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10 hours ago, FionaE said:

Regarding gaps over December/January for Osipova and Nunez, I’d guess they have international commitments elsewhere?  North (ABT?) and South America respectively?  Or guesting elsewhere ....

 

I want to apologize for that I gave the misinformation about Nunez's last 2019 performance in RoH is early December. Just realised that she will dance Raymonda on December 18&20 as well, paired with Vadim. Still lots of good seats available online. Anyone who missed last several performance, this is the chance:)

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Having seen the Concerto Triple Bill at the ROH on bonfire night, we went to an encore screening of the broadcast yesterday to catch a glimpse of the on-stage fireworks from a different perspective.

 

Unsurprisingly, it was as much as I remembered it - including that wonderful 'comedy sneeze' from an audience member in the silence just before the Sorokin emerged to conduct Concerto.

If they do release the performance on DVD, I do hope they keep that in! (though they do tend to remove incongruences. For the Anastasia broadcast, my partner and I were literally the only ones in the auditorium to applaud when Osipova made her roller-skating entrance. When the DVD was finally released we were devastated to find our sole claim to immortality had been over-dubbed into oblivion with generic applause! :rolleyes: )

 

I've been frustrated with the 'directing' of some of the past broadcasts (too much emphasis on 'tight' shots of torsos rather than dancing), but Ross MacGibbon has turned out some good ones recently - and yesterday's continued that welcome trend. 

 

I was really impressed with how the performance of Concerto came across in the cinema. The only time dismembered torsos dominated the screen was when the main dancers were standing still or walking. The sense of dancers (individual or in groups) interacting dynamically with the open spaces of the stage was clearly portrayed.

I remember one shot (of literally the whole stage - breadth and height) where a large group was dancing, but tucked away in the left-hand corner of the screen. It gave a wonderful sense of what it was like to be there - of the opposite, yet harmonious relationship between the 'positive space' of the dancers and the 'negative space' of the colourful void that was the ROH stage.

Even the very last bit of Concerto - after Hay and O'Sullivan have stepped back into view for one final lift, was shown in wide-shot. Brilliant!

 

Of course, Concerto is abstract/neo-classical, so close-ups might be seen as less necessary than in a narrative ballet such as Enigma Variations. But I was really pleased with the balance struck in the broadcast of Enigma between showing the action on the stage and showing the expressions of the characters - very little 'dancing' was sacrificed to convey the narrative. 
This was my second viewing of Enigma (but of the same performance); I don't think it will turn out to be one of my favourite narrative ballets, but I did enjoy seeing it again - and the 'broadcast perspective' meant I did pick up on a couple of things I'd missed first time. 
At the ROH, I'd been so concentrating on the duet between Elgar and his wife (or, more likely, Morera and Saunders so demanded my attention) that I missed the cello player (his back to the audience) on the right of the stage! 
I hadn't realised that the Troyte variation starts and ends with him opening and closing the lid of a piano. I also liked the fact that Matthew Ball kept in character for the curtain-call - brusquely pulling down on his waistcoat. 🙂
The Nimrod variation showed something I hadn't noticed at the ROH (but something someone had alluded to in an earlier post?) - there seemed to be some sort of difference of opinion between Elgar and Jaeger, one that Elgar's wife sought (and succeeded) to reconcile.
My concentration did slip in the cinema (or was inadvertently pushed) by the framing of a couple of brief shots. When the unmistakable Philip Mosely bent down to wipe his shoe, surrounded by youngsters, I couldn't help but think 'clog dance!' A shot of Lady Mary Lygon, with her fluttery 'wings', made me recall the end of Jerome Robbins' The Concert...

 

For Act 3 of Raymonda, again, the cinema broadcast managed to avoid too many close ups - though there were enough to appreciate why @Mary had said 'Osipova was worth the price of admission alone- her expression during her stunning hand-clapping solo was priceless!'
Something else that struck me was Osipova's impeccable timing; there was a bit about a minute into her solo where she pushes down one leg (no idea of the technical term!) in time to a single, low note struck on the piano - I got a real impression of her leg being the finger playing that note.

 

Looking back over the posts, there were mixed views about the presenters. I thought Darcey's co-presenter did really well - she managed to convey a real sense of excitement at being 'back stage'. OK, it wasn't the most polished, but it had an enthusiastic sparkle to it that would otherwise get a bit lost in stuffy formality.
The interviews - live and recorded - were really useful.

