The Royal Ballet: Giselle, Feb-April 2016

[alison]

I wonder if Osipova will manage to do her final Giselle. I guess time will tell.

 

Well, I have this theory: every time I get a really good balcony standing ticket for Osipova, it appears that she gets injured or something.  I think she's probably been a no-show every single time I've got those.  I have stalls circle for her third, so we shall see, I guess ...

 

In the meantime, if anyone *would* like a balcony D standing for the 17th, do drop me a PM.  Although I'm perfectly happy to see Nunez as Myrthe, she's in the third performance as well, and I've seen Lamb and Golding once already, so am not hugely bothered either way.

[John Mallinson]

What number?

[Melody]

Well, I have this theory: every time I get a really good balcony standing ticket for Osipova, it appears that she gets injured or something.  I think she's probably been a no-show every single time I've got those.  I have stalls circle for her third, so we shall see, I guess ...

 

In the meantime, if anyone *would* like a balcony D standing for the 17th, do drop me a PM.  Although I'm perfectly happy to see Nunez as Myrthe, she's in the third performance as well, and I've seen Lamb and Golding once already, so am not hugely bothered either way.

Right, so it's your fault. Now we know.

 

Maybe you could get the ROH to pay you to stay away on Osipova nights.

[Shirley]

In the meantime, if anyone *would* like a balcony D standing for the 17th, do drop me a PM.  Although I'm perfectly happy to see Nunez as Myrthe, she's in the third performance as well, and I've seen Lamb and Golding once already, so am not hugely bothered either way.

Hi Alison

 

Tried to pm you re the ticket but it would not send.

 

If John does not take the ticket ticket and if it hasn't gone I would like to buy it.

 

Many thanks

 

Shirley

[mshovelt]

Right, so it's your fault. Now we know.

 

Maybe you could get the ROH to pay you to stay away on Osipova nights.

 

Nope, it's definitely my fault :-).   Over the past few years I have booked to see more than one performance in a single run just four times: 

 

 - Sleeping Beauty 2014 : Osipova/Golding and Nunez/Muntagirov

 - Don Quixote 2015 : Osipova/Golding and Nunez/Soares

 - Romeo and Juliet 2015 : Osipova/Muntagirov and Hayward/Golding

 - Giselle 2016 : Osipova/Golding and Nunez/Muntagirov

 

On every one of these Osipova suffered an injury :-(.  So, I think that the ROH should be paying me not to book for multiple performances in the future!  

 

Still, can't complain, I have seen her dance many other times (including in two of the four above on other occasions) and my disappointment can be nothing to the frustration (and pain!) she must be suffering; so, get well soon Natalia! 

 

All that said, I am now very much looking forward to Sarah Lamb's interpretation (especially following the reviews) and, perhaps even more so, Nunez's Myrthe. 

[Sim]

I can promise you won't be disappointed, Mshovelt. Lamb and Nunez in the same cast...it will be lovely. Osi who?

[Jacqueline]

Just bought my own birthday present to me, a Grand Tier seat for Nunez/Muntagirov on March 31st. I am down south that week as otherwise couldn't get to a midweek evening performance. Never thought I'd go to Giselle again after the Cojocaru/Kobborg wonderment, but N&M must be a dream pairing and Mendizabel as Myrtha! Can't wait. It will take my mind off being a year older.

[Don Q Fan]

I've given up on Osipova now, I loved her when she was the Bolshoi, but sadly it's not the same anymore and then she seems plagued with injury these days. I reckon she'll be leaving the Royal very soon especially with her connection to Polunin.

[MAB]

I would be heartbroken if she left, though I can't help wondering whether having to dance such a diverse range of styles is having an adverse effect on her body.  I'd like to see Polunin back at the RB with her too.  Although I'll admit to not being his biggest fan, his high profile image would certainly put bums on seats at ROH and as no publicity is bad publicity, the resulting media scrum wouldn't do much harm either.  There is a gap in the top rankings at present and I can think of no one better to fill it.

[Jamesrhblack]

I would be heartbroken if she left, though I can't help wondering whether having to dance such a diverse range of styles is having an adverse effect on her body.  I'd like to see Polunin back at the RB with her too.  Although I'll admit to not being his biggest fan, his high profile image would certainly put bums on seats at ROH and as no publicity is bad publicity, the resulting media scrum wouldn't do much harm either.  There is a gap in the top rankings at present and I can think of no one better to fill it.

