Xandra Newman

What a beautiful "review" LinMM. More and more, when watching the RB and their sublime dancers, when attending RB performances, it provides me with an escape from daily life and all its worries. When I go to the ROH I feel in heaven, I can escape from the world and all its daily worries. Thank you to all the dancers who provide us with such amazing performances!

It's a grey area isn't it Sim. It takes up to 14 days or more apparently before any symptoms show up so one may be a carrier of the virus unknowingly before the symptoms show, therefore the best precaution would be for any dancer/ opera singer who has been in one of the Government listed countries to self isolate in order to protect other singers and dancers.

All we know is that there are a very high number of cases in northern Italy and Francesca Hayward posted on her social media that she was in Milan for the weekend, and so seems to have been Corrales. As she danced DAAG last night she clearly has been inside the ROH since coming back from Milan thus mingled with the other dancers. I just hope all will be ok. Just imagine the potential of the virus spreading amongst the dancers. LinMM: anyone coming back from Government listed countries (northern Italy and many Asian countries) has to self isolate for a minimum of 2 weeks according to NHS and Government guidelines.

Was looking forward to seeing the 2nd cast...but as he's just back from Italy, the Corona virus issue demands two weeks of isolation.

It is very worrisome as some principals do travel to guest abroad like Muntagirov in Tokyo, or they travel for pleasure. I saw on social media that Francesca Hayward was in Milan over the past weekend to watch a fashion show, the epicentre of the outbreak in Italy. I wonder what measures the ROH has put in place for travelling opera singers and RB dancers.

I'll make an attempt describing the difference in Naghdi's characterisation of her Tatiana in Act 3, between her debut performance back in January and her 3rd one last night. At her debut, her Tatiana in Act 3 was characterised as if she was still a rather naive, young married woman, with hints she might have just about learned to love her husband a little bit, there was moving tenderness between them, whereas last night her Tatiana was that of a fully mature married woman, she had simply learned "to be" with her husband as society expected from her. She clearly didn't love her husband, there was a deep sadness in her, but she was respectful to him and grateful for the life he had given her. When she danced with Onegin, she let go of all of her feelings for him, showing him remaining, dormant passion (as if for a moment she completely forgot she was a married woman). Their pd2 showed all of her past feelings and emotions for him, very passionate, and I felt there were instances when Naghdi's Tatiana could have been totally capable of suddenly changing her mind and reunite with him. It was but a let-out moment for her and a sudden catharsis occurred once she had released all those pent-up emotions. She completely changed her body language and her facial expressions suddenly turned very stern. With great self-confidence she made up her mind there and then. She told Onegin to never come back and she left him in no doubt! Their Dream Scene pd2 last night was also very beautifully executed.

There was also a lot of bravo shouting during the clapping at last Friday's Naghdi/Bonelli show, again last night bravos could be heard. I feel the ROH audience has become much more vocal in their appreciation. To me there's nothing wrong with it, it's all part of the appreciation of the dancers and their performance.

I felt exactly the same Sim, Naghdi clearly gave it all she had last night, I guess she didn't have anything left to give by the end. When she told Onegin to leave her alone, when pointing her finger ordering him to leave, that was so dramatic, forceful and intense. At the end of the ballet I thought this is just not a ballet I have watched... but Ballet turned into sublime Art.

Well what more can be said about the Naghdi/Bonelli cast that hasn't already been said? Tonight was indeed a whopping WOW! as zxDaveM posted. Naghdi has the ability to show her audience new and different aspects of her artistry performance after performance, we never get to see the same Naghdi twice. Her Tatiana tonight, and also last Friday, showed a ballerina who had freed herself from any "restraints", she was totally free and gave herself over in complete abandonment. Frederico Bonelli was amazing too and these two wonderful principals connected so beautifully, physically and emotionally. Anna-Rose O'Sullivan was again a beautiful Olga and Sissens really improved since his debut as Lensky. Bennett Gartside was a very special Prince Gremin, my favourite one. As The Royal Ballet's newest and youngest Tatiana, Naghdi has certainly made this role her own. The huge amount of flowers delivered on the stage caused audible gasps from the audience, nice to see Sissens and O'Sullivan getting a few bouquets too, and Gartside and Bonelli got a rose each from Yasmine Naghdi. I hope Onegin will come back soon, this ballet has it all!

