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I went to this this afternoon. Not a live screening but a film of a performance, I had forgotten that. However, although I rather missed some shots of the theatre/audience, backstage, I did not much miss presenters or lots of talking. There was no interval, just a brief pause. This made it all so much more intense, with nothing to interrupt the atmosphere created, which I liked. All in all it was a very good experience: Olga Smirnova was lovely and very moving indeed (partly because I reflected I had not see her since the Bolshoi screenings which I used to attend regularly, and thinking over the tragic circumstances which had led to her coming to DNB). The production is not as beautiful as ENB's but, I did find it a lot more emotional, and now need to ponder why that was.

Run time: 2 hours 15 minutes, including a 20 minute interval. The Coliseum is ready to welcome you 75 minutes prior to the performance, with bars open on every floor. Please note: The Coliseum is a cashless venue

Jan 21 in the US. There was something in the Links last week

Okay, hoping this works (to some extent: posts on another thread indicate that the casting links may not be live yet). The thread also indicates some new hirings we may not have been aware of before. We’re excited to announce principal casting for all existing repertoire works returning in the upcoming Season: Akram Khan’s Giselle, Wayne Eagling’s Nutcracker, Mary Skeaping’s Giselle, and Derek Deane’s Swan Lake in-the-round. Casting for each of these productions is detailed below and on each production page on our website. We can’t wait to share these performances with you! Akram Khan's Giselle 19 – 21 Oct 2023, Palace Theatre Manchester 26 – 28 Oct 2023, Bristol Hippodrome Akram Khan's groundbreaking production returns to Manchester and Bristol for the first time since its inaugural tour in 2016, having astounded audiences across the world. The title role of Giselle will be danced by Lead Principals Fernanda Oliveira and Erina Takahashi, and Junior Soloist Emily Suzuki*. Albrecht will be performed by Lead Principal Aitor Arrieta, First Soloist James Streeter, and Junior Soloist Henry Dowden*. The role of Hilarion will be danced by First Soloist Ken Saruhashi, Soloist Erik Woolhouse, and Junior Soloist Victor Prigent*. Myrtha, Queen of the Wilis, will be performed by Lead Principal Emma Hawes*, and First Artists Isabelle Brouwers and Angela Wood*. Daily casting can be viewed online via the links below. *debut in role in this production View casting Learn more Nutcracker 29 Nov – 2 Dec 2023, Mayflower Theatre Southampton 14 Dec 2023 – 7 Jan 2024, London Coliseum Wayne Eagling's festive classic will light up the stage again this winter, touring to the Mayflower Theatre in Southampton before returning to the London Coliseum. Clara/Sugar Plum will be performed by Lead Principals Emma Hawes, Shiori Kase, Sangeun Lee*, Fernanda Oliveira and Erina Takahashi, Guest Artist Laurretta Summerscales, First Soloists Julia Conway and Katja Khaniukova, Soloist Precious Adams*, and Junior Soloists Ivana Bueno and Francesca Velicu. Nephew/Prince will be danced by Lead Principals Aitor Arrieta and Francesco Gabriele Frola, First Soloists Gareth Haw*, Daniel McCormick and Ken Saruhashi, Soloists Fernando Carratalá Coloma, Skyler Martin*, Lorenzo Trossello and Erik Woolhouse, Junior Soloist Vsevolod Maievskyi*, and First Artist Edvinas Jakonis*. The role of the Nutcracker will be portrayed by First Soloists Daniel McCormick and Junor Souza, Soloist Skyler Martin, Junior Soloists Henry Dowden, Noam Durand*, Rentaro Nakaaki and Victor Prigent*, and First Artists Matthew Astley, Miguel Angel Maidana* and Eric Snyder*. Dr Drosselmeyer will be performed by First Soloists Fabian Reimair, Junor Souza and James Streeter, Junior Soloist Henry Dowden, and First Artist Giorgio Garrett. Daily casting can be viewed online via the links below. *debut in role in this production View casting Learn more Mary Skeaping's Giselle 11 – 21 Jan 2024, London Coliseum Mary Skeaping's heartbreaking Romantic masterpiece will return to the London Coliseum for the first time since 2017. The title role of Giselle will be danced by Lead Principals Emma Hawes*, Shiori Kase*, Sangeun Lee*, Fernanda Oliveira and Erina Takahashi, and First Soloist Katja Khaniukova. Albrecht will be performed by Lead Principals Aitor Arrieta* and Francesco Gabriele Frola*, First Soloists Gareth Haw* and Ken Saruhashi, Soloist Fernando Carratalá Coloma*, and Junior Soloist Vsevolod Maievskyi*. Hilarion will be portrayed by First Soloists Fabian Reimair, Junor Souza* and James Streeter, Soloist Erik Woolhouse*, Junior Soloist Henry Dowden*, and First Artist Giorgio Garrett*. Myrtha, Queen of the Wilis, will be danced by First Soloist Alison McWhinney, Soloist Precious Adams*, Junior Soloists Anna Nevzorova* and Emily Suzuki*, and First Artists Jung ah Choi and Angela Wood*. Daily casting can be viewed online via the links below. *debut in role in this production View casting Learn more Swan Lake in-the-round 12 – 23 Jun 2024, Royal Albert Hall Derek Deane's spectacular in-the-round production of the enduring classic returns to the splendour of the Royal Albert Hall in summer 2024. The dual roles of Odette/Odile will be performed by Lead Principals Emma Hawes*, Sangeun Lee* and Fernanda Oliveira, and Guest Artist Laurretta Summerscales. Prince Siegfried will be danced by Lead Principals Aitor Arrieta* and Francesco Gabriele Frola*, First Soloist Gareth Haw*, and Soloist Lorenzo Trossello*. The role of Rothbart will be portrayed by First Soloists Fabian Reimair, Junor Souza and James Streeter. Daily casting can be viewed online via the links below. *debut in role in this production View casting Learn more