That's a very interesting Pinter diversity of styles MAM. When Osipova first joined full time I remember being astonished that she seems to be cast in almost everything (OK, that go for box office too) but was obviously pushing herself to the limit to encompass a wide range of repertoire which must out immense pressure on her physicsally. She and her audience have had a difficult and frustrating season but it's important to remember that a dancer would always rather perform than not and that she isn't not dancing Giselle through lack of intention - she injured herself during a stage call of which there are photographs.

[MAX]

I think dancers (all of them) have to be strong physically, mentally and emotionally. Their lifes must be organized around their art. Sometimes things are not well balanced and they get injured or depressed.  

[capybara]

Another cast change for tonight (17th March)..

 

Now Nunez and Muntagirov 

 

http://www.roh.org.uk/news/cast-changes-giselle-on-17-march-2016

[zxDaveM]

Another cast change for tonight (17th March)..

 

Now Nunez and Muntagirov 

 

http://www.roh.org.uk/news/cast-changes-giselle-on-17-march-2016

 

I was looking forward to seeing Sarah Lamb. And it would have been a rarity to have seen Marianela Nunez as Myrthe too.

[alison]

Another cast change for tonight (17th March)..

 

Now Nunez and Muntagirov 

 

http://www.roh.org.uk/news/cast-changes-giselle-on-17-march-2016

WAAAAAHHHHH!!!

[Mary]

Enjoyed today's matinee very much -  Cuthbertson/Bonelli.

Cuthbertson's acting was very affecting.

I didn't find Bonelli as moving, lovely as he is to watch-and his solo was perfection- but whereas McRae really did imbue the leaps with feeling of despair, to me  Boneli just did beautiful leaps.

Once again the corps were on top form. Completely in tune, precise, with soft arms- they just looked terrific.

The pas de six did not seem as good as at my last viewing. Naghdi was a treat once again-such lovely arms- with the ever-buoyant Sambe making his characteristic huge jumps and perfect-almost- landings.

I am afraid  the other chaps did not quite manage to land without mishap.

 

On 26 Feb I was exceedingly impressed by Helen Crawford's Myrtha. Today, I reflected how very hard this role is- so very exposed, such hard steps , in a really long solo, and nowhere to hide. I think this and the Lilac Fairy are the 2 roles that have been least satisfactorily performed in the last few years at RB. Claire Calvert certainly had the stage presence and the haughty, frozen demeanour, but possibly nerves had affected some of the tricker balances.

Bennet Gartside was an excellent Hilarion- a rather thankless role really- inflecting his rather limited scenes with convincing emotion.

It was great to have Gary Avis, swishing his cloak as only he can, as the Duke.

 

All in all though this is still a really good run of Giselle with the orchestra -so good to have Barry Wordworth back- on super form

[Guest Guest]

Enjoyed today's matinee very much -  Cuthbertson/Bonelli.

Cuthbertson's acting was very affecting.

I didn't find Bonelli as moving, lovely as he is to watch-and his solo was perfection- but whereas McRae really did imbue the leaps with feeling of despair, to me  Boneli just did beautiful leaps.

Once again the corps were on top form. Completely in tune, precise, with soft arms- they just looked terrific.

The pas de six did not seem as good as at my last viewing. Naghdi was a treat once again-such lovely arms- with the ever-buoyant Sambe making his characteristic huge jumps and perfect-almost- landings.

I am afraid  the other chaps did not quite manage to land without mishap.

 

On 26 Feb I was exceedingly impressed by Helen Crawford's Myrtha. Today, I reflected how very hard this role is- so very exposed, such hard steps , in a really long solo, and nowhere to hide. I think this and the Lilac Fairy are the 2 roles that have been least satisfactorily performed in the last few years at RB. Claire Calvert certainly had the stage presence and the haughty, frozen demeanour, but possibly nerves had affected some of the tricker balances.

Bennet Gartside was an excellent Hilarion- a rather thankless role really- inflecting his rather limited scenes with convincing emotion.

It was great to have Gary Avis, swishing his cloak as only he can, as the Duke.

 

All in all though this is still a really good run of Giselle with the orchestra -so good to have Barry Wordworth back- on super form

 

I agree with about everything you've said Mary! The acting was really strong this afternoon from Lauren, the Fed and Bennet. Personally I didn't find Bonelli's performance lacking, I saw both beauty and despair and he made that solo look ridiculously effortless. 

