jonac

Didn't read closely enough; thought it was this year. Thanks for your correcting me.

Does anyone know how one books tickets?

Talking with a fellow ballet-goer, we wondered whether in the days of Fonteyn/Nureyev, or previously, leading roles were allocated to all or most of the Principals during a run (of course there may have been fewer Principals than is the case at present)? In other words, in a run of The Sleeping Beauty, would Fonteyn dance Aurora at more performances than many of the other Principals? Would Beryl Grey dance more performances than a ballerina recently promoted to Principal? I'm sure there are some who can answer the question.

SheilaC, can you tell us what she is dancing in Bath, thank you.

Now got ticket; a return appeared.

Seeking ticket for performance, 2pm, 2nd Nov

I have this Alina/Frederico DVD and therefore watched this Ballet Deconstructed, having not heard of Kathryn Morgan. Most interesting, well worth watching.

Doesn't Dance.Mum mean the Insight, as opposed to a Rehearsal?

I have Bolshoi's DVD and saw it at the ROH. Enjoy the DVD and enjoyed performance.

I go to the opera quite a lot but am not really qualified to express authoritative opinions. Just thought I'd say I thoroughly enjoyed the dress rehearsal, terrific Wagner music and so well sung across the whole cast, Venus being very impressive (signing-wise of course). Five stars+.

I booked, at the theatre, first half of July and was told that for security one's e-ticket would not be issued until 24 hours before the performance. The email confirming my booking includes a link and having used it this afternoon it takes me to my e-ticket but states the barcode will not appear until 24 hours before the performance. Printed of my ticket (which shows seat details), without the barcode, just in case.

Well done Jan. Unfortunately my IT skills are so limited I've no idea how to create a link.

Yesterday I watch on Youtube Ratmansky and some of the Ukranian dancers talking about his version to be danced at the Coliseum. Very interesting, and helpful if going to see it, as I am. Explains some of the departures from the usual versions.

I've been on three back-stage tours over past years, two being for a Group I lead, and they have been most interesting. However, I recall reading not long ago that the tours do not currently include costume department, viewing windows of dance studios, in fact areas other than public areas, so as to protect dancers, performers, and all staff from Covid, which I can fully understand. Indeed, a friend of mine was a supervisor in the costume department for 30 years, retiring 20 years ago, and taking her to a rehearsal I phoned to ask whether I could bring her to the costume department, but they apologised that this was not possible so as to avoid exposing staff, etc., to Covid.

The replies I received in February were very helpful and I've just looked back at them. But I do not see that they answer the question I posed this afternoon; namely, how the names presently used by the Royal came to be used, and why.