ElleC

I am utterly miserable about this. Having “woken up” to Rupert in the Tsunami Gala over 10 years ago, I then booked to see him with Tamara in La Sylphide. From that time on, I made a point of seeing him in everything he danced. As others have mentioned, his particular stand-out roles were Des Grieux, Crown Prince Rudolph and Beliaev with Sarah, Melissa and Zenaida respectively. Unforgettably thrilling, and these casts will take some beating for me (if ever there were cases of missed opportunities where casts were crying out to be filmed …). He was my favourite Romeo, and a prince without equal in such things as Swan Lake and Giselle – regal, elegant, and intensely romantic but always with enough nuanced characterisation to make whatever noble he was playing a credible human being. He was a strong, careful, caring partner, always ready to help his ballerinas shine and to take a step back from the limelight. Then there were his wonderful performances in abstract ballets such as Requiem, Concerto, Voluntaries, Serenade, Symphony in C, as well as the goose-bump inducing Diamonds with Alina which, again, will probably never be topped for me (together with the single performance of Cinderella he danced with Alina, safely tucked away and cherished in my memory bank – totally heart-warming). So many wonderful performances. I wish Rupert every happiness and success in whatever he does next. I will miss him terribly.

I saw Woolf Works for the first time last night and, having had one foot in the “I’m not sure if I can take a whole evening of Wayne McGregor” camp, I must put my hands up and say that I really, really enjoyed it. For me, definitely his best yet. I loved “I Now, I Then” and I think it helped that I’d read Mrs Dalloway (the only one of the three books I managed in time). It really does capture the essence of the book, I think, and of that time, aided by some lovely, subtle costumes with a 20’s flavour. It was engrossing and moving. Every single member of the cast (1st cast) was wonderful. "Becomings", although I could see the obvious references with the cross-dressing and androgynous look, felt more like standard McGregor and less Virginia Woolf. That said, as a piece, I still enjoyed it – such energy – and I particularly loved Osipova, Lamb, McRae and Matthew Ball! This was the only piece that felt slightly too long for me. I thought "Tuesday" was simply gorgeous – intelligent, mesmerising and definitely moving. The pdd between Ferri and Bonelli was stunning, but so too was the corps, swirling and flowing, surging and receding, beautiful but always powerful, just like waves. It feels like a real privilege to be seeing Alessandra Ferri at this stage in her career. She has huge stage presence and gives off so much emotion even (as others have said) when she’s still. Obviously, at the same time of course, she’s still a fabulous dancer. This work, to me, seems like a huge step forward for Wayne McGregor in his journey with the Royal Ballet. I feel as though, little by little, whilst they are taking his challenging style/choreography on board, they are also rubbing off on him so that it is becoming more classical and (dare I say it) lyrical, and, of course, he only needs to give them a hint of a storyline for them to grab it, run with it, and turn it into something amazing - it’s in the company’s blood after all, to tell stories! Personally, I think this process started with “Raven Girl” which I know has its critics but, whilst not perfect, certainly (for me) had some beautiful parts – e.g. the ravens in flight, the final pdd, as well as a wonderful score – and WMcG was stepping outside his comfort zone to try to create something new and different (for him), and I’m rather looking forward to seeing it come back in its new, “tweaked” form. (Sorry – I’ve gone a bit waffly and rather off topic, but I think I’m trying to say that, as a collaborative process, these things can take time and, if Woolf Works is anything to go by, the WMcG/RB relationship is progressing and really starting to benefit both sides. I hope this makes sense …)