 

I noticed Lauren fell over right at the very last second as she was doing the the bourrée en couru backwards off stage. Looked like a nasty slip but she seemed ok at the curtain call. I hope so because I want to see this cast again! we don't need any more cast changes..

[capybara]

Tonight's performance (Nunez/Muntagirov) - WOW and, again, WOW.

 

Edited to add that I'm finding it difficult to go to bed because I am so 'high' after an amazing night of ballet. What a privilege to see this show - and to catch Vadim's unexpected debut.

Edited March 17, 2016 by capybara

[Sim]

I was knocked for six by tonight's performance, and still feel very emotional. I was in tears at the end and equally moved by them both, something that hasn't happened to me since Alina and Johan in this ballet. More thoughts tomorrow; now I must go to sleep....perchance to dream....

[alison]

*Royal Ballet* debut

 

Not that I could have done anything about it anyway, since I didn't see the change of casting until it was too late for me to get there, and I'd sold my ticket to someone else, but please could we have casting changes put on the relevant casting thread in the News forum as well?  That way, I might have realised that something was afoot in time to do something about it.

 

Actually, it's really rather annoying, because I had to buy a ticket for the 22nd for Nunez/Muntagirov owing to the ROH having made the amphi student-only for their other non-cinema appearance, and I was only bemoaning yesterday that I had a triple booking for that date and was having to miss something I really needed to go to.  Had I known, I'd have kept hold of my ticket for today then perhaps I could have done something else on the 22nd   Oh well, can't be helped, I guess.

[SMballet]

I have just returned from tonight's performance and wanted to write briefly, with a promise to write at greater length tomorrow once I have recovered my faculties for reflection.

(Actually I returned a couple of hours ago but I have been so moved that I couldn't do anything for the last two hours and couldn't bring myself to write).

As many of you have gathered, there was a last minute cast change, as Sarah Lamb, poor thing, had taken ill. And poor Matthew Golding - I feel so bad for him - could not, I suppose, dance with a partner he had never rehearsed with. So it was Marianela Nunez as Giselle; Vadim Muntagirov as Albrecht; and Itziar Mendizabel as Myrthe (I don't know if there were any other cast changes).

Briefly: it was one of the most moving nights of my life, and the second act was just sublime. I can't quite convey how softly Nunez and Muntagirov danced - I had a really great seat, in the orchestra stall quite close to the stage, and I swear that I could never hear them land. And in that soft gentleness of their dancing was so much emotion - the way they looked at each other; the way they touched each other; the way they seemed to feel each other's presence without even seeing each other - it was unbearable. It seemed to me that everyone around me was sobbing; how do the dancers keep from their own hearts breaking? When Giselle stretches out her hands and protects Albrecht, standing between him and Myrtha, that was, I think, a moment in which I thought about all the times in my own life when I've loved, and lost, and felt ashamed that I had never had an iota of the generosity that GIselle has in that moment. I know it's just a stupid simple story but Marianela and Vadim elevated it to something that felt to me as vital and important as Shakespeare. And when he has fallen to the ground and tries to rise, and she, with the warm expansive movements of her arms, tries to give him the strength to rise, there we have it; an encapsulation of all that human love can be.

 

The first act was, I felt, a bit uneven, but not, I must stress, due to the fault of any dancer: Marianela was so lovely, so simple, so radiant and ardent in her affections; and Vadim so gentle with her, that the story made no sense to me. It just seemed so out of character, so unbelievable, that that gentle, simple, smiling boy would not remain true to her, despite his very beautiful (and so regal, so elegant) Bathilde. It just didn't seem in keeping with the character. So for that reason alone - for the very sincerity that Vadim conveys in every moment that he is on stage - I felt the first act didn't work for me.

 

But there was a moment in the first act - maybe every Giselle does it, but I thought it so striking, and such a marvelous example of the artistry that we were witnessing, that I'd like to share it with you all: the way in which Marianela wipes, with the edge of her simple dress, the glass in which she serves Bathilde water. The care with which she wipes it; the eagerness; the smile: it killed me. In that moment I knew I wasn't watching a dancer dancing, but a girl on the cusp of womanhood, who does everything with all her heart, with her pure girlish heart that is about to be broken.

