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  1. The Trocks were sheer delight last night. The Millenium Centre is quite large but there was a decent sized audience. When I booked tickets they had only opened the stalls but obviously there was quite a bit of interest as the circle was also almost full. For Les Sylphides we had Joshua Thake, Alberto Pretto, Carlos Hopuy and a very vacant Haojun Xie. After the interval we were treated to the Harliquinade pdd superbly danced by Long Zou and Takaomi Yoshino. The Trovatiara was the same cast we saw in London headed by Joshua Thake. Robert Carter once again executed his Dying Swan with panache. The audience had been pretty quiet up to this point but he really brought them to life. Headed up by the amazing Carlos Hopuy (partnered by Giovanni Ravelo), Paquita was simply wonderful. There were a couple of slips from the soloists (on the same patch of the stage) but, being Trocks, they made a thing out of it and carried on. If anything the standard of dancing was even better than when we saw them in London. Needless to say we loved every minute of it. Judging by the cheers, and quite a few of the audience in the stalls standing in their applause, so did everyone else. 2021 seems a very long time to have to wait to see them again.
  2. He certainly was, Mary. I also thought Anna Rose O'Sullivan was excellent as Princess Louise
  3. Can't wait to see them (again) in Cardiff next week. It will prove welcome light relief after all these Mayerlings!
  4. It's not so much the tardiness of Luke Jennings review of Monday's performance as the inaccuracies within it. According to his review, the opening of Act 1 portrays Rudolph's engagement to Sophie. Correct me if I'm wrong, but I thought Rudolph had just married Princess Stephanie, not got engaged to his grandmother!
  5. It would still be branded an 'elitist' shopping mall unless they replaced the voice in the lift with this... served.mp3
  6. The husband managed a curtain call photo and Osipova looks happy enough to me. Shortly after this, she curtsied to Hirano and Sarah Lamb followed suit. If anyone had trouble smiling at the end, it was Hirano........ Probably overwhelmed by the whole experience. Incidentally I can't remember Osipova giving flowers to her partners...not even her beloved Hallberg. I don't want to comment too much on the performance as I think the cast will grow together and I would rather wait until Saturday to pass comment. I will say that the husband needed a cold shower at the end of Act 2 and that Osipova, Haywood and Lamb were outstanding! Have to disagree with Bruce about the orchestra though as we thought they had some pretty ropey moments and the tempo seemed quite slow at times. Still thoroughly enjoyed the evening though and very much looking forward to a double helping on Saturday.
  7. I totally agree, Serenade. No Man's Land reduced me to tears (again) but although the husband loves the Maliphant piece, I just don't get it. Dust was as fabulous as ever. It was wonderful to be able to take our eldest son to a matinee that featured the divine Alina, Isaac Hernandez and Tamara. James Streeter and the rest of the company were all marvellous too! If you want to catch the screening of Giselle, I've come across the following link on the ENB website: https://www.ballet.org.uk/onscreen/akram-khan-giselle/ Excited to see a screening near Bristol and have booked our tickets for November. It hasn't been well advertised so I think a lot of people may have missed it, but there are several theatres showing Giselle between now and next February.
  8. And Jason Kittelberger lifted her up and carried to the front of the stage for another curtain call! Loved it.
  9. Well I'll put my head above the parapet and say that we enjoyed it! The evening is quite short and there are fairly long pauses while Osipova changes costume and gets her breath back, but I think it is well worth seeing as there is probably something for everyone in the programme. Anthony Tudor's The Leaves Are Fading opened the show so it started in a classical vein and was beautifully danced by Osipova and Hallberg. I was not at all sure about the very modern second piece by Ivan Perez; I hated the 'music' but the husband quite liked it. A clever solo by Kim Brandstrup for David Hallberg ended the first half. The second half opened with a modern piece by Roy Assaf in which Osipova danced with Jason Kittelberger. This was followed by Valse Triste choreographed for Osipova and Hallberg by Ratmansky. It was only six minutes long but very energetic and, in my opinion, worth the admission price alone. They were fabulous together. Judging by the reception it got, I was not alone in my thinking! The final piece was a beautiful solo for Osipova by Yuka Oishi set to Ave Maria. We found it very moving. The applause at the final curtain calls was loud and long with several people standing in the stalls. It was entirely a bonus to be sat a couple of rows behind Alessandra Ferri and Roberto Bolle!
  10. I'm also wondering if Osipova's injury has anything to do with the 32 fouettes (or should I say lack of them) in London.......
  11. Mummykool

    Something less tragic?

    A few more that instantly come to mind: Bolshoi's Bright Stream (if you can find it in Youtube) also their Pharaoh's Daughter Cranko's Taming of the Shrew Wheeldon's Alice's Adventures in Wonderland Corsaire (the Anne Marie Holmes' version used by ENB and ABT) less classical, shorter, but great fun: Great Galloping Gottschalk and Push Comes to Shove (both on American Ballet Theater dvds)
  12. Well if it is only not raked on the front three rows, it isn't much better after that. As mentioned previously, nothing below the knee was visible from row D (which was five back) and the seating only marginally staggered. I also didn't notice the lighting being any better on the live stream, but at least I got to see the dancers' feet! All in all, a big thumbs up to Viviana Durante, her dancers and creative team but an even bigger thumbs down to the Barbican.
  13. Couldn't see much below the dancers' knee level from row D. Very impressed by the dancing but at all not impressed by the venue or the lighting and would seriously think twice about going there again. The live stream gave a far better view and didn't involve six hours of travel!
  14. Judging by the ecstatic and prolonged reception last night (they were standing in the balcony), one can only assume Attila was in the minority. Everyone around us were absolutely blown away by the whole company. Fabulous, fabulous evening of acting, dance and emotion.
  15. Me too SIm! I've read in several places that it was Shklyarov's debut in a role he has always wanted to dance, which makes the performance even more amazing and also goes to explain one poster's impression that he took time to relax into the role but also gave his character time to become part of the story. Given Osipova ALWAYS builds new layers of depth and understanding into each and every one of her previous performances, I can't wait to see what they produce on the 13th with him (hopefully) more relaxed. The rest of the cast were also absolutely fabulous. Sambe, Naghdi, Avis and Gartside gave outstanding performances; I couldn't help noticing as well Joe Sissons (again) and Tom Whitehead who had an absolute ball in the brothel. (I still prefer his totally nasty gaoler to any others, but it was an eyeopener to see someone usually classed as a villain, first excel as Widow Simone in Fille, and then produce such a naughtily behaved gentleman in Manon.) It is these beautifully observed minor and supporting roles that make The Royal ballet so great....especially as they reach to all parts of the house. I felt it was an incredible evening. I was in tears at the end (which doesn't normally happen) but I have to admit the second Osiopva Ball Giselle moved be more emotionally. In fact, despite Winter's Tale and the Bernstein in between, I'm still not quite sure I'm over that one. However, GIselle is all about love and redemption and Manon is really about hurt caused to others through selfish and greedy action resulting in just desserts. They are both wonderful in very different ways and I feel privileged to have seen two such memorable performances by dancers at the peak of their game. We are very lucky to have them all.