For me, the new season is disappointing - very little Macmillan, no full length Ashton, and as much I'm really looking forward to seeing Two Pigeons, I think 14 performances is too many when there are so many other lovely Ashton pieces that could have been shown (the two Ashton double bills will also be rather short in length , I would have thought). I'm disappointed that Carmen is only to be a one act ballet, and I can't say I'm too enthusiastic about a whole evening of Wheeldon works. Even the new Scarlett is beginning to fill me with dread - I usually love his work, but Viscera is my least favourite because I don't much care for the music, and now I hear that it will be this composer who will write the score for Frankenstein. The last programme of the season doesn't thrill me much either - not really being much of a McGregor fan, the Invitation is going to be challenging for me, I think, and then we have another repeat work, so the season will go out on a whimper again (I feel the same about the end of this season too). In fact, the more I think about it, the more depressed I feel. Thank heaven for R&J, Giselle and the 25 Nutcrackers. I'm normally a pretty upbeat person, but I feel quite grumpy. I suppose the only saving grace is that I'll probably save quite a lot of money. :-(

Well, I went to yesterday’s matinée with Marquez/Pennefather (my first of many RB Swan Lake’s in the next couple of months, I’m very pleased to say!) – oh, and by the way, I’m much more prone to “gushing” reports than negativity, so anyone who doesn’t like that has been suitably warned and probably shouldn’t read any further … J So – given my last statement, it will be no surprise to hear that I thoroughly enjoyed Roberta and Rupert’s performance. I had had reservations about them being cast together. As mentioned on other occasions, I’m a huge fan of Rupert’s and also love Roberta, but they just didn’t seem a particularly obvious pairing, he being so tall with such long, elegant lines and she so tiny and compact. However, all my doubts vanished as they started to interact. From the minute Rupert’s Siegfried set eyes on Odette, he was both mesmerised and mystified, as though he just couldn’t believe what he was seeing. She, although small, didn’t come across as too vulnerable. Yes, she was scared, but the feeling of “fight or flight” was written all over her with those dark, expressive eyes of hers flashing strong mistrust from under her raised arm. Even as he tried to win her trust, she was no push-over – she wanted to trust him but just couldn’t quite allow herself, expressed so clearly when he wrapped her gently in his arms (one of those romantic moments that Rupert does so well) and she melted for a split second before pushing his arms away quite forcefully. However, finally she gave in, and I found their pas de deux, with that glorious music, very moving, as was the moment when she starts to feel the pull of Rothbart and you could see the desperation in her face as she was trying to cling to Siegfried. Rupert played the ballroom scene to perfection. His interaction with his mother, the Queen (Christina Arestis – very well portrayed with just the right amount of exasperated affection for, but determined authority over, her son) was excellent, and the moment when all the princesses have flounced off at his rejection, he turns to meet his mother’s furious look with a defiant raised eyebrow and faint shrug as if to say “Well, what did you expect …? I tried to tell you I wasn’t interested …”. Then, from the minute Odile enters, he’s can’t take his eyes off her, but registering slight bewilderment every now and then as Roberta’s rather sultry Odile toys with him, one minute flirting and the next rejecting. And I also think Rupert is dancing as well as I’ve ever seen him at the minute. The last Act at the moment when he sinks to his knees before her, head bowed, asking for her forgiveness, and she gently raised his face with both hands, was quite heart-breaking. I’m more than happy to be seeing this cast again in March. A quick word for the “bevy” of swans who, as always, danced with feeling and precision, and also for the elegantly danced officer of James Hay (another of my “favourites”, who I would dearly love to see dancing Siegfried one day!). And a final word for the production. I may be in the minority, but I LOVE the RB’s current production of Swan Lake, and always love to see it return (not least, I should imagine, because it was at this, from Row S in the Amphi, that I totally fell in love with the Royal Ballet some 14 years ago!). The first Act with its group dances and festoons of coloured lights appears more of a joyful celebration than any other production I’ve ever seen, and this provides a sharp contrast to the dark, magicaI second Act, which I feel is so distinctive. Most other companies have the short, plate-like tutus, and I love the shape and soft movement in the swans costumes at RB, really making me think of fluffed up plumage (I also preferred it when Odette wore the same “unfeathered” headdress as all the other swans). I adore the ballroom scene. I know it may appear “busy”, but I rather like that with the gilded balustrades and the deep, rich jewel-shades of the costumes of the group dances, and it certainly feels more like a gathering I’d like to attend, rather than the usual fusty, gloomy, cathedral-like ballrooms depicted in most other productions. I also love the dramatic light-change to glowing red when Odile’s deception is revealed!! So – for what it’s worth – the current production gets my vote, and if, as seems to be the case, there is to be a new production, I sincerely hope it retains some of its current magic, and doesn’t end up being some hideous, modern production with cold, sparse sets …