 

I don't want to keep babbling, and I realise I haven't said anything about the excellent corps; the wonderful Mendizabel; and the really amazing orchestra. Tomorrow?  For tonight I just wanted to leave you all with this image: of Marianela Nunez floating softly across the stage, her feet only touching the ground once in while - no fireworks, no leaps, nothing that would make an audience go "oooooh" - in the arms of the man who betrayed her, and yet who loved her so dearly that it was clear that he carried, in his arms, the most precious treasure he had ever had to carry. It was heartbreaking; it was immense; it was soft; it was unforgettable.

 

Thank you RB; thank you to all the great artists (who were informed at the very last minute that they had to perform tonight); and thank you Petipa, Pete Wright, and Adolphe Adam.

 

I will try to write more tomorrow.

Edited March 18, 2016 by SMballet

[capybara]

......but please could we have casting changes put on the relevant casting thread in the News forum as well?  That way, I might have realised that something was afoot in time to do something about it.

 

 

I'm the 'guilty' one here, Alison. But, before posting, I looked at both possible threads and, as this one appeared the more current and already had on it a great deal about casting, I decided that it was the best place on which to place the alert. I didn't 'double post' because I was admonished for doing so in similar circumstances once before.

[Sim]

Well....I was going to post more thoughts on last night's superlative performance of Giselle, but SMBallet has been moved to write so beautifully about it that there is really no more that I can add. I agree with everything said above. For me to feel as emotionally gutted in Giselle as I did last night, both leads have to be equal in their artistry, and Marianela and Vadim were, in spades. Utterly convincing, utterly heartbreaking. Vadim seemed to reach deep into Marianela's soul, from where sprang emotions and depth of feeling that I have never perceived from her before. More of this partnership please, Mr O'Hare.

 

Itziar Mendizabal was a fierce, fiery and frightening Myrthe. She terrified me; one look out into the audience and I almost cowered. I certainly wouldn't like to encounter her in a dark wood at night.

 

The corps as the Wilis were perfection personified and I can't imagine that there is a better Act 2 of Giselle anywhere else in the world at the moment.

 

The orchestra under Barry Wordsworth added to the evening's magic; how wonderful to have him back.

 

The fact that the three leads only had a few hours' notice that they were going to be on last night just added to the general excitement and frisson. A truly special night...and now I am wondering how they can possibly equal it on Tuesday?!!

[Timmie]

I was at both Giselles yesterday. I think matinees maybe don’t agree with me as my head is not quite in the right place and whilst I enjoyed the performance it didn’t quite hit the spot, I’ll be seeing this cast again in a couple of weeks so it will be of interest to compare. I did very much enjoy the Pas de Six with Naghdi a lovely treat as the lead girl. In Act 2 the corps were gorgeous and I loved Claire Calvert’s Myrtha.

 

In the evening I arrived to see the cast change slip with horror but after taking the changes in I was very happy, no offence to other dancers but Nunez is my absolute favourite and whilst I was looking forward to her as Myrtha to see her Giselle for the first time – wow.

 

Act 1 was great but Act 2 is where it’s all at. And it was tremendous. Definitely the best thing so far this year and if it’s still the best at the end I will not be surprised.

The slow Giselle/Albrecht pas de deux (the one with the Willis lining the stage) was total emotional and dancing perfection and the best moment of the night. I find it’s not so much the scene or the story of a ballet that gets to me (except Swan Lake) but when the dancers (and orchestra) get it just right it is being in the presence of absolute beauty. It is hard to describe Act 2 without over using the ‘perfect’ word. Maybe I’ll go for sublime for Nunez and only perfect for the rest. 

 

I know the RB already have two Giselles on DVD but I do hope they release a third if the cinema performance is anything like last night.

Edited March 18, 2016 by Timmie

[capybara]

I was at both Giselles yesterday. I think matinees maybe don’t agree with me as my head is not quite in the right place and whilst I enjoyed the performance it didn’t quite hit the spot, I’ll be seeing this cast again in a couple of weeks so it will be of interest to compare. I did very much enjoy the Pas de Six with Naghdi a lovely treat as the lead girl. In Act 2 the corps were gorgeous and I loved Claire Calvert’s Myrtha.

 

In the evening I arrived to see the cast change slip with horror but after taking the changes in I was very happy, no offence to other dancers but Nunez is my absolute favourite and whilst I was looking forward to her as Myrtha to see her Giselle for the first time – wow.

 

Act 1 was great but Act 2 is where it’s all at. And it was tremendous. Definitely the best thing so far this year and if it’s still the best at the end I will not be surprised.