Last night at the Bolshoi, young principal Dmitry Smilevski performed 46 entrechat six in Albrecht’s second act solo. This is a ‘quantum leap’ from the 32 introduced by Nureyev many decades ago. It’s also not possible to do more (without being unmusical or changing the choreo) as Giselle enters on the next notes. His Giselle was Elizaveta Kokoreva. Both are around age 22 only, and were promoted to principals earlier this year having graduated in 2019. I think (but please correct me) that this was only their second performance of the main roles in Giselle. https://www.instagram.com/reel/CyaY4UZotnS/?igshid=MzRlODBiNWFlZA==

Thank you Jeannette, although it’s a rather busy time I am very much hoping to catch this. Do you happen to know who was responsible for the “historically-informing”, what they used and how they worked? Maybe there is a programme note online or such like? Since Marian Smith’s important 2000 publication “The Earliest Giselle” we have known about the répétiteur (annotated violin score) so together with the later Sergeyev/Stepanov materials there is a fair bit to draw on. Fascinating to see what use this company makes of the research.

Just a reminder that the stream of the PNB’s historically-informed GISELLE begins tomorrow, through 20 Feb. Viewing throughout the 4/5-day period can be purchased here: https://order.pnb.org/23-digital/giselle Cast is from the opening-night performance last week, including: Giselle, Leslie Rausch Albrecht, James Kirby Rogers Hilarion, James Yoichi Moore Myrtha, Elle Macy Peasant pdd, Sarah-Gabrielle Ryan & Kyle Davis Reviews of the live performance: https://www.seattletimes.com/entertainment/dance/love-triumphs-in-pacific-northwest-ballets-giselle/ https://www.dailyuw.com/arts_and_culture/art/the-pacific-northwest-ballet-raises-classic-ghost-story-giselle-from-the-grave/article_17bcc354-a840-11ed-a57e-93f150f9d38b.html

