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On 23/08/2021 at 10:11, Sim said:

Maybe this is a first step for Kobborg’s re-acceptance into the RB fold.  I would also love to see his Sylphide again.  A new generation of Jameses and Sylphides and I am already dreaming of casts…a bit premature but it’s fun to imagine! 

Much as I would love love love to see Kobborg introducing de Bournonville works to RB, I don't think it would be his 're-acceptance' as though he is some kind of outlaw.  I doubt he'd want to become involved again, but as you say - fun to imagine!


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On 07/06/2021 at 12:30, Sim said:

I watched this last night, live from Ravenna, a city I know well.  Thanks so much to the festival organisers and sponsors for streaming this (and many other events) for free.


I won't say too much about it now as it is coming to the Linbury in the autumn, but I must say I really enjoyed it.  It took me a while to adjust to what it is, but once the divine Miss Ferri started moving her still lithe body to the music, it was wonderful.  I speak Italian so could understand everything she said (she does quite a lot of talking at the beginning).  This is based on Samuel Beckett...not being a Beckett fan, nor very knowledgeable about his work, I missed most of the references to his works.  However, there are references to classical ballets as she dances, so that is lovely to see.  The premise is that an older ballerina is looking back at her performing life, and remembering what is involved in order to succeed (work, work, work)...but then all the happiness that it brought to her.  This performance was dedicated to Carla Fracci, on whom the piece was made by Maurice Bejart in 1998.  Suffice to say that it is very moving, and I can imagine it working well on the Linbury stage.  Miss Ferri is now 58...what a beautiful example of a woman getting older she is. 



I saw "L'Heure exquise" yesterday at Baden-Baden - Alessandra Ferri is wonderful, sometimes she seemed to me like the last of a lost generation of great dramatic ballerinas. They changed the language to English, with some French, Italian and German words in between, but it's easy to comprehend. It's the Beckett piece "Happy Days" à la Béjart, not as good as his "Les Chaises" after Ionesco, but a great vehicle for Ferri, with Carsten Jung as a clownish, loving, compassionate sidekick and partner.  If you ever loved Ferri, you have to see it. It might help to read a bit about "Happy Days" before.

How I miss the days when choreographers did also pieces like this one, not just abstract movement studies...  Sorry, that's just me, getting old.


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