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Royal Ballet mixed bill: Within the Golden Hour / Medusa / Flight Pattern, May 2019


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1 hour ago, zxDaveM said:

 

This 'correct version' extract is from the middle movement surely (Flight Pattern uses the first), so not sure what that proves. The version I'm most familiar with (and I imagine most of the CFM listeners and/or TV viewers that saw it) was the Dawn Upshaw version, who is hardly 'wobble-free' so to speak. I love that version, so wasn't that enamoured by the version used for Flight Pattern - though I did love Flight Pattern in its own right. I don't know enough about classical music (especially when sung) to really make an informed comment about things like the tempi or the voice-wobble, but all I know is that Flight Pattern moved me to my core, and was helped to that by the music, imperfect as it may have been...

 

 

I can only give you the CD version of the first movement as there is no visual reproduction. This is the stated tempo required by the composer. The London Sinfonietta version was to fast as well. Presumably RB to suit the choreographer. Hope this helps.

 

Edited by Stevie
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1 hour ago, Jan McNulty said:

Dave, I know very little about classical music either but agree with every word of your post!  I was blown away by Flight Pattern.

A good mix, some don't like Gorecki music, some don't like the ballet, but like the music, some changes of mind,  some don't like either and some like both. Sounds like another referendum may be needed. :o

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I can't imagine that filming Flight Pattern from stalls level would really have done it justice - as I think I probably indicated above, it's far better served by being viewed from above.

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  • 2 weeks later...

A late addition to the thread as I saw this triple bill in a nearby cinema on Sunday.

Within the Golden Hour. I just loved Beatriz Stix-Brunell’s playful, joyful, flirtatious smile, and this 1st PDD remains, together with the ensuing male duet (superb dancing by David Donnelly & Teo Dubreuil), my favourite part of this work. I like the shape of the dresses for the female dancers but actually prefer the colour palette of the previous costume design as I think this was slightly more colourful. They didn’t announce the cast changed on screen but, thankfully, earlier posts here did point them out. Views of the full stage were rather sombre (whereas close-ups and interviews came across perfectly fine in terms of lighting), I don’t remember whether I felt the same when I saw this work live on stage at The Royal Opera House. Beautiful relaxed music. All in all, I was very happy to see this piece again.

Medusa. I am part of the minority that enjoyed this work. Great lighting effects, lights from the top for the bowls on the floor, dancing in light shafts, dancers hiding behind and pursuing others around the columns. Striking, beautiful costumes for the female dancers (I barely recognised Olivia Cowley) … I am less convinced of the costumes for the male dancers though. I found it refreshing that the assault on Medusa was shown symbolically rather than graphically, and the same applies to the beheading. I found the choreography for these scenes pretty creative, and the drama came across pretty well in my view. Finally, I found the final solo very moving (not sure about the role of the bowl though).

Flight Pattern. The first time that I’ve seen this, wow, just wow, utterly compelling. I hadn’t welled up watching ballet or dance for quite some time, and there I just couldn’t help it. A group of people shuffling along, in despair, in the dark, sleeping out in the open, being tossed around by the sea, helping each other struggle on. The woman deeply traumatised, mourning the loss of a child/ baby, of hope/ dreams, and so many others joining in. The man doing his best to help, and yet unable to do much in this apocalyptic environment. Superb performance by the whole cast and in particular by Kristen McNally and Marcelino Sambe.

Much looking forward to the DVD next year.

Last but not least, I quite enjoyed the interviews this time, in particular as I found that the interaction between Darcey Bussell and Ore Oduba worked very well.

 

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On 02/07/2019 at 15:23, Duck said:

A late addition to the thread as I saw this triple bill in a nearby cinema on Sunday.

Within the Golden Hour. I just loved Beatriz Stix-Brunell’s playful, joyful, flirtatious smile, and this 1st PDD remains, together with the ensuing male duet (superb dancing by David Donnelly & Teo Dubreuil), my favourite part of this work. I like the shape of the dresses for the female dancers but actually prefer the colour palette of the previous costume design as I think this was slightly more colourful. They didn’t announce the cast changed on screen but, thankfully, earlier posts here did point them out. Views of the full stage were rather sombre (whereas close-ups and interviews came across perfectly fine in terms of lighting), I don’t remember whether I felt the same when I saw this work live on stage at The Royal Opera House. Beautiful relaxed music. All in all, I was very happy to see this piece again.

Medusa. I am part of the minority that enjoyed this work. Great lighting effects, lights from the top for the bowls on the floor, dancing in light shafts, dancers hiding behind and pursuing others around the columns. Striking, beautiful costumes for the female dancers (I barely recognised Olivia Cowley) … I am less convinced of the costumes for the male dancers though. I found it refreshing that the assault on Medusa was shown symbolically rather than graphically, and the same applies to the beheading. I found the choreography for these scenes pretty creative, and the drama came across pretty well in my view. Finally, I found the final solo very moving (not sure about the role of the bowl though).

Flight Pattern. The first time that I’ve seen this, wow, just wow, utterly compelling. I hadn’t welled up watching ballet or dance for quite some time, and there I just couldn’t help it. A group of people shuffling along, in despair, in the dark, sleeping out in the open, being tossed around by the sea, helping each other struggle on. The woman deeply traumatised, mourning the loss of a child/ baby, of hope/ dreams, and so many others joining in. The man doing his best to help, and yet unable to do much in this apocalyptic environment. Superb performance by the whole cast and in particular by Kristen McNally and Marcelino Sambe.

Much looking forward to the DVD next year.

Last but not least, I quite enjoyed the interviews this time, in particular as I found that the interaction between Darcey Bussell and Ore Oduba worked very well.

 

Couldn't agree more; it was a last minute decision to go and see this live and I was so glad I did !

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