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  1. I have nothing but admiration for this Forum - for someone like me who “lost track” of ballet for many years and was keen to catch up again, it has been an enjoyable and rewarding experience to catch up again with the help of this Forum and all the hugely knowledgable people herein. And a huge thank you to the moderators for giving up their time to keep it - in general - a safe and civilised place. Which makes it all the more disappointing to hear that a small minority are giving way to uncivilised behaviour. Not on at all.
  2. Well - I wrote a review late last night after the performance, went to post it, in my tiredness pressed the wrong button and lost the lot! 😐 Couldn’t face starting all over again at that point, so here goes a second time and hopefully I’ll manage not to mess up this time! I enjoyed last night’s performance very much, although to my mind Act 1 goes on just a tad too long (but I did spot the bear this time!). I really go to see Act 2 which I find exuberant and uplifting, and Act 3, which, if done well, is very moving. A host of very strong performances. There is not much one can say about Nunez as she is always so good, but Soares surprised me - I’m not his greatest fan generally but he was an effective and moving Leontes. I also enjoyed Bracewell, he made an excellent Polixenes with a strong presence. I have seen Mendizabal’s Paulina before but to my mind last night she was better than before in the role, strong and dignified. Stix-Brunell was a glorious Perdita, radiant and sparkling - and beautifully danced. I love her and Muntagirov together - and of course he was superb as always. He is always such a joyful dancer, and that suits the Florizel role and the celebratory theme of the Act perfectly. Plus it is nice to see him in a less classical role with untypical choreography and finding that his beautiful classical lines and grace are still very much in evidence. I am seeing it at the cinema too and looking forward to it. It will be interesting to see what different aspects the live stream will offer.
  3. All I can say is, if it isn’t true, it’s one hell of a complex story for a whole group of dancers to make up.
  4. I do actually quite like Oduba, and I find that he has become a better presenter for the cinema screenings since taking part in Strictly. He now seems genuinely interested and enthusiastic (I felt he was going through the motions a bit before) - probably he now has a true appreciation of the skill and hard work it takes to be a dancer.
  5. Muntagirov has been quite open in a number of public interviews about his reasons for leaving ENB. Namely, that he didn't feel he was developing as a dancer by dancing a restricted repertoire, and that Rojo had flatly refused to allow him to guest elsewhere (a freedom allowed to him under Eagling). Was she worried about him being "poached" if she let him dance with other companies? If so, that backfired on her somewhat....
  6. I agree Lizbie1. The main concern I have (as an outsider), and which seems to mirror other comments on here, is that the whole issue appears to be being brushed under the carpet without a full and non-biased objective investigation into the dancers’ complaints taking place. Whichever way you look at it, this should be happening. I’m not aware that anyone has suggested that Tamara should leave/be removed from her post, but there would appear to be issues that need to be addressed to ensure the dancers’ - and the Company’s - future wellbeing.
  7. Looking at the article, I would say that is the case. Not good enough. I’m sure ENB have procedures in place. Whether or not they are being used properly is quite another matter. Of course the Board will tell the AC what it wants to hear. Who is asking the dancers?
  8. An investigation certainly needs to take place. But it needs to be by an external body with no connection to ENB and the results made public.
  9. I don’t think the injury issue is the only issue from what the article suggests.
  10. All very well - but it seems to be clear from the article that the dancers concerned had already gone through the approved routes to raise their concerns and were not listened to. The article looks like a pretty desperate attempt to try to do something about their grievances. With all due respect to Mr Watts, he does not know (any more than the rest of us) what goes on behind closed doors at ENB and it is not for him to accuse the dancers of cowardice by not wishing to be named or to suggest that there is nothing in their allegations. And, if his career depended on the person he was raising a grievance against, would he be willing to "stand up and be counted?" I rather doubt it. I sincerely hope that this article triggers off a thorough and objective review of the internal workings of ENB so that if - if - there is any substance to the allegations (and dancers leaving in droves suggests that there is at least some), they can be properly addressed.
  11. Reading between the lines, it sounds as though the Rojo/Hernandez relationship isn’t the only problem in ENB, although the article focusses on that (I suppose it’s an aspect that creates more interest in the general readership). There is nothing intrinsically wrong with Rojo and Hernandez having a relationship, but I suppose issues arise if either or both of them are perceived to be not maintaining a proper separation between the personal and professional relationship - which seems to be what the dancers are hinting at.
  12. I think that people are being a little unfair. No one has seen it yet!
  13. I don’t know if anyone else heard it (we were quite close), but when she threw the second flower there was a small crash in the wings and the tinkle of somethIng breaking - definitely not very ghostly! Made me giggle.
  14. Well, I saw him and couldn’t agree more, Capybara. I’m very much looking forward to seeing him dance it again. Like you, penelopesimpson, I wasn’t sure it would be “his” type of role but I very quickly realised that it was, and was blown away. An extremely moving and incredibly technically accomplished performance.
  15. I was also there - a very accurate review, bridiem. I loved Heap's Myrthe - that face! Marianela was, of course, a joy to watch. Her mad scene is so natural and convincing it brings a lump to the throat. Bonelli was a likeable Albrecht and his acting got stronger as the performance went on - his ending was lovely. However, in comparison with Marianela, I felt he didn't quite reach the same level of dancing - and when one knows what Muntagirov can do with it.... Naghdi and Campbell in the Pas de Six were superb, and a special mention to Joseph Sissens, who quite rightly is being given some plum roles - he has particularly beautiful feet. I don't know if it was where I was sitting, but the orchestra seemed a little leaden under Kassels, and there were some rather obvious bloopers from the horn section in a couple of places. The applause for Marianela in the middle of an Act 2 solo was mentioned. I am all for showing appreciation for dancers, but (again, maybe because I was sitting quite close to the applauders) I found it somewhat inappropriate and quite annoying - it happened several times (they were obviously Marianela fans!) and there was actual whooping going on! Call me old fashioned, but for me it broke the spell of the ethereal Act 2 and was out of place. I've never seen that happen before. I'm quite happy to be told I'm a Grumpy Old Git! ☺