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I've read through everybody's comments on the performances they have seen and as ever it is always interesting to see such differing viewpoints. I had not seen any of the two returning pieces before so didn't really know what to expect. I would normally say that I am not normally keen on contemporary works but having seen Asphodel Meadows earlier in the year and been so impressed, I thought I ought to go see and these modern works, and I am glad I did.

 

Within the Golden Hour was wonderful and would be very happy to see it time and again. I managed to find an extract from 2017 on YouTube with David Donnelly and Teo Dubreuil and watched it over again several times today!

 

Medusa was much better than I thought it would be. Bizarrely the electro-music worked better for me than the Purcell - the latter just didn't seem to fit the pace of the piece.

 

As to Flight Pattern I wasn't really sure what I would make of it and at the start I thought 'oh no half an hour of this'. However after a few minutes I was completely mesmerised and about half way through to my embarrassment had tears streaming down my face (thank goodness for the dark). Rarely have I been so moved.

 

An afternoon well spent.

 

Next Saturday R&J! 

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From the ROH website ☺️
 
Olivia Moxey responded on 20 May 2019 at 10:54am

 

We're delighted to inform you that this performance will be released on DVD at the start of 2020.

Best Regards,
ROH Cinema

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So which performance was that, Saturday evening? 

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Hmm, didn't take them long to come up with that one, did it?  When you think how long we've waited for confirmation on some others.

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31 minutes ago, Rob S said:

So which performance was that, Saturday evening? 

 

I would imagine it is  the one that was live in cinemas,  which was last Thursday evening (16th).

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55 minutes ago, Richard LH said:

 

I would imagine it is  the one that was live in cinemas,  which was last Thursday evening (16th).

 

Ahh, lost track of when the cinema showing was  🤪

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1 hour ago, MJW said:

 

This is the link I referred to my earlier post - its from the IBStage 2017 gala (hope this works - and its allowed!)

 

https://www.youtube.com/watch?v=6e_aZ-Ugpoo

 

I saw this live in Barcelona. I think that Dubreuil is even better this time round.

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How wonderful that it has been saved for posterity- what a fabulous clip, Lamb and Campbell at their best, dancing as one (hope we see them together again soon) and a very beautiful moment. One to watch many times over.

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On 20/05/2019 at 15:42, Mary said:

How wonderful that it has been saved for posterity- what a fabulous clip, Lamb and Campbell at their best, dancing as one (hope we see them together again soon) and a very beautiful moment. One to watch many times over.

Oh yes I agree. Their pdd was definitely the highlight for me. They danced so beautifully together. I hope we get to see more of them together. And I've said it before - like many others - Campbell is obviously dancing really well and his technical ability is a given - why wasn't he cast as Romeo? All very puzzling 🙄

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Posted (edited)

Given both Stix-Brunell & Muntagirov have made Instagram posts today about rehearsing, whatever caused them to miss Saturday evening was evidently short term, which is a relief given this season's injury rates.

Edited by Dawnstar
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For me, a really super triple bill. Golden Hour I had seen before and enjoyed, and the excellent casting this evening add to the enjoyment. I loved Medusa, to me it was very much a complete ballet, with sets, music, costumes (apart from the men's Boiler  suits) all making a very impressive whole. I don't think Kaneko could have been bettered  - she had a marvellous other worldliness and Hirano and Sambe were both outstanding. Flight Pattern is very powerful, beautifully danced. Not the sort of work to send you out of the theatre humming but so impressive. I hadn't seen Sambe for a while and found him to be even better than I thought he was. Wish I could have seen his Romeo! 

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Golden Hour was an utter joy tonight! 7 beautiful couples dancing to exquisite choreography, music and lighting.

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The orchestra in the pit was a fairy modest size for this triple bill.  If the ROH was ever going to reinstate the seating in those areas of the stalls circle closest to the stage, this would have seemed to be an opportunity. But they didn't. So maybe we should conclude that those seats are gone for good ? 

