Mary

Rather a thin [cinema] audience- what a shame! They don't know what they were misisng.

Osipova was worth the price of admission alone- her expression during her stunning hand-clapping solo was priceless!

My cinema does not look at all well sold, sadly, but then it is 5 November, when quite a few people still go out....

Re the Leonardo celebrations, I have just seen the new film by the excellent team EOS ( Exhibition on Screen)- 'Leonardo- the Works'- which is absolutely excellent and ravishingly beautiful: I can very highly recommend seeing it - all the paintings, shown in high definition, very slowly and carefully with expert commentary and no nonsense...

On 31/10/2019 at 13:08, JNC said:

think renaming it is fine (and I imagine a lot of people will continue to call it the amphi restaurant if that's what they know it as, it's hardly an enigma) though I wouldn't have gone for 'Piazza' personally which sounds a bit continental  - nothing wrong with the continent of course but this is the 'Royal' Opera House, a very British institution, so I would have gone for something that more aligns with that theme. 

I would prefer them to go back to the old name of Amphitheatre Restaurant myself!

But Covent Garden piazza was designed in homage to Italian piazzas by Inigo Jones in the 17th Century, so for once this is not a modern invention but the corect name for the area..

Yes what a lovely photo of the brothers, so alike too.

An interesting dual biography to be written  there one day.

Good point capybara, and the first half of the year seems very top-heavy compared to a very much thinner spring and summer ( much cheaper as well for me). Presumably there are reasons...

I would just like to add that I thought my  near centre/front amphi ticket was sensationally good value at £35 for a varied show of such top class dancing - and playing.

I loved the triple bill- the sheer variety of style and tone, two of my great favourites and Raymonda as something we rarely see, -interesting to compare with the Bolshoi screening; and  the wide range of dancers. There were a lot of cast changes- I made some notes somewhere...mainly Fumi Kaneko being out I think. ( What a shame.)

For me it was Concerto where in some places more precison would have been welcome: Francesca Hayward was 'perfect' but I felt Corrales, whose energy and power I much appreciated, could have been more precise and perhaps especially in the arms? but am very happy to stand corrected..it was my perception though.

Enigma is such a joy: and to see Gary Avis ( who I was delighted to spot peering out of the stage door on Floral St before the show) bringing every ounce of experience and acting finesse such that a gentle shift of balance on one foot spoke volumes. This is the highest class of dance acting, needs to be recorded. He and Christina Arestis - whose beautiful feet are displayed in such  poignant lifts- really made magic on the stage and tears were shed.

Alexander Campbell's super, fizzing Troyte was a real highlight for me:  it should make you almost laugh, and it did.

Raymonda was glitteringly beautiful- there are no real words left for Muntagirov but watching him soar in flight and as someone said 'in full grand pas mode' is surely one of life's best joys. Osipova 's hand clapping solo was pure  soul ( hand claps very audible as has been said, as were the thigh claps from the corps earlier - sounded a bit painful!) I am not 100% sure these two fabulous dancers work best together- it is just a slight feeling that they do not together add up to more than the sum of their parts. Is that just me?

I agree with JohnS that Mayara Magri really stood out in her variation. (I think perhaps the variations might be broken up a bit? Rather a long row of them.)

And once again -  my eye was drawn to and held by Joseph Sissens with his lovely lines and elegant precise dancing and I do want to see a LOT more of him SOON in more major roles, please.

No there is no narrative really in Raymonda 3, but  there is acting, as they portray a quite different sort of bizarre fairy tale character -  I thought very convincingly and it was, for me, a great lift  to the spirits especially that gorgeous finale.

A wonderful afternoon that lousy weather and unpleasant trains could not spoil- (sorry for MJW - bad luck.)

Agree.  Such artistry. 

I agree Alison- it was sadly  far from the best Bolshoi I have seen in the 10 years of screenings.

( and I have been to most of them and overwhelmingly enjoyed what I have seen.)

The production could do with a re-think, in my opinion. Some of the Act 2 'orientalism' was embarrassing ( rows of grovelling slaves etc) and the whole look of it seemed rather below the usual standard, to my eyes. In acts 1 and 3 there did seem to be ghosts of delectably beautiful Petipa arrangements on the stage.  But dark heavy sets,  wobbly daggers, absurd head gear, laughable wigs, did the dancers no favours, also scenes such as poor Raymonda having to fall asleep leaning awkwardly on a pillar etc. I thought Olga Smirnova looked uncomfortable up until her glorious solo in Act 3.