The slow Giselle/Albrecht pas de deux (the one with the Willis lining the stage) was total emotional and dancing perfection and the best moment of the night. I find it’s not so much the scene or the story of a ballet that gets to me (except Swan Lake) but when the dancers (and orchestra) get it just right it is being in the presence of absolute beauty. It is hard to describe Act 2 without over using the ‘perfect’ word. Maybe I’ll go for sublime for Nunez and only perfect for the rest. 

 

I know the RB already have two Giselles on DVD but I do hope they release a third if the cinema performance is anything like last night.

 

Agree with what you say about Nunez, Timmie. But how is it possible for you not to mention Muntagirov by name after his equally heart-rending and wondrously danced Albrecht?

 

It could be that the last minute nature of the Principal's appearance last night lent a certain frisson to the proceedings for both them and us but all I know is that that performance came across to, and affected, me in a very, very special way.

 

The Company had had a very tiring day and most looked drained as they left the ROH last night. I have also passed a couple of dancers en route to the tube this morning (9.30) so no lie-ins today for them.

Edited March 18, 2016 by capybara

[Timmie]

Agree with what you say about Nunez, Timmie. But how is it possible for you not to mention Muntagirov by name after his equally heart-rending and wondrously danced Albrecht?

 

It could be that the last minute nature of the Principal's appearance last night lent a certain frisson to the proceedings for both them and us but all I know is that that performance came across to, and affected, me in a very, very special way.

 

The Company had had a very tiring day and most looked drained as they left the ROH last night. I have also passed a couple of dancers en route to the tube this morning (9.30) so no lie-ins today for them.

 

You’re making me feel bad Capybara   (and I had a lie-in this morning). Muntagirov was without doubt outstanding but I reasoned that if I mentioned anyone else by name I would have to mention them all – and everyone was really really good and worthy of a mention.

 

I was impressed by Claire Calvert dancing Myrtha at the matinee and then Zulme in the evening – she was my stand-out heroine of the day.

[Jacqueline]

I am looking forward to Giselle with Nunez/Muntagirov even more now, having read these reviews.

Interesting comment by Timmie above, about matinees. I haven't been to an evening performance for quite a while for various, mostly logistical reasons, but I have sometimes felt that I wasn't quite in the mood when attending a matinee. The earlier they start, the harder it can be to connect with the action, particularly if the journey to the theatre has been fraught, along with the crack of dawn start. I am sure matinees have a different atmosphere anyway.

This time, I have all day to get there and no rush afterwards so it should be quite a different experience, as well as a wonderful evening of my favourite ballet.

[Lenore]

I was at the evening show last night (Nunez/Muntagirov) as well as the matinee (Cuthbertson/Bonelli). Both stood out in different ways.

 

Speaking to Vadim at the stage door it transpired they'd only been told the night before that they'd be dancing, after having had a full rehearsal in the morning. So they must have all been exhausted. I pretty much agree with what other have said, although I personally did not enjoy the first act as much as I have previously. I'm not sure why; I just didn't really connect. I'll hopefully be seeing their cinema showing & will feel differently. The 2nd act was beautiful. Marianela's transformation from the first act was something else, she went from a child to a grown woman.

 

Yasmine stood out in the matinee pas de six as others have said. She has a way of drawing your eye. Marcelino was also very impressive. I have to say I also preferred Giselles mother in the matinee (cannot for the life of me remember who played her ). I could literally feel her stare go right through me.

 

I enjoyed Lauren & Federico as well. They have a lovely partnership & danced beautifully.

 

Am currently travelling so can't really add much, but overall it was 2 amazing performances.

[Sim]

I believe Berthe was Olivia Cowley, judging by a photo she posted on FB yesterday!

[bangorballetboy]

I believe Berthe was Olivia Cowley, judging by a photo she posted on FB yesterday!

 

Cowley was Bathilde.  McGorian was Berthe.

[Sim]

Ahhh....that would explain the frosty stare! NO-ONE has eyes like Elizabeth McGorian!

[MargaretN7]

Cowley was Bathilde. 

And an excellent Bathilde she was.

[Simon]

I also saw Nunez/muntagirov last night. I had seen Lamb earlier in the run and was surprised how much I liked her portrayal so when I saw a good standing ticket available I snapped it up. Another reason I wanted a ticket was to see Nunez as Myrthe. So I brought the ticket and then saw the cast change. I was overjoyed as I have been longing to see them dance together in Giselle since casting was announced. I've enjoyed seeing them dance together in nutcracker and Tchaikovsky pas de deux earlier in the season so I had high expectations and they were surpassed. I really do think they make a great partnership. In act 1 Nunez's mad scene was so moving but act 2 was very special indeed. I was utterly entranced by their beautiful dancing and the love between Giselle and Albrecht. I am so glad I've booked for all of their performances.