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18 minutes ago, Lynette H said:

The orchestra in the pit was a fairy modest size for this triple bill.  If the ROH was ever going to reinstate the seating in those areas of the stalls circle closest to the stage, this would have seemed to be an opportunity. But they didn't. So maybe we should conclude that those seats are gone for good ? 

 

But the orchestra for R&J is huge and the noise-level tests are undertaken on a weekly-average basis so I don't think you can really draw that conclusion.

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20 minutes ago, Lynette H said:

The orchestra in the pit was a fairy modest size for this triple bill.  If the ROH was ever going to reinstate the seating in those areas of the stalls circle closest to the stage, this would have seemed to be an opportunity. But they didn't. So maybe we should conclude that those seats are gone for good ? 

 

Does anyone know whether they were made available for the Bolshoi season? I think it’s been remarked previously that they (are able to) take a rather more relaxed attitude.

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Posted (edited)
4 minutes ago, Lizbie1 said:

 

Does anyone know whether they were made available for the Bolshoi season? I think it’s been remarked previously that they (are able to) take a rather more relaxed attitude.

 

I believe so.  They certainly seem to have complete freedom to make their own decisions in this matter.

Edited by RuthE

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1 hour ago, Lynette H said:

The orchestra in the pit was a fairy modest size for this triple bill.  If the ROH was ever going to reinstate the seating in those areas of the stalls circle closest to the stage, this would have seemed to be an opportunity. But they didn't. So maybe we should conclude that those seats are gone for good ? 

 

1 hour ago, Lizbie1 said:

 

Does anyone know whether they were made available for the Bolshoi season? I think it’s been remarked previously that they (are able to) take a rather more relaxed attitude.

 

1 hour ago, RuthE said:

 

I believe so.  They certainly seem to have complete freedom to make their own decisions in this matter.

 

The stalls circle stage seats are definitely available for the Bolshoi season.  I've booked in that area for most of my performances  as those bench seats are cheaper than my normal front side amphi seats.

 

They are also usually released for Royal Opera performances of Mozart operas.  For example, for the recent run of Così Fan Tutte, they appeared without warning on the ROH website around two weeks before the first night.

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I finally got to see this programme on stage last night, having seen it at the cinema last week.

 

I appreciate that at the cinema we have to see the "directors cut" but, for me, it was almost like seeing a different programme!  I should point out that I did greatly enjoy the cinema showing last week but last night took every piece to another level.  Was it just the cinema/theatre contrast or was it the different casting for the first two works.

 

Within the Golden Hour was just glorious last night.  The whole cast melded beautifully and their dancing was immaculate and with feeling.  This really was a gold standard performance.  I was talking to the gentleman sitting next to me and he wasn't keen on the new costumes.  I do still prefer them but the ladies' skirts were not as diaphanous live as they had seemed at the cinema.  

 

Again, although I enjoyed Medusa at the cinema last week I got so much more out of this piece last night.  I will say that I much preferred Fumi Kaneko's interpretation to Natalia Osipova's.  I thought she gave a much more rounded, nuanced performance.  I saw her attraction to Perseus, I saw her being frightened and distraught by Poseidon's unwelcome attentions.  I saw her as the steely snake-headed gorgon and I saw her dreamlike redemption when Perseus had beheaded her.  I would happily see Medusa again (especially if Fumi Kaneko is in the eponymous role).

 

Last week was my first viewing of Flight Pattern and last night was the first time I had seen it live.  Oh wow, what a powerful and thought provoking piece it is.  The whole cast really brought the tragedy over the footlights and Kristen McNally was truly heartbreaking.  Bravi Royal Ballet!

 

So for me it was an excellent programme.  Great too to see other Forum members!

 

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5 hours ago, Jan McNulty said:

I finally got to see this programme on stage last night, having seen it at the cinema last week.