Yasmine Naghdi's pas de deux with Bennett Gartside was totally heartbreaking! She was so tender and elegant, but no smiling, she had accepted her destiny. A pas de deux I'll never ever forget. Her last pas de deux with Bonelli really made me cry, it was deeply moving. Naghdi's transition from a naive young girl in love to married woman was amazing, and every emotion was readable on her face. An overwhelming and outstanding performance from Naghdi/Bonelli, she visibly poured her heart and soul in this ballet. The whole cast was great, O'Sullivan and Sissens were also wonderful as Olga and Lensky but Naghdi was phenomenal and the night belonged to her. I am really looking forward to catching her last Tatiana on Monday. The huge roars from the audience said it all.

Well now that Friedmann Vogel has danced with Yasmine Naghdi in Tokyo there may be a possibility for Vogel to dance with Naghdi here at the ROH. Who knows. I'd dearly love to see that happen!

Will Marianela Nunez now dance Tatiana on Friday evening and on Saturday evening (her scheduled show)? I have a ticket to see her on Saturday evening.

I have a ticket to see Marianela Nunez as Tatiana on Saturday evening. Will Nunez now dance two performances in a row? or will she be replaced by another Tatiana?

I'd love to see a (short or long!) clip of Naghdi dancing with Vogel!

That is such super short notice for Yasmine Naghdi to replace Alina Cojocaru...two days (according to IG) to learn Balanchine's "Ballet Imperial", dancing with new partner Friedmann Vogel, and be on stage tomorrow night 😱😱. I believe she has never danced "Ballet Imperial", this will be a debut prepared for in two days. Wishing Yasmine Naghdi and Friedmann Vogel much success, as well as all the other dancers involved!

Based on social media posts by Johan Kobborg and others: it seems that Yasmine Naghdi is replacing Alina Cojocaru, and Naghdi will be dancing "Ballet Imperial" with Friedmann Vogel in Tokyo on 5th and 6th February.

The February issue of Dancing Times carries a very interesting article " Teaching through our legacies to save our heritage" by Anya Grinstead.

It's all over the press it seems! https://www.limelightmagazine.com.au/news/liam-scarlett-suspended-by-the-royal-ballet/ It is understood that allegations may have taken place over a decade. Seemingly, there are also allegations of bullying dancers in the Company and they refused to work with him. Queensland Ballet has also suspended its ties with Liam Scarlett. https://www.dailymail.co.uk/news/article-7945375/Royal-Ballet-choreographer-Liam-Scarlett-suspended.html

February 2016, ROH/Linbury, Ballet Evolved series, "How ballet class has changed over the centuries". https://www.youtube.com/watch?v=-EjfGgvsldM&frags=pl%2Cwn

Interesting but there is very little if nothing to be blown away by the character of Tatiana in Act 1 but by her facial expressions at different stages throughout Act 1. The main focus is on Olga and Lensky, all the dancing is done by these two characters, it is Olga who takes centre stage in Act 1,Tatiana is merely a silent character and there isn't much to do for Tatiana besides laying on the floor reading her book, sitting on a bench reading her book, walking around a bit, is with Onegin but for fleeting moments, and she is off stage whenever the cops de ballet, Olga and Lensky are dancing. Act 1 merely introduces us to Tatiana. Only in Act 2 does the focus turn to Tatiana (and Onegin). One cannot compare the role of Aurora in the grandiose Act 1 Sleeping Beauty and fabulous Rose Adagio (a show stopper) with the quiet role of Tatiana in Act 1: Tatiana's role in Act 1 is to be measured, controlled and slow: she is a shy, hesitant, bookish, introvert and inexperienced young girl. Onegin is a ballet I feel one has to sit as close to the stage as possible. Being able to see the facial expressions of the dancers makes all the difference, it is really important to me to be able to read the characters in Onegin, and especially Tatiana's in Act 1 as she has so little to do. Naghdi's face was very readable from the Orchestra Stalls where I sat, and clearly showed me all her thoughts, her changing inner feelings, her hope Onegin would fall in love with her, her despair and disappointment when she realises he wasn't in love with her at all (that feeling of despair and disappointment was beautifully portrayed in the very short solo she danced for Onegin during her party). Those vital details in character development through facial expressions surely can't be visible when sitting at great distance from the stage (unless one watches through binoculars). How else can someone be "blown away" by Tatiana in Act 1 (there's really no dancing to be blown away by) but by being able to read her thoughts, her feelings of confusion, doubt, disappointment and despair. Dancers are artists after all, not just bodies who dance for us, and each one of them bring to their role their own personality, their personal life experiences and individual style of dancing. Natalia Osipova brings her own Russian background, live experiences, temperament and very individual style of dancing to the role of Tatiana, and so do Marianella Nunez, Itziar Mendizabal and Yasmine Naghdi.