[Indigo]

I was also at both performances of Giselle on Thursday 17th & enjoyed them so much that I'm still floating in a ballet bubble. I actually woke up next morning with the music & dancing flitting through my dreams 

 

I thought the ROH made a very sensible call given the unfortunate circumstances with the scheduled cast in the evening performance & it was a real treat to unexpectedly see Marianela & Vadim. Hopefully Natalia (or Sarah) will be recovered enough to dance on the 29th March, as I have a ticket & would love to see either of them dance Giselle then, with Marianela as Myrtha. 

 

... The first act was, I felt, a bit uneven, but not, I must stress, due to the fault of any dancer: Marianela was so lovely, so simple, so radiant and ardent in her affections; and Vadim so gentle with her, that the story made no sense to me. It just seemed so out of character, so unbelievable, that that gentle, simple, smiling boy would not remain true to her, despite his very beautiful (and so regal, so elegant) Bathilde. It just didn't seem in keeping with the character. So for that reason alone - for the very sincerity that Vadim conveys in every moment that he is on stage - I felt the first act didn't work for me.

 

Initially, I also felt something similar to SMballet during Act I, but then I actually found it making sense in the context of Marianela/Vadim's interpretation. Admittedly, I haven't seen many performances of Giselle, but Marianela's Giselle came across to me as far more sunny, happy & balanced than, say, compared to Osipova's (cinema & DVD) portrayal of a more fragile Giselle which then makes complete sense of her violent reaction to Acosta/Albrecht's arrogance & duplicity. 

 

In terms of Marianela & Vadim's portrayal of their characters, like SMballet, it also came across to me that Giselle & Albrecht are genuinely in love in Act I. But I could imagine a back story where Albrecht's engagement to Bathilde was more of an old-fashioned / medieval-style, strategic marital alliance (for wealth, land, important connections etc) which he felt pressured into making rather than a love match. And Vadim/Albrecht's greeting of Bathilde is far cooler, more distantly polite than his interactions with Giselle. So although Albrecht truly does love Giselle, in my imagined scenario he knows their marriage could never happen due to the vast differences in station between them & his inability to change that. Albrecht should not have deceived Giselle (or himself) that their relationship had any realistic future - which is irrespective of the fact that he is engaged to another woman. So given Marianela's radiant depiction of Giselle & her character, it made sense to me that Giselle's extreme reaction was as much due to the impossibility of their love, as to the shock of the discovery that he is already engaged to another, or the betrayal / character flaw in the man she loves. This then flowed into Act II with the tangible strength of their bond & intense spiritual connection.

 

Anyway, that's how I interpreted Act I. I'm sure others will have different views. Perhaps Vadim & Marianela will talk about their take on their characters during the extra features in the live cinema relay & reveal more! 

 

... I just wanted to leave you all with this image: of Marianela Nunez floating softly across the stage, her feet only touching the ground once in while - no fireworks, no leaps, nothing that would make an audience go "oooooh" - in the arms of the man who betrayed her, and yet who loved her so dearly that it was clear that he carried, in his arms, the most precious treasure he had ever had to carry. It was heartbreaking; it was immense; it was soft; it was unforgettable.

 

Beautifully put & I also found the evening's Act II truly special. It was so beautiful & extraordinarily moving. 

 

... Itziar Mendizabal was a fierce, fiery and frightening Myrthe. She terrified me; one look out into the audience and I almost cowered. I certainly wouldn't like to encounter her in a dark wood at night.

 

I was two-thirds of the way back in the amphi & I felt Itziar's excellent Myrtha managed to go beyond frightening to having a darker, more slightly unhinged quality which made her Myrtha feel dangerous, unpredictable & completely capable of the most terrible revenges!

 

The Wilis' were outstanding & the rest of the cast in both the matinee & evening performance were all so good. Lauren & Federico gave a great performance & I also especially enjoyed Olivia Cowley's Bathilde, Claire Calvert's Myrtha & Yasmine Naghdi with Marcelino Sambé in the pas de six. 

 

So glad I have tickets for Marianela/Vadim again on the 22nd, plus their cinema relay to look forward to. I hope for a DVD release too!