disliked his narrative ballets-especially Alice which I can't stand, so there you are, as Sim says there is a wide range of opinion out here...)

Golden Hour I think IS a small masterpiece and you describe why extremely well, thank you. It was even better with the original costumes that allowed you to see the women's movements more effectively though.

 

 

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fumi3

 

 

fumi2

 

fumi1

 

Really enjoyed Fumi's performance this afternoon

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She was lovely but I still haven’t changed my opinion of the piece on a second viewing. 

 

Speaking of lovely, Yasmine Naghdi and Tristan Dyer sure were as the third couple in Golden Hour. 

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On 17/05/2019 at 19:30, Sim said:

Posting something on Instagram takes about 15 seconds.   Trying to navigate the ROH website takes much longer than that.  

This might qualify for post of the month!  

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Posted (edited)

Well, this'll teach me not to be seduced by £40 stalls seats into booking for a programme of modern dance!

 

I found Within The Golden Hour rather similar to Asphodel Meadows: attractive music & mostly attractive choreography but it didn't really do much for me emotionally. As I've already mentioned on the R&J thread, 2 nights ago I dreamed that I'd arrived to see it & 5 of the 6 principals had been replaced. This evening that basically came true! Stix-Brunnell & Muntagirov were replaced by Choe & Hay, Cuthbertson & Hirano were replaced by Hayward & Zuchetti, & given Campbell already replaced McRae some time ago the only dancer I actually saw out of the original 6 was Lamb.  Also Edmonds & Mock were replaced by Donnelly & Dubreuil. I realise dancers get injured but to have half of a cast of 14 replaced does seem to be getting a bit ridiculous. So much for that article the ROH tweeted recently about strength training reducing injuries!

 

Medusa exceeded my expectations but after the Insight livestream they were pretty low! Neither the writhing around parts of the choreography nor the electronic music are to my taste but at least there's a plot, Purcell, & some good lifts. Plus all 4 leads were on, though Edmonds, Kay & Serrano were replaced by Acri & Ella. I don't know if that means they were a soldier short?

 

Apart from the music, I really didn't like Flight Pattern at all. Kay & Serrano were replaced by Donnelly & Lee, though since the lighting & uniform costumes meant I only managed to recognise a couple of dancers I can't say I'd've noticed.

 

Edited by Dawnstar
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