The remarkable United Ukrainian Ballet, established with support from local government and several sponsors in The Hague, Netherlands, by former Het Nationale Ballet star ballerina Igone de Jongh with artistic support from Alexei Ratmansky, Jiri Kylian, Vladimir Malakhov and other artists, providing accommodation and a company for refugee Ukrainian ballet dancers and Ukrainian diaspora dancers following the invasion by Russia and ensuing war, gave their first ever performance on Friday the 13th of August (hopefully an auspicious day for these artists and their performances! ) to a packed auditorium in the Castellum Theater in Alphen aan den Rijn, a small theatre in the Netherlands. Starting this thread for any members who travelled there or who live near enough to attend, or who will be attending in other venues eg Amsterdam, on their Dutch tour, and also for those of us who are due to see them at the Coliseum. Unfortunately I couldn’t be there myself, but friends of friends who were able to attend reported a moving and attractive production with excellent performances, and a curtain call with the Ukrainian national anthem sung by the whole troupe moved the audience to tears. Katja Khaniukova, the Ukrainian first soloist of English National Ballet, who has previously danced Giselle as a guest artist in Kyiv, danced Giselle at the premiere although I didn’t manage to get other casting details. Alexei Ratmansky’s Facebook and Instagram accounts, the company’s Ukrainian Giselle social media accounts, have some attractive short clips and photos (too many to squeeze onto this post) from the dress rehearsal and the first night, where the company look wonderful in their costumes and in front of the lovely sets- I believe these are the same ones (not totally certain without a printed programme to confirm!) designed by Hayden Griffin on loan from BIrmingham Royal Ballet that they are due to use in London. If you have attended or are due to, do post your reviews and thoughts. Looks amazing, and lovely to see messages of congratulations and good wishes from various ballet legends from Amsterdam, New York, etc etc among the posts.

A friend and I are big fans of Danil Simkin (Berlin) and Friedemann Vogel (Stuttgart) so when we spotted an opportunity to see them on consecutive evenings in Giselle and Onegin we couldn’t resist making the trip. In Berlin the Giselle production uses Peter Farmer’s costumes and sets with choreography of Patrice Bart, after Coralli and Perot. Many of the steps were familiar, some looked very much like the choreography in Ratmansky’s recent production, although there seemed to be much more dancing for the corps (male and female) in Act. Evelina Gudanova was making her debut as Giselle but you would hardly have known- it was a very pleasing performance with no amateur dramatics, but entirely convincing and danced very well. Daniil Simkin was absolutely wonderful, he’s a fine partner, he dances brilliantly, his was a really rich performance. The corps seemed under-rehearsed in act 1 but were much improved in act 2. The Myrtha of Aurora Dickie was very strong and we liked both Zulma Luciana Voltolini and Moyna Alizee Sicre. Among the unfamiliar pieces of choreography were some beautiful bourees for Giselle where she leaves Albrecht by boureeing swiftly backwards to exit the stage side left. The orchestra were fantastic playing with an excellent brisk tempo. On the day of the Giselle performance there was a cast change announcement in Stuttgart: Jason Reilly would be replacing Friedemann Vogel. It was too late to alter our plans even if we’d wanted to but since we’d seen Jason Reilly’s Onegin when he guested with the Royal Ballet opposite Alina Cojocaru, replacing an injured Johan Kobborg, we thought he would be very good. What we didn’t expect was to witness a phenomenal performance that was a masterclass in every respect. Like Friedemann Vogel Jason Reilly is now in his early 40’s, but he danced like a man at least 10 years younger with flawless tours en l’air, astonishingly youthful jetes entrelace, incredible fury turns, and so I could go on. His partnering was flawless. In some hands the exhausting mirror pdd can seem like a series of increasingly fumbled lifts as Tatiana is hoisted high into the air but Reilly moved entirely seamlessly from one lift to another so that the pdd became the perfect flowing expression of all Tatiana’s youthful longings and she melted in his arms like a whisper of gossamer. Reilly’s characterisation was so complete, so multi faceted, with every little detail correct, he revealed nuances that can only come from a lifetime of performing experience. Tatiana was Elisa Badenas who trained at the Royal Ballet school and whom I’ve seen dance on several occasions in Stuttgart. In the great Stuttgart tradition she is a remarkable actress and a beautiful dancer. She has no mannerism, nothing is exagerated for unnecessary effect. The partnership with Jason Reilly was the truest, most genuine, most passionate, intense performance I’ve seen since the days of Johan Kobborg and Alina Cojocaru. In the supporting roles were two younger dancers: Mackenzie Brown as Olga and Henrik Erikson as Lenksy. Mackenzie Brown won the gold medal at the prix in 2019 and has risen rapidly in the Stuttgart ranks to Soloist. She’s a lovely dancer and very much captured the personality of the flighty Olga. Her young Lensky was the tall and slender demi-soloist who partnered remarkably well for someone with relatively little experience and danced gracefully with a beautiful line and soft landings. The well known Lensky solo in the pre duel moonlight was executed with great aplomb - unlike many dancers I’ve seen tackling the exposing solo, Erikson didn’t hold every step and shape and force them into (im)perfection rather he moved seamlessly creating a beautiful flow of movement. Absolutely one to watch. The Stuttgart opera house is unsurprisingly somewhat smaller than London and I’d say that Onegin is a ballet that benefits being viewed from the intimacy conferred by a smaller stage. At the end of the performance the audience were invited to stay and be filmed applauding the cast and watching Erikson perform the Lensky solo again. It was for a documentary that’s being made to celebrate John Cranko, next year being the 50th anniversary of his death.