Wayne Sleep was completely irrepressible (the presenters had to resort to naming Alfreda Thorogood at one point to stop him answering for her). We did learn that Wayne thinks the current crop of male dancers are superb - to the extent of reintroducing little touches in the GRS man/dog solo such as 'tail-wagging' during spins (though when it came to the broadcast it didn't seem as obvious as Wayne had suggested).

The pre-recorded interviews were an unexpected joy. Osipova speaking, in English, in that wonderfully distinctive voice of hers. Muntagirov, who naturally has a boyish charm about him, seemingly shedding an additional ten years. He even managed to look younger than James Hay, who usually looks so young you would doubt he could even grow the full beard he was sporting! 

 

What a cast! What a broadcast! What a Christmas present a DVD of this would make...  🎄

 

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I also went to an Encore screening today, having seen the same cast live a fortnight ago.

 

I found that I didn't enjoy Concerto as much at the cinema as I did live.  My seat in the ROH was up in the roof, which allowed me to appreciate the scope and movement of all the dancers.  I didn't find the close ups of the faces on film enhanced the performance for me; I found Anna Rose O'Sullivan's smiling face a little bit distracting.  

 

On the other hand, while I enjoyed Enigma live, I thought the cinema performance really enhanced the whole thing for me. Seeing the dancers' expressions in close up made such a difference.  I loved it, and I was so moved by the Nimrod variation I was almost in tears.  I got so carried away I started clapping, forgetting I was in the cinema.  I also clapped after Hayward's solo, to the confusion of the lady sitting 3 seats away.  


As far as Raymonda was concerned,  the set looked completely different when viewed through the camera,  rather than looking down from above in the theatre.  Now I could appreciate that the curtains were hung beautifully, the floor gave the suggestion of patterned, polished marble, and the embroidery on Osipova's tutu looked elegant rather than giving the impression of a dog's bone.  Ironically, for this piece I could have done with a few more close ups, as I don't go to live shows often enough to be able to instantly recognise the dancers.  In the pas de trois and  the pas de quatre. I assume the order they were listed on the cast sheet was the order they were dancing in i.e. Corrales was second from the left as we faced the stage?  It was marvellous to see how high Muntagirov actually jumps (you never really get the true picture when seeing him from the amphitheatre) and Osipova was wonderful again.  The only thing was her claps did sound rather feeble on film.   I know that in real life they were splendid.  

I really enjoyed the fact that the interviews were conducted back stage, rather than in the Floral Hall. I loved the interviews, particularly the ones with Wayne Sleep and Alfreda Thorogood.  She looked tiny.  The other two ladies appeared to be towering over her.  It was great to see the dancers walking back and forth, and I was amused to see one lady in a gorgeous Raymonda tutu go scurrying past in the direction of the stage with an enormous handbag dangling over one arm.   I do wonder what she had in it! 

 

Edited by Fonty
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On 29/10/2019 at 12:17, Fonty said:

On the question of the conductor, something struck me during Osipova's second solo - the one with all the releves  that begin slowly and speed up.  It looked to me as if Osipova was definitely dictating the tempo, and the conductor was following her.  Did anybody else notice?  Was this my imagination, or is this normal?

 

No, it isn't your imagination, for Osipova it is normal to ignore the tempi and dance at the speed comfortable to her, ahead of the conductor. I am saying this with a heavy heart yet what Osipova did had nothing in common with the name of "Raymonda". I know, this is my own fault, because I had a misfortune to see ballet named "Raymonda" several times over the last thirty years, Kirov, Bolshoi and the Paris versions.

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I love the cinema relays (even if the reproduction isn't always sharp enough) because they offer a different kind of experience from being present in the live audience.

The clips of dancers speaking are a real bonus.

However, this time, there appeared to be insufficient material to fill the introductory slot or the intervals and we were taken back to the auditorium for some very long waits.

I thought that Anita Rani acquitted herself well - although she had clearly not bothered to watch a performance beforehand or to acquaint herself with some correct pronunciations. It's not Muntageeeeeeeeeeeerov, for example. Dame Darcey continues to exasperate me and, after last night's Insight, one wonders why Leanne Cope could not be given a go if it HAS to be someone other than a current company member.

It was a real pity that the questioning of Christopher Carr, Alfreda Thorogood and Wayne Sleep could not have been more incisive: all three have far more insights to offer than the poorly structured interviews allowed them to give.

As for the performance itself - wonderful all round, except for Osipova's facial expression which, writ large on the cinema screen, looked all screwed up.