It wasn't Akane's debut. She danced one performance with Steven McRae in the last run, and I'm pretty sure she also replaced Roberta for some performances (again due to injury). So presumably that's why she has replaced Roberta this time too, having danced with Alexander Campbell before. I really enjoyed last night's performance. I'm not sure that Akane finds the characterisation of Kitri particularly natural (as I would imagine Marianela does, for example), but I thought she made a really good job of it, and her dancing was beautiful. And I loved Alexander Campbell as Basilio. I think he brings a naturalness to it whilst, at the same time, really "selling" the role. It was good to see, once again, lots of the younger dancers getting opportunities - both Trystan Dyer and Reece Clarke stood out for me as matadors, and in fact, all the matadors seemed to have a lot more "oomph", so I think they must be settling into character a bit more on this run, having also taken it on tour in the summer. (Valentino always had the characterisation, and I'm really looking forward to seeing him as Espada!). It was lovely to see Fumi back as one of the (green) Dryads, as well as Anna-Rose O'Sullivan (I hope she will still be dancing Amour). My first Don Q of many, and I can't wait for the rest. One of my real "tonic ballets" (along with Fille)!

Me too - an extra performance with Vadim is a huge bonus! I'm also really thrilled for Reece Clarke - what a wonderful opportunity for him, and I imagine he'll really suit the role.

I thought Lamb and Pennefather were amazing this afternoon. They are really, really special in this ballet, I think. All their pas de deux were beautifully danced and there is wonderful chemistry between them, but most of all, for me, they are so believable which makes their story all the more affecting. I'm so pleased to see Rupert back and dancing so strongly - I found both his solos very moving. The steps are so difficult, but you really weren't aware of that as he infused each one with real emotion, and he has such beautiful lines. I was also very impressed with Alexander Campbell as Lescaut, showing very clearly his calculating nature and just the right 'edge' of nastiness very early on, as well as being a convincing drunk. This was my first performance of the 2014/15 season - and what away to start!

Funnily enough, having seen it on the website, I confidently announced to my friend that that was exactly what it was called! And even after the Insight evening, we both thought that could almost still apply.

My wishes for next season include, so far as full lengths are concerned, Manon, Mayerling (although probably realistically too soon, given that it was on at the end of last season) and a full length Ashton (preferably Cinderella or Fille). I would love another full evening Ashton mixed bill of maybe Rhapsody (yes, I know, just been done but I really can’t wait two or three more seasons to see Franscesa Hayward and James Hay dance this again!), Symphonic Variations and Month in the Country (filmed for DVD, of course!). I’d also love to see Winter Dreams, Symphony in C and/or Theme and Variations, and Asphodel Meadows. It seems that there will be a new Liam Scarlett work for the main stage (so one of my wishes has already been fulfilled!). I’ll be pleased to see Don Q coming back (I thoroughly enjoyed it first time around), and also (if hints are correct) Onégin (although every time I think of this, I feel terribly sad that there’ll be no Alina and Johan, or for that matter Alina/Bennett Gartside in Prince Gremin pdd … but I suppose I’ll have to get over it). And, for the record, I’m always pleased to see Swan Lake as I love RB’s production and would hate it to change (don’t care if I’m in a minority!).

Does anyone know if Le Corsaire was filmed definitely for DVD? Someone mentioned to me that they thought it was for "download" only. I really hope it will be available on DVD since (like Janet and many others), I saw many performances and casts, and it still wasn't enough! And being of the slightly older generation, whilst download is OK, I prefer to have something tangible for my money, preferably with a nice picture on the front together with extras!!