 Act 3 seemed far and away the most attractive even without all the variations clustered together.

It was interesting to see Igor Tsvirko ( who struggled valiantly with the role of gurning 'Saracen',  complete with prosthetic nose)  interviewed in interval 2, particularly for his comment that he hoped we might see more of the Bolshoi's modern productions in future screenings, and he mentioned 'Nureyev'. Possibly not everyone agreed that the 10th year of screenings should consist of just classics- this and their Swan Lake are really not their best work .....in my view.....

What's daft about that?

It is fascinating, indeed.

Thanks for highlighting this segment, Bruce, really enjoyable.

Same here- BRB where are you?

Fumi Kaneko- what a lovely dancer. She did well in that rehearsal- couldn't find anything much harder to rehearse in front of whole world - well done! and such a beautiful Concerto rehearsal...Yasmine Naghdi looking on top form. Now the priceless Christopher Carr.

Really the out-reach section was v small. This is a fabulous insight into the RB behind the scenes- a great great treat.

(No chance of getting the shed painted today.)

1 hour ago, JohnS said:

 

Raymonda Act III was also new to me.  I’m sure the performance was good, with Sarah Lamb and Vadim Muntagirov fine leads (no surprise there), but I don’t think I’ll have Raymonda in my favourites.  It seemed to make for a very mixed Triple Bill.  I’d have thought Symphony in C might have provided a better complement to the other two ballets but we’ve had lots of Symphony in Cs recently (although never enough for me).

 

I’ll be very interested to read others’ views.

 

I'd be very interested to know more about Raymonda- why it was a slight disappointment if so?

Agree, the message that ballet is for everyone and a life-enhancing thing for all is a good one.

This was a lot more interesting and worthwhile than random snippets of themselves jumping etc sent in by members of the public  that we have had before.

Why have the website at all then, if you are not going to mention the day's main news on it?

I can't see the reasoning behind it at all.

This is a great opportunity to get new people in- they could have done a lot more to tell people about it,  so yes I think it is absurd.

JohnS you have often said this and now I see how true it is. It is absurd.

The publicity could certainly be better:  I have several friends who go with me to the ballet sometimes. None of them had heard of the Day - only from me.

I scrolled down quite a way under the 'news' section....not good- I do so agree- ...it should surely be headline news today!

Thanks for the reminder! Nearly forgot.  No work will get done today...

ROH have not reminded me which is odd.

I wa puzzled to search on the ROH website for the link, news of timing, who is involved etc- to find a list of sports people ....

Can't imagine Bolshoi need to bolster their image by bringing in sporting personalities. Ah well.

Also, unlike one or two public figures we could mention, because of  his unfailing brave face in public, and positive approach, McRae is one of those who will never have to look back in horror and shame at interviews, or social media postings he has made, and will never cause his loved ones embarrassment for same!

A point I wish some others would take note of. I often wonder how people can forget that their children will see their effusions, rants and self-pity one day........

He sets a great example to the young dancers- and I know he has spent a lot of time helping them with injuries and learning how to cope with set-backs.

All the best to him for the fastest recovery.

I thought the tempo was  too slow quite often and the music did not always seem to flow as it should do.

Currently listening to Radio 3 Composer of the Week (such an excellent programme)- it's Puccini this week, and today focusing on his Manon Lescaut with commentary from Antonio Pappano- which I am finding a very interesting comparison to the ballet music.

On 04/10/2019 at 12:24, RuthE said:

 

 

On a related note, I have just moved to a new office, within earshot of a loud amplified busker with limited repertoire.  I now know how murderous the ROH staff must feel about the sheng player in the Piazza.

I was so much enjoying being on the terrace on the first night of Manon- couldn't think what it was for a while, then realised he was having  a night off....Blissful peace ...

My feelings toward that 'performer' might stop short of murderous but are not kindly...

Must the buskers all be amplified?

You are not alone Lizbie- my reaction is  'yuk'.

It is quite unpleasant. His being fully clothed and her in underwear adds to the impression you have most accurately described.

How luscious!!

Looks as if it might be fun? what lovely costumes.