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  1. I have found this page helpful (although there are omissions in the plot summary given here): http://www.theballetbag.com/2009/06/22/mayerling/
  2. Thank you Bluebird for replying. This is exactly the route I have used successfully in the past. Unfortunately now after clicking 'Not on sale / find out more' the page no longer shows me the interactive chart or any form of seating plan/price information. Thanks also Coated and Alison for comments. I'm viewing on Samsung Galaxy S8+, which previously gave me seating plan access as stated above. I have not had access problems on any other organisation's web site, but only with this feature on the ROH pages.
  3. Does anyone know please how to view the online seating plan and prices for ROH performances in the Winter season? I thought I remembered being able to view this information a few weeks ago, but can no longer access it, whether logged in as a Friend or not. I have been wondering if it is now revealed in stages as booking opens for each level of Friend in turn? Alternatively is it just a technical hitch?
  4. There is an encore screening of this mixed bill in Chichester at 1pm on Sunday 19 August. It seems worth mentioning here as it does not appear to be included in the encore screenings listed on the ROH's own Cinema webpage, as far as I can see. https://chichestercinema.org/film/bernstein-centenary-triple-roh-ballet
  5. I'd be interested to know if you see Ashton's choreography for the Step-sisters as the problem, or just the fact that these roles are usually performed by men? I believe that the Step-sisters were performed by women occasionally in the early days of the production. Should this practice be revived whilst keeping Ashton's choreography intact? In men in drag are seen as the 'problem', then should Ashton's Widow Simone also be rewritten? Or Mrs Tiggy Winkle?!! Aside from Royal Ballet heritage I support the retention of (most of) Ashton's use of roles en travesti as I love the sense of it being a living link with British theatre/music hall performance history. I do hope that the Royal Ballet will revive Cinderella very soon. Likewise Onegin. I'm horrified by the idea of losing this from RB's repertoire!!
  6. Thanks very much indeed for all these links.
  7. Not a review, but this feature from 13 July includes some interesting insights from Marianela Nuñez and Sarah Lamb. Again, I used Google translate. https://m.elcultural.com/revista/escenarios/Royal-Ballet-bailando-con-cisnes/41288
  8. There is an appreciative review by Christina Marinero here: http://www.elmundo.es Choose Cultura, then Danza on the website menu. Despite several attempts I have not been able to copy and paste a direct link to the review, though I succeeded in copying its text into Google translate. This (presumably) Spanish reviewer was not keen on the Spanish dance, describing it as 'anachronistic', if Google translate is correct.
  9. I would love to see a Royal Ballet revival of Enigma Variations. I do remember excellent performances in 2011 but the cast I saw was led by Christopher Saunders as Elgar with Bennet Gartside as Jaeger. Back to the wishlist, I would certainly welcome a revival of Les Noces, as mentioned in Floss's post above.
  10. This link includes a downloadable programme giving principal casting for Swan Lake performances in Madrid. https://www.danzaballet.com/the-royal-ballet-regresa-al-teatro-real-con-su-nueva-produccion-del-lago-de-los-cisnes/
  11. I think Von Rothbart in courtier guise (and holding the crown) is absorbed by a crowd of corps men at rear of stage, near base of staircase. Body double Von Rothbart in sorcerer guise simultaneously emerges from the crowd of dancers, now holding the crown. I don't know if there are two crowns! I think this is what happens, but others may have a clearer memory than mine. It's a powerful moment, especially on first viewing.
  12. Some photos are in this review by David Mead: http://www.seeingdance.com/brb-fille-11072018/
  13. The original Bechdel Test has certainly featured in twitter conversations about ballet on occasion. La Fille mal gardée just about passes this Bechdel checklist for ballet, complicated only by Widow Simone being danced by a man!
  14. I agree that it's interesting and significant. As mentioned previously, I think this moment seems to foreshadow Von Rothbart ultimately being vanquished in Act IV. I presume that unfolding events are controlled by evil spirit VR, restrained by his human façade throughout the court scenes. Scarlett twice shows VR directly shadowing Siegfried to exert control, once in human guise and once in spirit guise. The final battle is won in the supernatural realm, bringing a melancholy redemption to the human world protected by Odette's loving spirit. As others have said, it is a huge disappointment that the final vision of Odette is obscured in some parts of the ROH auditorium. The ending feels unremittingly bleak if you miss this. Liam Scarlett's version of Von Rothbart seems focused on the theme of mysterious evil forces at large in the world, a theme which has preoccupied Scarlett in his earlier narrative works I think. A friend who saw the live screening described Von Rothbart as an occult figure, which seems accurate to me. It would be interesting to hear Scarlett speak about this.
  15. Von Rothbart's convulsion occurs in direct response to Siegfried overruling him. I read this as a power struggle. Human VR loses authority for this moment and angry spirit VR tries to assert control but must not be seen here. I formed this impression first from seeing Thomas Whitehead at the General Rehearsal, but we are not meant to give any comment on rehearsal performances. I've since thought that perhaps the moment prefigures the final power struggle at close of Act IV? But yes, for the narrative flow VR does have to get off stage very quickly here!