I thought this triple bill made an interesting programme. Given that I’m not really a Wayne McGregor fan and I also have a real bee in my bonnet about expensive lighting installations that distract me from the dancing, it rather surprised me that I actually quite liked Tetractys, finding the costumes and lighting (not at all distracting!) attractive and the choreography much more balletic and musical than usual. The dancers (as always) were wonderful, and both Osipova and Nunez in particular moved with grace and elegance even when being wound and twisted into the most extreme positions. Nicol Edmonds also stood out for me. I think the purpose behind it probably went over my head somewhat but, for me, this was definitely one of McGregor’s most enjoyable pieces. I never fail to find Gloria moving - that combination of the barren, smoked-filled landscape filled with ghostly women and war-torn soldiers combined with the powerful music make such an impact. Both casts were very effective in creating a sobering but spiritual atmosphere, although the Acosta/Lamb/Soares cast edged it for me, and Sarah Lamb was mesmerising as a serene, other-worldly being. I’ve deliberately left Rhapsody until last because it is the highlight of the programme for me. I have now seen all three casts, and each one of them was really terrific whilst all being completely different. Laura Morera has such an affinity for Ashton, zipping through the incredibly fast footwork with ease, whilst looking serene and elegant in the slower sections, and Steven McRae is just stunning – his speed and precision almost beyond belief! He also has such charisma in this type of role. Yuhui Choe and Valentino Zucchetti both made wonderful debuts last night – Yuhui has such musicality and, like Laura, you feel any role is safe in her hands (and I mean safe in a reassuring, “I can relax”, type of way, and not boring!). This role suits Valentino very well – he has all the tricks, and can carry off the devil-may-care confidence with aplomb. And then we had Francesca Hayward and James Hay in their joint debuts at yesterday’s matinée … Both these dancers have been favourites of mine since they were at the Royal Ballet School, and so I was feeling very nervous for them – not because I didn’t think they would be good but because these are iconic roles which I’m sure must have felt like a very big deal for them, and I was absolutely willing them to do well. I really needn’t have worried! As soon as the curtain opened and James started to dance, I could tell it was going to be fine (more than fine!). He too has wonderful musicality and timing, and played it with an elegant confidence. When Francesca bourréed on at the back, I just came out in goosebumps. It was beautiful. She has such fluidity, grace and poise, as well as very quick, neat footwork. As the ballet progressed, both dancers seemed to grow in confidence. In the section just before the pas de deux where the man goes to each of the women standing in what I think of as a swan-like pose with their heads turned away and armed hiding their faces, I thought James played this in such an elegant, heart-felt, moving way (I always think the description of danseur noble usually applies to tall dancers but, for me, James really has this quality ) that I could feel my eyes welling up, so that by the time he reached Francesca at the back of the stage, I’m afraid I reached overflow. That pdd always gives me a lump in my throat, but these two dancers really, really moved me. Francesca was radiant and they danced with such warmth and sincerity, it was simply gorgeous. I enjoy almost every performance I see to a greater or lesser degree, but sometimes you get one with an extra sprinkling of magic, and this was one of them, and it’s one I won’t forget. The audience gave them a rapturous reception so I’m sure I’m not the only one who felt this way, and I’m already thinking of other things I would love to see them dance together – for example, The Dream, Symphonic Variations, and Ondine – and since all of these are principal roles, I hope I’m having some sort of premonition!

I think I could live with that!!

Thanks very much, Amanda. Unfortunately, I can't access them - I just seem to get to my own Google account (although this is probably more to do with my lack of technical knowhow than anything else ) . Thanks again for trying though - much appreciated.

Thanks for posting this, Anna. What a lovely idea ... and one which hopefully re-affirms to Alina and Johan how much they were (are!) loved by their audience. I'm not on facebook - I don't suppose there is some way a link to, or copy of, the photos could be posted here?

