JennyTaylor

I shouldn't worry too much. The first time I saw it, I struggled to recognise Vadim - and how well known is he! It's those head dresses. I play guess the dancer a lot as I really like to know who I am seeing and find the lack on information on the cast sheets frustrating. I think Danses Concertantes was challenging in the respect, but it's still so when there are SO many swans.

I've really loved Leo Dixon as Benno and the whole cast is phenomenal as you say. I'm staying for the evening performance and can only be in awe of both the stamina and astonishing excellence of all the dancers.

Glorious, glorious from Will and Fumi. I loved the impromptu laugh she gave him (not in character) at the end of their Act 3 virtuoso. Ever so brief, but there it was. "Smashed it", it said, and so they did. I've seen all three performances. Nothing will ever be quite the same again.

Yes, last night's performance brought deep joy and happiness. Incredibly beautiful.

I hear there was no pony!

Where to start with last night. Will and Fumi were so sublime: what a partnership this is to treasure. For anyone who hasn't got a ticket for their next performances, just keep refreshing that website and grab one. Perhaps I'll start with Leo Dixon's debut as Benno which was excellent. In my mind exactly how a Benno should be characterised and danced. He has a strong stage presence and should be proud of his performance. Will and Fumi were on fire. Whether it's the grace, beauty and tenderness of the white act or the passion of the black act, everything was perfection in my eyes. The wicked smile on Fumi's face as she completed the final turns of her extraordinary fouettes will live in my memory for a long time. Immersive is a popular term these days but that is what Will does. So with his many changes of facial expression, every body language signal, he is immersed in the characterisation of his part and I become immersed with him. This brings so much more depth to his performances and I believe his partners feed off this to enhance their own performances in the dramatic ballets. Last night his dancing was exceptional - the grace and purity of his and the fireworks of Act 3. Fumi too was exceptional. We come to expect it but she was breath-taking throughout. Not enough superlatives in the dictionary to describe it all. So, a standing ovation from the entire theatre at the end. The whole cast produced a top, top class show. I feel very lucky to have been there to see it.

Thank you so much @Dawnstar and @Geoff Very reassuring to know it's not just me. The context you both provide is really helpful. I might have a look at Streaming options to see if I can enhance my experiences via that medium.

I'm also an opera ignoramus but have been trying to education myself by attending Friends' rehearsals. I only go to ones where the composer/ music will give me a chance of enjoying myself. So far I have been to: Tosca - loved it, felt I had seen something special. Aida - loved the music but hated the North Korean production and the costumes. Aida looked like a factory worked or a cleaner. La Boheme - really disappointing. Damp squib is an understatement. I couldn't relate to any of the characterisations and the scenery was super clunky. Madame Butterfly (today) - jury still out, but probably 2nd ranked below Tosca. So, that's 4 really famous operas and I'm not doing too well, which is actually quite disappointing as I would really like to gain enjoyment from this art form. I'm wondering why this could be in comparison to ballet where there is no verbal interaction. 1) I'm not familiar with the music so probably need to hear it several times more 2) There's very little action. Compared, for example with a Manon ballet, when there's so much going on it's hard to know where to look, I find opera very static. 3) Apart from Aida, the casts are small and there's very little group singing. I loved the power of the chorus singing in Aida, so long as I closed my eyes and didn't think about their costumes. I think I expected more group singing in general. Is this cost cutting?? 4) The scenery is very traditional and flat. It was quite pretty today for Butterfly but in general I'd be looking for better effects. In La Boheme I could see the snow machine in the roof and also the backs of the scenery had directional markings on them. Irritating. 5) I don't seem to be moved by two people singing to each other. Wish I was. The lady next to me was in tears at the end of Butterfly today and told me it always made her feel that way. I didn't feel moved at all, rather very annoyed with the behaviour of Pinkerton. 6) There is far more action in a ballet - there has to be, so perhaps my expectations are unreal. I will persevere further. Perhaps I should just go back to Gilbert and Sullivan, which I love.