 

I appreciate that at the cinema we have to see the "directors cut" but, for me, it was almost like seeing a different programme!  I should point out that I did greatly enjoy the cinema showing last week but last night took every piece to another level.  Was it just the cinema/theatre contrast or was it the different casting for the first two works.

 

Within the Golden Hour was just glorious last night.  The whole cast melded beautifully and their dancing was immaculate and with feeling.  This really was a gold standard performance.  I was talking to the gentleman sitting next to me and he wasn't keen on the new costumes.  I do still prefer them but the ladies' skirts were not as diaphanous live as they had seemed at the cinema.  

 

Again, although I enjoyed Medusa at the cinema last week I got so much more out of this piece last night.  I will say that I much preferred Fumi Kaneko's interpretation to Natalia Osipova's.  I thought she gave a much more rounded, nuanced performance.  I saw her attraction to Perseus, I saw her being frightened and distraught by Poseidon's unwelcome attentions.  I saw her as the steely snake-headed gorgon and I saw her dreamlike redemption when Perseus had beheaded her.  I would happily see Medusa again (especially if Fumi Kaneko is in the eponymous role).

 

Last week was my first viewing of Flight Pattern and last night was the first time I had seen it live.  Oh wow, what a powerful and thought provoking piece it is.  The whole cast really brought the tragedy over the footlights and Kristen McNally was truly heartbreaking.  Bravi Royal Ballet!

 

So for me it was an excellent programme.  Great too to see other Forum members!

 

 

So glad you enjoyed Medusa - it got some rough treatment by many of the critics - unfairly and sometimes way over the top- and I wish I could have seen it with the second cast. Thanks, you’ve cheered me up!

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5 hours ago, Jan McNulty said:

I finally got to see this programme on stage last night, having seen it at the cinema last week.

 

I appreciate that at the cinema we have to see the "directors cut" but, for me, it was almost like seeing a different programme!  I should point out that I did greatly enjoy the cinema showing last week but last night took every piece to another level.  Was it just the cinema/theatre contrast or was it the different casting for the first two works.

 

Within the Golden Hour was just glorious last night.  The whole cast melded beautifully and their dancing was immaculate and with feeling.  This really was a gold standard performance.  I was talking to the gentleman sitting next to me and he wasn't keen on the new costumes.  I do still prefer them but the ladies' skirts were not as diaphanous live as they had seemed at the cinema.  

 

 

Who were the lead couples in WTGH? 

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9 minutes ago, oncnp said:

 

Who were the lead couples in WTGH? 

 

Last night? Yuhui and James Hay, Francesca Hayward and Valentino Zucchetti, and Yasmine Naghdi and Tristan Dyer 

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On 19/05/2019 at 02:23, Mary said:

I am reassured to find others not really liking Flight Pattern: not just me then.

 

I found a second viewing of Medusa brought me closer to Darlex's succinct 2 word view of it- really it is not a finished piece of work.

 

Why were so many replaced last night? Is this all injuries? even Muntagirov? now that is worrying.

 

I watched this program at my local cinema and totally agree with you about Flight Pattern. Dreadful, dreary, dark. What a waste of a classically trained corps! We saw one nice volley of jumps from Marcellino Sambe near the very end but, other than that, hardly any dancing. A bunch of synchronized slow undulations with some miming from a distraught mother. Yawn...It makes Jane Eyre seem like Sleeping Beauty. 

 

Osipova as Medusa? Ok, it’s not Kitri but it brings out her acting skills. At least I didn’t yawn, as I would a bit later with Flight Pattern. At least we got drama, costumes, sets.

 

Wheeldon’s Golden Hour began the evening on a high. What brilliant ballet - true ballet movement! - to gorgeous music. Loved all of the soloists, particularly the ethereal Sarah Lamb, gorgeous in her golden dress, partnered by the strong Alexander Campbell in...uh...his golden diaper. Honestly, the original costumes for the San Francisco premiere of this ballet were so perfect - south-Asian tinged unitards in shades of blues, greens and tans - that I don’t understand the reason for the changes.

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