Mary

It is quite a switch from Mayerling to Bayadere..

Is there a thread yet? Can't wait.

12 minutes ago, Dawnstar said:

 

I gathered that Don Quixote does not do masses of classical dancing but based on the synopsis on Wikipedia he is involved in all of the acts so presumably has a reasonable amount of stage time? I've booked to see The Nutcracker in January to see Gary Avis as Drosselmayer, having been very impressed with his erformance in the cinecast the year before last, so I'm one person who has made booking based on a principal character artist rather than the principals.

You're certainly not alone in booking to see Gary Avis, Dawnstar!

Also, surely having a Christmas treat that isn't Nutcracker is proving very popular - after so many years of no choice!

On 07/10/2018 at 22:27, northstar said:

The King Dances was right up my street and I must say I particularly enjoyed the Maslen/Singleton performance, which seemed to get better and better and towards the third/fourth 'watch' I found the atmosphere humming in that special way when the magic of ballet is spun, it is all completely convincing, and one stops thinking and just experiences the art emotionally. I was further up in the circle in the evening and as Bruce says the benefit of the viewing angle might have had something to do with it - the effect of the mirrored black floor more stunning, the ensemble quality more obvious. But also, Maslen's interpretation was so regal, so noble, even in the night shirt scenes; and Singleton's powerful presence and partnering utterly convincing.

  

From both performances, the joy of the focus on male dancing (the fast turning, the arabeseuque and less reliance on huge leaping) was a total revelation to me and I've not felt anything like that, except seeing Song of The Earth by English National Ballet last year. I also sensed the influences of the great Petipa ballets - Swan Lake/Nutcracker in the fantasy drama elements. So much to admire enjoy in both performances, I hope to see it again, but I must say Maslen seemed to elevate it by his interpretation into the magical.

 

Photographs of that final scene with the Roi Soleil cannot do justice to the stunning theatre of it, when seeen live. What a literally brilliant piece of ballet-theatre.

I was going to write more about The King Dances but re reading the reviews this says it all -and also Janet's comments on ignite- I would just be repeating you both!

'atmosphere humming when the magic of the ballet is spun..one stops thinking and just experiences the art..'

Yes! It doesn't always happen. For me it doesn't always happen when the narrative is too complex ( ahem Mayerllng ahem) but it really does with this superb piece which is indeed  ballet theatre,  with all the effects achieved through brilliant dance (rather than  facial emoting and staggering about etc) together with theatrical effects which were simple but perfect for the piece-when danced with such skill and attack as we saw last night.

I entirely agree with James though I know it's a minority view, but, that's the joy of a discussion, isn't it?

I am quite sure 'asking harder' is not a reason any Principal gets this or that- is it, Capybara?

Surely not!

Bonelli is not the only one- wonderful and fine dancer as he is- to struggle with that solo in this run. For me, that does rather interrupt my enjoyment of the perfomance.

I really like a dancer who 'really can dance it all' as McRae can, and I shall be buying the dvd!

But, there are aspects of performance where Bonelli is surely supreme, and it has been fascinating reading the reviews of Bonelli/Morera..... I suppose I just can't quite take the idea of the acting becoming almost more important than the dancing.

Good that we all have  different views and long may we feel able to disagree pleasantly.

Saw this at Sadlers Wells last night- my 3rd viewing of The King Dances and I enjoyed it just as much.  Ignite was a marvellous evocation of fire- fast-moving and involving. The main treat of the evening for me was seeing Tyrone Singleton AND Brandon Lawrence- and the Ignite pas de deux Lawrence/Gittens was the dance  highlight and one to remember for me, especially as for once I was close up having taken advantage of the special offer- thanks Alison for posting that.

What superb dancers and a great company.

Arguably, the character of Romeo is not a Romantic Hero- he is a very young man caught up in an unholy mess. I admire McRae's Romeo and he is not very tall, and I thought Campbell was a very fine and expressive Romeo in a former life. I don't think height on its own is a reason for casting Romeo. . It might be for the Prince in Swan Lake or Sleeping Beauty perhaps.

Perhaps.

I always tend to the view that the AD knows rather more than I do about the situation, but do share a feeling of slight concern about Campbell.

It was an interesting discussion and I don't recall that it focused on 'offensiveness' particularly. It seems a reasonable subject to discuss re Bayadere, and  although I agree the discussion could have been widened, it was a serious and useful one, in my view.

So much better than some of the rather empty chat and the endless 'incredibles' and 'amazings' we sometimes have to make do with....in my opinion.

Yes, that is good- but why didn't they email me??