Gosh, I really hope that's right as I'm going on the 20th, and Yasmine is one of my favourite young dancers at RB! Fingers and toes firmly crossed ...

I'm so pleased to see that Matthew Ball is finally joining RB. I loved watching him in the school performances in 2012, and have been rather worried about him. I look forward to spotting him on the ROH stage soon! There certainly has been quite an intake from RBS to RB recently, or if not directly from the school, then former RBS students having had a couple of years' experience elsewhere (e.g. Teo Dubreuil and Solomon Golding), and it's great to see.

I don't suppose anyone knows whether James Hay is actually back dancing, or whether his (original) casting with Francesca Hayward on 9th December is now an error? It seems strange that he's down as dancing his first performance but has been replaced by Tristan Dyer in the others. I hope he is dancing on the 9th as his and Francesca's Clara and Hans Peter has been something I've been really looking forward to ever since casting was first announced back at the end of last season ...

Yes, it does generally follow the traditional Nutcracker in structure but the fact that the Chinese and Arabian dance (yes - very odd) etc. seem to take place in a sort of theatre setting (with red curtains I think from memory - I haven't seen it yet this year), and the flower waltz with its fairly bright pink costumes doesn't seem to carry a particularly wintery theme, just don't, for me, carry through that magical Christmas feeling which is a shame since obviously this accounts for most of Act 2. Of course, that's just my opinion and feeling but, to try to sum it up, I don't come out of ENB's version with that feeling of "Christmas has arrived", whereas with RB's, I do!

I very much agree with Dave on this. ENB's Nutcracker is rather "hit and miss" for me. It has some wonderful moments like the snowy skating scene at the beginning and the snowflakes' scene, as well as the final pdd for Clara and Prince, but I really don't like the swapping of Nephew and Nutcracker, which is totally confusing (and probably even more so for young children), and some of the other scenes are very un-Christmassy which results in it losing some of the magic. Give me RB's version every time - certainly enough dancing for me in Act 1, and the transformation scene with the growing of the tree as the music swells is breathtaking. IMO, the pdd between Clara and Nutcracker towards the end of the first Act is one of the highlights and certainly on a par with that of the Sugar Plum and Prince (which I also love), so much so that it brings a lump to my throat every time! There's more wonderful dancing in Act 2, and the story holds together right the way through. So, SMBallet, I don't think you would be at all bored by seeing both ENB's and RB's versions, as it would enable you to decide which you prefer! However, for the record, I also love Jewels (particularly Diamonds!), so if you enjoy pure dance, I'm sure this wouldn't disappoint either.

Oh dear - ignore me! Somehow or other, I seem to have joined this near the beginning of the thread and was answering the question about the necklaces. I now realise I'm several days behind!!

Ondine, and possibly Giselle (although not an especially important role in this one!).

"Yes please" to Francesca, Capybara!!! Or either Yuhui or Leanne C, come to that ... And I would have loved to see Yuhui as Kitri too.

Lamb/Pennefather is the couple I'm most excited about seeing in R&J this season. Their partnership in Manon produced some of my favourite performances so far in that ballet!

I am over the moon!!!!!!! I've been grinning from ear to ear all day, and just can't believe our luck that we'll still have Alina dancing frequently in the UK. In my wildest dreams, I didn't see it coming (although I'd harboured a faint hope that maybe Tamara would ask her to guest), so if ever there was a brilliant start to the week (make that the rest of the year ....!!), this was it. "Delighted" doesn't even come close to covering it!

At the risk of sounding melodramatic and over-reacting, I am utterly devastated by this news. On seeing them dance for the first time (bluebird pdd), I fell head-over-heels in love with this couple, and they have continued producing pure magic on stage for me ever since. Alina is a dancer who, IMO, is incredibly special with a quality that I've never quite seen or felt in another dancer. For me, they will be totally irreplaceable. I can't begin to thank them enough for all their incredible performances for us. I am hoping desperately that they may come back to London to guest sometimes - if not at RB, then anywhere.