I've upgraded my ticket for the Wednesday Sept 14 Giselle (Alina Cojocaru) so am selling Upper Circle J58 (aisle seat) £10. If interested please send me a PM and also post here. Scheduled cast is as follows: Giselle: Alina Cojocaru Albrecht: Alexander Trusch Hilarion: Danylo Butenko Wilfried: Viktor Lytvynenk(Ali Peasant pas: Vladyslav Bondar & Maria Shupilova Myrtha: Vladyslava Kovalenko Moyna & Zulma: Veronika Hordina & Daria Manoilo

I've upgraded my ticket for this performance so have Upper Circle aisle seat J1 available (£10) If interested, please send me a PM and also post here. Scheduled cast is as follows: Giselle: Katja Khaniukova Albrecht: Stasnislav Olshanskyi Hilarion: Sergii Kliachin Wilfried: Viktor Lytvynenko Peasant pas: Veronika Hordina & Nikita Hodyna Myrtha: Christine Shevchenko Moyna & Zulma: Vladyslava Kovalenko & Daria Manoilo

https://tickets.londoncoliseum.org/events/giselle/2022-9-13_19.30/london coliseum?area=1217de3f-5586-43e3-98e8-c73c7724eee3&type=&sb2m=1 https://tickets.londoncoliseum.org/events/giselle/2022-9-14_19.30/london coliseum?area=1217de3f-5586-43e3-98e8-c73c7724eee3&type=&sb2m=1 https://tickets.londoncoliseum.org/events/giselle/2022-9-15_14.30/london coliseum?area=1217de3f-5586-43e3-98e8-c73c7724eee3&type=&sb2m=1

I have a two tickets that needs to be rehomed. Balcony standing, D-30, £8 Stall Circle, C 22, bench seat, £22 PM me and leave a message if interested. Thank you

It really breaks my heart, but due to a work engagement I have to find a new home to this pair of Giselle tickets 😭. - SCS D1/D2 for the Takada/Corrales cast. £8 each and would rather sell both together. Cast Giselle: Akane Takada Albrecht: Cesar Corrales Myrtha: Mayara Magri If interested, PM/email. Linda.

I have a good SCS for Morera/Bonelli on Friday 3rd December that needs to be rehomed. Face value £8. PM me and leave a message if interested. I will return ticket to the box office on Wednesday lunchtime if no takers on here. Thanks

For Sale Lamb Sambe Giselle 2nd December 7.30 D14 Stalls Circle Standing D15

SCS D22 for 11.30 Saturday 27/11 looking for a good home. face value £8. please PM me and leave a message here.