No no Standingticket, I didn't think you were critical at all, and even if so, you have every right and are perfectly entitled to be critical, if that's your opinion, it's yours. I merely tried to express how what you said, was interpreted, intended and expressed with purpose by said ballerina

prs59 wrote: "From where I was sitting in the OS, for me, the mirror pd2 was outstanding in its intensity. The freedom, abandon and seeming recklessness which which both Naghdi and Bonelli danced with one another and through which the characters melted into one another and gave substance to the premise that this sequence is a wild dream, a young woman’s fantasy. As the saying goes at times it was difficult to know where one dancer ended and the other began. " This is how I experienced their mirror pd2 too, danced with total abandon, to me she literally threw herself into this pd2, it's such a whirlwind of a pd2. As for "nervousness" in Act 1(?), if to be perceived as "nervousness" (which I didn't, sitting in the middle of 3rd row OS), Naghdi herself wasn't nervous, if at all it was part of her character portrayal: a young, introvert, shy, "nervous" Tatiana meeting the handsome Onegin, her first close encounter with a strange man, feeling the first flutters of love. Her restrained contrasted beautifully with her sister Olga, an extrovert, flirting girl.

I totally agree. Naghdi got the balance in her characterisation throughout all three acts so very right, nothing extreme nor overdone nor overacted. The shy, bookish Tatiana, clearly disinterested in what was going on around her, was living in the moment, in her own fantasy world through the book she was reading. Her delicate acting, once she is introduced to Onegin, her hope of first love, then feeling he isn't really interested in her, her insistence trying to attract his attention during her birthday party followed by the realisation he just isn't interested in her was beautifully portrayed in her solo. The bedroom scene and their pd2 really felt dreamlike when she let go of any character restrained, her pd2 with Bennet Gartside tender, mature, and gorgeous. What I liked so much about her Tatiana, besides her beautiful classical dancing, was that I really felt she took me on a journey with her, never was there a brusque sudden change or unpredictability, her characterisation (and the development) just flowed from one act into the other. For me too, this cast is the definitive one as I feel somehow this is how John Cranko must have wanted the ballet to be danced, and the characters to be portrayed.

A memorable night, what more can I say. I have seen all four casts but this cast was a very special one. Frederic Bonelli and Yasmine Naghdi look so good together. Anna-Rose O'Sullivan is the best Olga out of the four dancers cast, on a par with Akane Takada who I also liked a lot. (I was disappointed in Hayward's Olga, besides her usual pretty dancing any depth in characterisation was absent). Yes Osipova is a glorious Tatiana, dancing in her typical unpredictable style, but with Naghdi we got a fresh, new and unique portrayal of Tatiana, she made the role her own, and in each Act she got the characterisation just right. I loved her in Act III as princess and married woman, dancing so tenderly with her husband in the ballroom scene, and her final pd2 with Frederico Bonelli brought tears into eyes. Yasmine was very clearly moved during the curtain call (I sat very close to the stage and I could see she had tears in her eyes, she looked emotionally drained). I have seen Naghdi dance Olga in 2012 and 2015 and to see her dancing Tatiana tonight was very special. A wonderful debut by the RB's newest Tatiana. Joseph Sissens was a lovely Lensky but not quite in the same league as Matthew Ball who I love in this role. Bennet Gartside was very moving as Prince Gremin.

I am stating the obvious here Fonty, yes times have changed: the training of the current generation of ballet dancers is very different to the training dancers had a few decades ago, their bodies have also changed, their turn-out and extensions are different, and their coaches are different. Whenever I watch actors/actresses in a 50's and 60s Hollywood movies they also act very differently compared to the current generation of actors/actresses.