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Actually, Dame Darcey has grown on me as a presenter.  She is always so smiley, enthusiastic, and knowledgeable.  I didn't like Anita Rani much, and I did wonder what she was doing there.  I know she was in Strictly, but does that really qualify her to present the live performances from the Opera House?  Had she ever been to the ROH  before, I wonder?  And also she kept stooping over the other guests.  I wanted to shout out "Pull those shoulders back and stand up straight."  It was really irritating, especially as she was standing next to dancers who all have magnificent posture.  

 

It would be so much better if Darcey was presenting with a calm and skillful  interviewer, who can not only get the guests to share their knowledge, but can switch between them and Darcey in a way that would bring out her own wealth of experience as well.  Someone who can encourage them all to chat to each other and share their memories, leaving him/her to do the auto cue announcements.  I seem to remember being impressed with Jonathon Cope presenting something once, and of course he and Darcey know each other very well indeed.  

Edited by Fonty
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I enjoy Darcey Bussell presenting too. It's nice to have someone who's been there and clearly continues to have so much enthusiasm for ballet.

 

As a partner to her, I wonder if Leanne Cope would be an option? On the basis of her presentation of the insight this week, I think she would be ideal!

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7 hours ago, DanJL said:

As a partner to her, I wonder if Leanne Cope would be an option? On the basis of her presentation of the insight this week, I think she would be ideal!

 

Well, either of our suggestions would be able to cope. 😉

I'll get my coat........

 

 

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His fans probably already know this but Vadim Muntagirov will appear in the full length Raymonda as Jean de Brienne in Paris at the Opera Bastille. The dates are 22, 25 and  27 December. I hope his performances will enable him to escape the guillotine. 😎

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8 hours ago, stucha said:

His fans probably already know this but Vadim Muntagirov will appear in the full length Raymonda as Jean de Brienne in Paris at the Opera Bastille. The dates are 22, 25 and  27 December. I hope his performances will enable him to escape the guillotine. 😎

 

He seems to be guesting a huge amount at the moment. I know he's at the height of his powers, but I hope he's not taking on too much. (But then I suppose his level of fitness is inconceivable to me :)).

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12 hours ago, Jan McNulty said:

I didn’t see the live broadcast unfortunately but just to point out that Anita Rani is now an enthusiastic board member of Northern Ballet and is a seasoned TV presenter.

 

She also did the presentation for the cinema broadcast of Nothern Ballet’s Dracula.

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18 hours ago, stucha said:

His fans probably already know this but Vadim Muntagirov will appear in the full length Raymonda as Jean de Brienne in Paris at the Opera Bastille. The dates are 22, 25 and  27 December. I hope his performances will enable him to escape the guillotine. 😎

Lucky Parisians 

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  • 5 weeks later...

MAX, thanks so for this.  This clip brought back many memories.  I saw Gregory dance SO many times ... mostly with Bujones.  Such a wonderful partnership they were - and so obviously adored dancing with each other. 

 

I just looked it up - This was a 1981 gala of stars programme which was a joint fundraising campaign (these happened regularly as they were used as tools to get subscribers.  Remember no TV licence tax - sorry, fee - in the US) between WQXR (the radio station of the New York Times) and PBS.  It was filmed live at Carnegie Hall by PBS.  Here was the list of the leading talents for that particular evening.  Quite a mix on this variety bill - but then it would have had to appeal to a very broad audience.  

 

Victor Borge Victor Borge ... Himself
Montserrat Caballé Montserrat Caballé ... Herself
Victoria de los Ángeles Victoria de los Ángeles ... Herself
Cynthia Gregory Cynthia Gregory ... Herself
Marilyn Horne Marilyn Horne ... Herself
Gelsey Kirkland Gelsey Kirkland ... Herself
James Levine James Levine ... Himself - Host
Sherrill Milnes Sherrill Milnes ... Himself
Liza Minnelli Liza Minnelli ... Herself
Itzhak Perlman Itzhak Perlman ... Himself
Jean-Pierre Rampal Jean-Pierre Rampal ... Himself
Beverly Sills Beverly Sills ... Herself - Hostess
Isaac Stern Isaac Stern ... Himself
Edited by Bruce Wall
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23 minutes ago, alison said:

Note to self: do not try working to Shostakovich's First(?) Piano Concerto again (it was just on the radio).  The last movement's so totally manic that it made my head spin!

 

Looking forward to seeing this again soon.

 

There's something particularly catchy about anything in a fast 7 time!