For Sale: Giselle 3rd December 7.30 Morera Bonelli St C St D14 £8

For Sale Giselle Matinee 27th November 11.30 Morera Bonelli St C Standing D38 £8

if anyone as a spare SCS ticket for Nela/Vadim this week 18/11 or Frankie/Alex on 27/11 (5pm) please message me. thank you Peter

I have SCS d29 looking for a good home. £8. PM me and leave a message here if interested . Thanks

With the Royal Ballet currently performing Giselle at the moment, would you like to have a go at dancing sections of this beautiful ballet? My name is Laëtitia Lo Sardo and I am a former First Soloist with Birmingham Royal Ballet and I have been teaching ballet for over 22 years. I currently offer Repertoire classes on Zoom and we are working on Giselle Act II at the moment! Classes are on a drop-in basis so you can join in any time you wish/can. Classes are running on Zoom: Wednesdays 1:45pm - 3:15pm Thursdays 10am - 11:30am If you can’t make it, recordings of live classes are also available. Your first trial class is FREE! For more info, contact me on: Email: lklosardo@hotmail.com Insta: laetitialosardo www.laetitialosardoballet.com Image by Bill Cooper

Yesterday I stepped inside a theatre for the first time since February 2020 and not without a fair degree of trepidation to see Darius James and Amy Doughty's new production of Giselle for Ballet Cymru. I had already seen a screening of the premiere in Lichfield and reviewed it for Terpsichore in Giselle Reimagined and I had attended a workshop on the ballet at Yorkshire Dance the day before so I knew what to expect. I have remarked many times that James and Doughty take the essentials of the great ballets and remould them for a small cast that is constantly on the road. They succeeded sin my view with Cinderella, Romeo a Juliet and Beauty and the Beast and I think they can chalk up Giselle as another success. Certainly I prefer it to Akram Khan's and I liked it at least as much as Dada Masilo which I also admired. If you want to remake one of the world's best known and best loved ballets that is the way to it. James and Doughty commissioned Catrin Finch to adapt Adam's score. She had worked with them before on Celtic Concerto and The Light Princess. The opening bars of Adam's overture for Acts I and II remained unchanged and there snatches of his score in the mad scene and there was a Welsh folk air at the beginning but most of the rest of the score was new. The choreographers had left the story more or less intact but there were a few changes. Albrecht was not the lord of the manner but a bounder who was cheating on his wife. At Wednesday's workshop Andrea Battagia who danced Albrecht suggested that he might be a social worker. The costumes were contemporary and the ballet seemed to bve set in post-industrial Southeast Wales. The choreography was very different. Giselle's theme was a complicated hand and upper arm movement which Beth Meadway taught us in the workshop instead of the familiar jumpty jump. Ballet Cymru's scenery is projected into a backcloth and I have to say that the projections and lighting were impressive. I particularly liked the country churchyard at dawn as the wilis (renamed zombies in this version) scuttled away. Everyone in the cast danced well. I was particularly impressed with the leads, Battagoa and Meadway. Meadway is tall with a naturally expressive face. In a couple of scenes in Act II when she appeared en pointe in a romantic tutu I was reminded of lithographs of Carlotta Grisi. Battagia crossed the stage with grace and elegance assured of the attention of the crowd. Izzie Holland and Robbie Moorcroft as the female and male leaders of the zombies were awesome in both the old fashioned and contemporary senses. Yasset Rolden was a smouldering Hilarion. I will follow his career with interest, For those who do not know the story this is the best possible introduction. I did miss the dreamlike floating quality of the traditional Giselle but this Giselle is set in contemporary brexit Britain where unpleasant things oozing out of cracks are much more common than aetherial spirits. Not everybody's panad o de but it is mine.

if anyone has a spare SCS ticket to Giselle on any of these dates 08/11, 18/11, 20/11, 27/11, 1/12 please message me. many thanks Peter

I'm looking for a Stalls Circle Standing for Giselle on Wednesday 10th November. As I will be travelling the day that I had originally booked for Yasmine and Matty I am now trying to catch them in their first show of this run. Please get in touch if you have a good spare SCS ticket. Many thanks in advance, Silke