Late to the party here, but still struggling to articulate everything I feel and want to say. So many previous posts have echoed some of my thoughts while others have not. First, I love Alex as a dancer and feel his partnership with Francesca Hayward was very special. I'll pick an early Sleeping Beauty where their fish dives in the Grand pdd made me gasp with appreciation and made other more "luminous" partnerships in that same run look positively pedestrian. I've been lucky enough to meet Alex on several occasions at RB events and chat to him about ballet and cricket. I asked him about the fish dives and he said it was because Frankie was so quick and fast in her spins. We saw this again with their final performance last Friday, which for me, brought back all those memories and celebrated their unique partnership. It was so special. I too, feel somewhat deprived that we didn't see more of this wonderful partnership. For some reason, they stopped being cast together and then COVID took over, so we really missed what could have been prime stage time. Thank goodness they have been reunited recently and there could have been no better final performance than the one I feel very privileged to have witnessed last Friday. I felt the final celebration was pitch perfect and I loved Alex's speech. He is such a class act and has secured a wonderful new role at the RAD. So, surely, the only way is up - even further.

On the topic of flowers, I don't send them very often but had a bad experience with Interflora so reverted to Bloomsbury. I then used Will Bracewell's partner Andy Monaghan who has set himself up as a florist - several posts on Instagram on this from Will and Andy including his website. I particularly like him because he tries to use home grown flowers and his arrangements are rustic and very beautiful. It's not cheap but it is a start up business to support. It felt like a win / win.

I'm not sure what I can add after some of the stupendous reviews posted already about last night. So, I will keep it brief. I booked to see Vadim and Fumi, so was surprised to come away thinking that for me, the star was Joseph Sissens. Surprised because although I admire him as a dancer, I didn't expect that to happen. I felt his Lescaut was understated and for that reason, all the more effective in Act 2 in particular. My favourite Lescaut's so far have been Acri and Campbell, but he's now definitely right at the top of my list! I spent some time watching the harlots / clients: they have such fun. I found myself beguiled by Marianna Tsembenhoi last night in Act 2 - there's just so much going on! Somehow, I found that I'd rather watch Marianna than some of the principal solo work. Olivia Cowley is another of my favourites when she's dancing. Fumi and Vadim were lovely but I got no emotional pull at all from them. That's not something I can manufacture; it just happens. I do prefer Fumi with Will Bracewell.

I'm going to extend this thread into Audience Behaviour in the Floral Hall at the ROH. I was sat in my quiet corner before the performance minding my own business when the conversation of the couple on the adjoining table could not but help invade my consciousness. I'm sure you've all been told - never discuss your work in a public place (train / cafe etc). Well, all rules were broken as I found myself listening to a detailed monologue about the ENB and their dancers. Snippets such as "her pointe work is only average" alongside information about who was dancing what (or not), rounding off by a comment that it was very funny to have Kevin announcing that the auditorium was open and please take your seats. A quick look at the ENB staff on their website has shown me exactly who it was and I can only say that they need a serious conversation with HR.

Yes, that's part of my criteria too. I thought this bill was the best I've seen (or more accurately - more to my taste) than any other "new works" bill I feel less than privileged to have endured in many cases. The much lower cost of the tickets make it worth a try, plus the dancing is brilliant, even if you don't like all the choreography. "Twinkle" is proper ballet, with some comedy, but beauty too.

For me, this was much better than I expected and FAR better than any WMG new works in triple bills. I'd only booked once but now have booked another ticket for next week as I can't resist seeing Twinkle again. I loved it and how marvellous that the choreographer played to the dancers' strengths - there's a novel idea! Also had the added delight of spotting Roberto Bolle completely on his own in the Foyer, during the interval. Yes, he must have a painting in the attic and I received a lovely smile.

Is it me or is there an issue with the later Manon performances. I've tried several times to go in and purchase where it says there are seats available, but then there's nothing on the seat map or the choose a seat option? Very frustrating. I can see others appear to have a similar issue