Mary

7 hours ago, bridiem said:

Jessica Lang said that she always works with the type of dancer/s in front of her - their style is her starting point. And she used the classical technique and sheer beauty of the dancers in front of her to superb effect. Whereas two of the other choreographers imposed their style on the dancers in front of them - and extremely well they danced the works, but they could have been dancers from any other company with any type of training. Whereas Twinkle shone and glittered and displayed the multi-faceted beauty of classical ballet and of classical ballet dancers to joyful effect.

That sums it up, for me.

When I woke up this morning Twinkle was the one I thought about, - it needs to be seen again. I loved the way Lang wasn't afraid to verge on the twee, but pulled back and made the whole piece superbly witty and the apparently simple idea and music actually very sophisticated.

 It was classical ballet- but  original as well, and it showed off what these dancers can do and do best.

I did enjoy the November piece, but it is true a lot of dancers could do justice to it, it did not really engage with the classically trained dancer.

How funny Dave ...the only bit I liked in the Junker was the male duet!

The noisescape was painful...I hated it. 

On the train musing...

I enjoyed the second half: especially seeing some fun. M.November's piece was very joyful and colourful and J. Lang's  was pretty and witty - and used the beautiful Fumi Kaneko so well..the poetry of her arms...

First half none of the above.

28 minutes ago, PeterS said:

And Juliet too

Well exactly

You could say that Perdita is a role for a very young emerging dancer, as the character is a young girl on the threshold of womanhood, meant to represent new life, new hope, first love and so on.. I can see the logic there.

But then you could say the same for Aurora!

I do rather agree that we don't see enough of the Principals, all of whom are very capable of acting this role as well as dancing it.

Yes, quite enchanting, and the music works well in that scene in my view......

although there was an issue with trousers that occupied a large part of the original discussion thread I recall, - too long...too short...too bright- ? something...happy days!

I rather like it too, despite misgivings about some of the choreography and the music, so the whole must add up to more than the sum of the parts.

I could do with less jealous writhing, as the point gets made pretty well quite soon, but is  then hammered home....over-writhed - rather too much for my taste, even when it was Ed Watson.

I always greatly enjoy the explosion of sound, colour and joy in Act 2, with frolicking round the tree, but for me Sarah Lamb and Steve McRae were perfect for that scene, alas not this time - oh and Gary Avis the ideal shepherd father, jovial, but also sufficiently stern.

I also found it not a bad ballet to take a teenager to.

I'd be very grateful for any general feedback ( of course focusing on content rather than performances as it's a  rehearsal)  on this as soon as available  - as debating whether to go tomorrow evening.

Oh I see I didn't realise there was a booking event today- is it just for the pop concert?

I was just trying to have a look at New Works tomorrow and can't get further than a sofa and the message 'The queue is paused' which is a new one for me.

Please don't stop posting Bruce, I enjoy your posts a great deal.

Many of us are pretty fed up with not getting enough- er, ANY - Balanchine at RB.

The RB dancers are entirely capable of dancing it and many of us would give a lot to see Symphony in C one more time.

I don't think McGregor contorting is 'house style' exactly. May it never be.

Well, Peter, you are entitled to  your opinion,  but I don't think, myself, that all will be well.

Giselle and Swan Lake are part of ballet history and central to the canon so it is not really a fair comparison.

In my view,  Carmen has never been made into a good ballet, and  is a poor choice for a new ballet for so many reasons, not least that it is yet another story about a woman getting killed, but it is also very over-exposed in many forms.

I am no great fan of Wayne McGregor but at least he reads, he thinks,  and he comes up with interesting new sources for new ballets.

So I am not keen on this idea. I wish nothing but well to the company and the dancers, of course.

The idea of yet another Carmen is what puts me off and I know I'm not alone.

I did book but then discovered- no trains. Luckily a friend was happy to take the ticket.

It's a shame I can hardly ever go to galas  - which are always on Sunday - as there is usually some train problem. I wish them a full house.

I really enjoyed your review PdQ - looking forward to seeing this.

My only query is why you would want a realistic baby!

9 hours ago, Henry said:

Nude coloured all-in-one costumes in elastane lycra with the audience 1-2 metres away is over exposure.

I'm not leaving my handbag....and I'm definitely not booking if I have to wear that.....🤣

Thanks Henry, it doesn't sound as if this experiment really worked.  I have come across similar things many times with performing arts students ( who usually end up deciding the usual rules are there for a reason.)

Golly that sounds grand- and ideally positioned.

no that can't be cold.....

I'd go for it, but give us all a full report!

In theory anyone can walk through but not many people do...

I once ate there for a special occasion and at the next table was an amazing gathering of RB people which made it great value!

It was all cold.

I would email them to ask about hot and cold...

I have also once eaten on the Balcony  (far off halcyon days!) and it was great fun for people watching...

In either case it is also important to think about where your seat is if you're enjoying the interval service...or it could all be a great rush which would counterbalance the stylishness a bit.

Both of course are very very expensive (and well beyond me nowadays. )

Thanks Jan- it was your report of those zoom talks I was remembering.

Well I'm pleased  he is putting on Fille and Cinderella and hope to see some more Bintley in future, as well as the new things.

I might be remembering incorrectly, but did Acosta say when he took over that he would not stage 'heritage' works- or am I confusing that with some other company?

I once chatted to someone from BRB who had worked there for a long time, who politely asked me what was my favourite ballet. I said Fille would certainly be one of them, although to choose one was obviously rather absurd as I liked a large range, etc..The response was a loud snort and the person said 'Oh, you're one of THEM'.

I was very much disconcerted.

I hope it sells out everywhere but I do recall it not doing so on previous occasions.

 I wonder whether giving a translation of the title in brackets would help for audiences who don't know the work - and also, lots of publicity stressing the ballet's joyful qualities and perhaps making clear that it is a good family ballet?

I didn't much like the designs either but the dancing is good and it is interesting to see such a different production,after 2 other Giselles this year, so thanks, Henry.

On 23/01/2024 at 17:58, jorge said:

I think from 2009 to now there was a lot changes and I hope this year there's more repertoire classique because last year 60% of repertoire was contemporary and is ok but forgets  about classics like la bayadere or Raymonda isn't ok.

A major issue here in the Uk too Jorge, I think a lot of us share your concern!

Watching the trailer, I can see what you mean Bruce,  about the costumes for 'Gustave'-!  as if purposefully designed to conceal the lines of legs and arms..( though how much that matters in this particular work I wonder. )

Anyway, ticket duly booked because it is always great to see NYCB and how often do we see any Balanchine in the UK. .nothing like often enough.

On 21/01/2024 at 11:27, Lizbie1 said:

 

I've never been fussed about it until seeing this episode - what a difference the original cast makes!

 

Others' mileage will vary IMO Ashton was right to retire it.

I just watched this again - how emotionally devastating it is. I fully agree it it should have been left to Fonteyn and Nureyev because it was for and about them- not literally of course, but about their relationship as performers, and the unique magic they made together.

On 21/01/2024 at 12:20, Jane S said:

I wish it  had been left as a legend.

what a lovely phrase, 'left as a legend' -it sums it up perfectly.