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Cast changes for this week have just been announced: 

 

Our records show that you are due to attend a performance of Concerto / Enigma Variations / Raymonda Act III. We are contacting you to let you know about the following cast changes:

 

Friday 20 December, 1:30pm

Beatriz Stix-Brunell is replaced by Isabella Gasparini, and Tierney Heap is replaced by Fumi Kaneko in Concerto

Yasmine Naghdi is replaced by Meaghan Grace Hinkis as Dorabella in Enigma Variations.

 

Friday 20 December, 7pm

Akane Takada is replaced by Anna Rose O’Sullivan in Concerto

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1 hour ago, EVWS said:

Cast changes for this week have just been announced: 

 

Our records show that you are due to attend a performance of Concerto / Enigma Variations / Raymonda Act III. We are contacting you to let you know about the following cast changes:

 

Friday 20 December, 1:30pm

Beatriz Stix-Brunell is replaced by Isabella Gasparini, and Tierney Heap is replaced by Fumi Kaneko in Concerto

Yasmine Naghdi is replaced by Meaghan Grace Hinkis as Dorabella in Enigma Variations.

 

Friday 20 December, 7pm

Akane Takada is replaced by Anna Rose O’Sullivan in Concerto

Got this notification too. Still plenty of seats available 

Edited by MJW
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Beautiful performance by Gary Avis this afternoon. Such a moving trio in Nimrod in Enigma Variations with B Gartside's Elgar and K McNally an affecting Lady Elgar.   V Zucchetti was a very funny and skilled bulldog. 

In Raymonda he and Mc Nally also really shone.

Lauren Cuthbertson was a haughty and soulful Raymonda. 

 

There were a few little bumps and trips in Concerto. 

Tired company? 

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2 hours ago, Mary said:

There were a few little bumps and trips in Concerto. 

Tired company? 

 

I wasn't there, but I do feel as if the company have been doing a huge amount of serious full-on DANCING in recent months; i.e. Concerto, Raymonda, Beauty and Coppélia, and all at moreorless the same time. (As well as other works too of course, that may be demanding but may not require quite the technical precision and stamina that these do.) I wouldn't be surprised if it's put even more strain on them than usual.

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4 hours ago, Mary said:

 

There were a few little bumps and trips in Concerto. 

Tired company? 

 

I didn't actually see them myself (I must have had the bins pointed elsewhere at those moments) but I did notice the rear roll of floor covering didn't look that well layed (there seemed to be a bit of a flap sticking up) during the matinee anyway. Perhaps that was the guilty party? It also seemed quite steamy in the auditorium (especially in the evening show), so perhaps a bit of moisture on the floor didn't help either!

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10 hours ago, bridiem said:

 

I wasn't there, but I do feel as if the company have been doing a huge amount of serious full-on DANCING in recent months; i.e. Concerto, Raymonda, Beauty and Coppélia, and all at moreorless the same time.

 

I don't think that this season is particularly well-balanced - neither for the dancers nor for the audience.

I enjoyed having the Concerto/Enigma/Raymonda Triple back but the rehearsal implications for the company in the middle of Coppelia (for which some casts are only having their stage calls this week) and The Sleeping Beauty must have been considerable.

 

Edited to add appreciation for what the RB is giving its audience. Amazing - and so many debuts!

 

 

 

Edited by capybara
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I have enormously enjoyed the riches of the past few weeks- so much variety of choreography, style, music and mood,  and so many first-class peformances.

But I agree it might have been better to have it a little more 'spread out' into the spring: and there is very little I want to book for in the Spring booking.

Yes, we have Onegin and then Swan Lake coming up, but an interesting and classical triple bill might have made a nice counterpoint to that.

 

Still I am filled with admiration for how much the company as a whole has achieved with this recent programme of heay-weight ballets, keeping up such a high standard overall, and with all the debuts and  upcoming talent on display.

 

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25 minutes ago, capybara said:

 

I don't think that this season is particularly well-balanced - neither for the dancers nor for the audience.

I enjoyed having the Concerto/Enigma/Raymonda Triple back but the rehearsal implications for the company in the middle of Coppelia (for which some casts are only having their stage calls this week) and The Sleeping Beauty must have been considerable.

 

I agree about the balance/programming. I personally have found that I haven't wanted to revisit the (wonderful) triple bill because I feel that I've 'done' that - I've moved on. You need a certain level of concentration to really enjoy works and allow them their true value, and my focus has moved away from the triple bill. I feel as if I don't quite know where to look in terms of what's on and it all feels very disjointed. (Notwithstanding the quality of the works/performances.)

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