Сашенька, всегда с огромным удовольствием смотрю на твоего талантливого сына. Жаль, что не можем видеть его на сцене нашего театра, куда давно не хожу. Это давно уже не мой театр. Остаётся только вспоминать тех, кого любила и люблю.
It seems to me, as someone who enjoys ballet but has very limited knowledge of the art, that even as late as the 1980s, the choreographers were obliged to stay rigidly to the format of 19th Century ballets. Both Ashton and McMillan were innovative geniuses, but were constrained by what their audiences would pay to watch. If you compare this, albeit with its origins in the 1870s, to the most recent productions, such as the celebration performance for Bernstein, then the Royal Ballet has come a long way in the last 40 years. Is that true for ballet in general, worldwide?
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Darcey Bussell owns this.
It feels as if the music and the dancing weren't synchronized in her solo. A real shame. Laura is stunning!
Сашенька, всегда с огромным удовольствием смотрю на твоего талантливого сына. Жаль, что не можем видеть его на сцене нашего театра, куда давно не хожу. Это давно уже не мой театр. Остаётся только вспоминать тех, кого любила и люблю.
Beautiful! I really enjoy Vadim and Laura's dancing.
I hate this red background.
Bravo bravo bravo bravo
I’d love to see him dance this in point shoes.
wtf??
It's fascinating to compare Ashton's and Balanchine's choreography for this PDD.
The music is SO off.
Balletomane M quite painful to watch
Balletomane M in what way? He seemed to keep up pretty well.
Balletomane M I think, because this was live streamed, there was a slight delay which would explain that.
It seemed most obvious during her variation. He seemed able to stay on the music, and keep her on pace when they danced together...
It seems to me, as someone who enjoys ballet but has very limited knowledge of the art, that even as late as the 1980s, the choreographers were obliged to stay rigidly to the format of 19th Century ballets. Both Ashton and McMillan were innovative geniuses, but were constrained by what their audiences would pay to watch. If you compare this, albeit with its origins in the 1870s, to the most recent productions, such as the celebration performance for Bernstein, then the Royal Ballet has come a long way in the last 40 years. Is that true for ballet in general, worldwide?