I was very impressed by the Insight- it had the maximum of content and the minimum of padding. Ms Naghdi  not only danced beautifully, powerfully in the rehearsal but spoke articulately, and with a very engaging manner to camera- I do hope we can look forward in future years to seeing her - and other articulate and charming colleagues  present ballet events ( if there are any by then....)

Agreed Odyssey- best one I have seen.

Bad luck Alison.

Once again I have ballet forum to thank for alerting me this was on tonight - thank you.

It really WAS unmissable.

Print out a seating plan. It would be a good idea if they had a much magnified one in that coffee bar place.

Perhaps it could be interactive too? Press the button for that seat, put on goggles and headphones and experience the performance as if from there.

I seem to have gone from 'I can manage not to see R&J again for a while' to wanting to go to almost every cast!

It is most enticing.

I can't remember who Muntagirov danced with last time- was it Lamb??I rather thought not.

6 hours ago, LinMM said:

Interestingly in my reply today they said they had contacted the Ballet Company to confirm who would be dancing on the 12th.  

Now there's a good idea.

I wish RB would set up their own website.......

1 hour ago, Mummykool said:

 

He certainly is John. He is also a wonderful actor and his attention detail is always meticulous. I absolutely love watching him.

I posted as soon as I came back from the live screening 'Wasn't James Hay perfect.'

he really was.

This looks beautiful, I wonder if there will be any other chances to see it?

What is it called if not the Floral Hall? Goodness, I am not keeping up.....

26 minutes ago, capybara said:

 

But there wasn't exactly 'technical ease' in the Stephanie pas de deux with MacRae and Hinkis, was there?

 

My cinema viewing was somewhat overshadowed by Ball's mind-blowing Rudolf the night before but I do concede that MacRae has found more depth in his characterisation than was the case last year.

That's very true capybara, I don't think anyone COULD display ease in that scene! But, I felt that we were safe from any accidents- that McRae's partner was always in safe hands- as someone said above. I much prefer that feeling.

I thought Ball was  good too, but I was not as wholly persuaded as some others- I suppose it just comes down to personal feelings about it.

Personally, I am looking forward to some more 'technical ease' in the lovely programmes coming up.....

17 minutes ago, JohnS said:

It’s also great to have Steven McRae fully recovered - there’s a wonderful sense of ease as regards his technical excellence and I never think he might be in trouble.  I prefer other Rudolfs’ depth of characterisation - there’s a bit too much snarl for me and I think others show greater despair.  I did enjoy Sarah Lamb’s Mary and she and Steven McRae seemed very well matched technically.  I’m sorry if that comes across as feint praise - it’s great to see such accomplished dancing of such demanding roles but I think I also want to see that raw abandon that others have brought.

A very interesting review JohnS thank you, I agree with so much of what you say especially about Morera's great performance, and the poor camera choices at times.

You've made me realise I really prefer the wonderful sense of ease, technical excellence, accomplished dancing, to the raw abandon and deep despair.

I appreciate that puts me in a very small minority, but there you go! Thanks for crystallising my own thoughts. 

(But I hope it isn't faint praise to praise technical excellence. )

It's been a fascinating thread so far hasn't it.

1 minute ago, bridiem said:

 

I can think of some other words for someone urging a dancer to do that!!

I do agree.

I know it's all meant to be 'dangerous' etc. But I would really rather not watch dancers being thrown to the ground.

Weird isn't it? I used to love those long paper strips with all upcoming performances...and all the leaflets with luscious photos and dates and full information. I remember once filling in a booking form then and there and handing it in as I left.  Surely if you want people in, you should give them some information? On the terrace there is nothing- why not put some out on the tables?

Great evening- I was so pleased to get to see Ball at the last minute! I thought Melissa Hamilton was wonderful! very expressive eyes. Dancing of grace and finesse- under pressure.

Most impressed with Ball: for me, mainly his Act 3 which I thought was superb.

I felt very sorry for Elizabeth Harrod in the Act 2 pas de deux- some bumping around and was she even dropped at one point I think-  I hope she is OK.

Such an ensemble piece- so well played AS an ensemble, to make a whole performance. Bravos were well deserved. It was such a quiet audience during and so warmly appreciative at the end.

Marvellous.

Yes- the Keystone Cops moment is my suggestion for cutting- because people always laugh- breaking the mood. Maybe they could really try to make the policemen less comic?

I am not surprised, but very pleased to hear Hirano's performance was much  more energised last night.  Ithink that first night was a very tense occasion.

I am not making this up- overheard at the end of the cinema screening as the curtain came down with the muffled drum rolls-

'So who died?'

I do think a very clear precis is needed with Mayerling and is not too much to ask.

Bolshoi screenings have clear summaries on the screen ( in multiple languages) before each Act- very helpful.