SylviaLiu

You are absolutely right - that is Stanislaw! His turns were really something!! I'm super impressed

Watched the cinema relay last night and Fumi's wonderful Aurora's still on my mind! She was really radiant last night, and embodied the role so perfectly... Even my not-very-into-ballet (especially adagios) husband couldn't take his eyes off her rose adagio ... Also really enjoyed Naghdi and Ball's pdd, they really seem to have good chemistry between the two of them, and both technically wonderful What a night!

Mariinsky really owes her the principal title ... she has all the qualities required for a principal...

His Instagram story of 'good bye London' followed by 'Hello St. Petersburg' might be giving a hint I suppose?

I could watch Giselle any day any time all the time!! Lots of Balanchine ballets are also always interesting to watch. Particularly enjoy Symphony in C and Tarantella

May Nagahisa is actually a Mariinsky second soloist, and it isn't at all unusual for a company soloist to dance principal roles at the Mariinsky. Shale Wagman however is going to guest at the Mariinsky, and it is indeed quite rare for the Mariinsky to invite a non principal to guest(good for him though!! ). I myself can't think of such a scenario happened before.. does anyone else have an example?

OMG I remembered that moment too!! That was like an attitude held for how long .... 10 seconds??? The audience couldn't hold their applauses until the variation's over! Magic night.

Yeah it does seem so! I certainly would be happy for her if she continue on her RB journey next season! It just seems to me a bit unusual for a young dancer to dance with two companies during the same season.

I am located in Oslo Norway, and last night I went to Norwegian National Ballet's triple bill (kingdom of shades, Secus, symphony in C), and spotted Lania Atkins on the cast list (and on stage of course). So I suppose if one of the Aud Jebsen dancer has left, it is likely to be her.

Would love to see Onegin and a Balanchine triple bill, especially Tarantella

I would be really sad if la Bayadère were to be removed from the Rep... I guess I did not write about how blown away I was last Friday by the mighty trio of Osipova, Nunez and Muntagirov and needless to say, the beautiful RB corp!! I'm still thinking about it even now..... Sorry to hear about your experience during the intermission, but there always are people that make ridiculous statements and unnecessary racial connotations on everything. Was that person that asked you the questionseven aware that the title of the ballet was not even in any oriental language? Again, what pity it will be if any story that involves any cultural elements have to be removed and/or altered! Swan lake without the princesses, the nutcracker without the Arab dance, tea leaf, DonQ and Paquita without the Spanish dance, Le Corsaire probably has to go as well... this list can go on and on... I don't think any of these ballet is meant to belittle any culture, perhaps quite the opposite, just because Petipa (and other choreographers) were so fascinated by the different cultures, that we get to see all of these character dances today. Of course, what they knew of that time was limited, and there are certain level of fantasy and imagination involved. But anyway, a ballet is a ballet, not a documentary or national archive, can't all of us just sit back and relax?

Also just received the notification from ROH about the cast change - definitely would be lovely to Corrales soar, but hearing about all the wonderful things on Muntagirov's opening night (plus the fact that I did not attend that or the cinema streaming), I guess I'm at no position to be disappointed Look forward to Friday!!

So shocked to read this. I follow the RB closely although not even residing in England, and almost always attend an RB performance every time I find myself in London. At the same time I work in data analytics research. It's quite sad that these data analytics consulting firms (including the people I know of) understand very little beyond numbers, and naively do whatever it does to maximise the target function, while in this case, revenue for the ROH. It's also really pathetic that this article's tone is purely positive and optimistic, as if this is the future and what every art institution should do. Out of curiosity I checked their client lists on their website - many big names are up there. Birmingham Hippodrome, the Met.. the list goes on. The last thing the ROH and other art institutions want, is to be viewed as elitist, and this "strategic price increase" is doing exactly that. Translating to plain English: "you don't have enough money to buy the expensive tickets and/or make donation, you therefore don't deserve to attend many operas and ballets". The right way to develop new audiences and keep the art form alive is by making it more affordable, more reachable. I thought the cinema streaming and the BP big screen streamings were wonderful examples, but this article now makes me have second thoughts ...

Oh lord am I the only one that likes DonQ here? and... DonQ was almost one of those ballets that attracted me to classical ballet in the first place. Although no longer my favourite, I still really love the choreography and the bright music although the story line was in my opinion, a little bit dull and absurd. But it's one of those (very few) ballets that leave you energised and not so sad after watching it!! I've not watched the RB version, but absolutely loved the Bolshoi version with Natalia Osipova and Ivan Vasiliev. Such a power couple. Also love the street dances, Mercedes variation and the Metador's dance. But I would have to say, it really takes dancers that know how to impress people with their jumps and turns to make this ballet interesting.