ElleC

I know that these things happen but I’m desperately disappointed that I won’t get to see Alina and Rupert doing the slow movement in Symphony in C, something I’ve been looking forward to since the casting was announced on the strength of their wonderful performances together in Diamonds. They are both such favourites of mine …

This was such a fantastic evening from start to finish. I was thrilled that Alina was able to open the show with the Rose Adage with Johan, Steven, Xander and Matthew Golding as her admiring princes. I hadn’t really expected her to be able to dance much in light of her injury, so this was an unexpected bonus. As always, she filled every step with feeling and her own special artistry which never fails to bring a lump to my throat. James Hay and Francesca Hayward were terrific - James seems to have a very buoyant Bournonville jump, and they make a lovely partnership (can’t wait for their Nutcrackers together!). I loved Xander Parish in 101 – a really excellent choice for a gala (and a piece I personally had never seen), and of course it was wonderful to see him back on home soil. I also really enjoyed the “Love Songs” excerpt by Tim Rushton danced by Ana Sendas and by Stefanos Bizas from Danish Dance Theatre which had a beautifully mellow, “liquid chocolate” feel to it! A particular highlight for me was to see the marvellous Les Lutins again (we don’t see it often enough!!), which has so much amazing dancing (and music played by the fabulous Charlie Siem) and such a playful, joyous quality (and even a story!) all packed into about 8 mins! The same quality was evident in the excerpt from Johan’s Salute danced by three young Romanian students, Andreea, Maria and Cosmin, who danced well and acted the roles with enthusiasm! Lauren, I think, has found another a talent as a (very amusing) presenter!! It was, of course, a real treat to have Sergei dancing the pdd from Don Quixote with Akane, and a great way to round off the evening (Sergei – please don’t be a stranger to London!). As I said, the whole evening was a delight. It was so easy for us to buy tickets and go along and be thoroughly entertained but I’m sure it involved a huge amount of work by all to organise, and for such a good cause. Massive thanks to all.

I was lucky enough to see this, quite by chance, whilst in the USA last year (I’d never heard of it at that point). I thoroughly enjoyed it and believe anyone who loves ballet will too, so I’d recommend a viewing. It became even more interesting when I realised that one of the dancers (who looked very familiar) was by then studying at the Royal Ballet Upper School. (I’m not mentioning the dancer by name as I’m not sure whether I’m allowed to on this site ). Also – the DVD will be available from Amazon at the end of this month (my copy is pre-ordered!).

I agree, Capybara. I thought’ Rupert’s performance was absolutely stunning. Since I was sitting pretty close to the stage, I had the advantage of seeing every nuance of characterisation and, from the start, I thought it was simply superb. He has the regal bearing and charisma to make it totally believable that he was a successful womaniser (historically speaking – it says so in the programme) and you see the effect he has almost immediately on Romany Pajdak’s beautifully danced Princess Louise, but within just a few minutes he demonstrates very clearly how he yearns to get his mother’s attention by his constant, uncertain glances in her direction. By the time he goes to her apartments, he is desperate and I found this scene heart-breaking as Rupert brought a real vulnerability to Rudolf (which the audience needs to feel if they are to have any sympathy at all with him and, I believe, some sympathy is necessary to fully appreciate the tragedy of the situation). Tara-Brigitte Bhavnani was excellent as Empress Elizabeth, stiffly incapable of showing affection to her son but readily melting in Gary Avis’s arms (always terrific as Bay Middleton) and again at that point, Rupert successfully conveys his unhappiness, isolation and vulnerability simply standing still watching them. The pas-de-deux with Lizzie Harrod as Princess Stephanie was amazing – he was like a cat toying with a mouse, and she projected utter terror, being thrown around like a rag doll. It is testament to both her courage and Rupert’s ever strong and reliable partnering that she, such a tiny dancer, was able to leap at his back from seemingly a mile behind him! Itzi made a very convincing Marie Larisch, and again the various pas-de-deux between her and Rupert were some of the smoothest I have seen. I was very moved by the scene where she finds Rudolf slumped in a drug-induced stupor. With the appearance of Melissa’s Mary Vetsera, the chemistry in the air was almost palpable. As others have mentioned, the final scenes were electrifying. I found that I was holding my breath, and at one point realised that there was complete silence in the auditorium – always a sign that the audience is gripped by the action before them. I was utterly blown away by the whole performance, but especially by Rupert, and am thanking my lucky stars I have a ticket for this casting again on 10th June.

I couldn't agree more, Jenny. Roberta and Steven make a wonderful partnership who seem to bring out the best in each other, and I thought Steven's characterisation of Solor was the most convincing I've seen in a long time. I love Roberta in everything anyway but I think Nikiya is definitely one of her best roles. As for Yuhui, she was fantastic - a really imperious, spoiled Gamzatti (surely proof, if it were needed, that she can do more than soubrette roles), and she dances with confidence and such musicality. I would love to see her promoted to Principal, and I'm keeping everything crossed for her! I must also mention the girls of the Corps. The Shades were beautifully in sync and utterly mesmerising. The section where they all rise up on pointe and just quiver always brings me out in goosebumps. La Bayadere is such a beautiful ballet - my only quibble is that screen for the last two Acts. I know why it's there but I still find it rather annoying.

I love the dramatic, emotionally-draining ballets as much as anyone (my all-time favourites list contains quite a few) but, equally, I see nothing wrong in being swept along in a good fairy tale! As such, I thoroughly enjoyed Aladdin. I saw three casts. Cesar Morales gave a cheeky portrayal. There is ample opportunity for him to show off his light jumps and quick feet, whilst offering secure partnering to Nao Sakuma. She is a beautiful dancer and has the most fluid arms. In my second cast, I was completely transported by Jamie Bond, and I can only describe him as totally loveable as Aladdin – cheeky and “one of the lads” with his friends (and with great affection for his mum, the tiny Marian Tait!) but completely believable in the way he fell head-over-heels in love with his princess, the sweet, delicate Jenna Roberts. I thought they brought a naturalness to their relationship, as well as dancing wonderfully. And, lastly, Chi Cao and Natasha Oughtred – both favourites of mine when BRB visit London, and they certainly didn’tdisappoint last night. They looked born to the roles and made a really lovely partnership, again very convincing dramatically. He flew through the technical stuff and really made that “journey” from mischievous lad to prince very effectively. Natasha danced with such confidence and feeling - she has become a worthy principal at BRB. When casting was announced, I was initially disappointed that I would be seeing the same dancer as the Djinn in all my performances, but as soon as the blue lightning-bolt of Tzu-Chao Chou sarted dancing, I realised how lucky I was!! He is amazing, with flying jumps and spins like a top, and I look forward to seeing more of him in future. Ambra Vallo and Tyrone Singleton were fantastic rubies (as were Joseph Caley and Momoko Hirato in another cast) and that pas de deux really brings the audience to life! Celine Gittens and Momoko Hirato also made truly sparkling diamonds! Both William Bracewell (Gold one night, and Emerald another) and Brandon Lawrence (Emerald) never fail to impress me. As always with BRB, the corps de ballet move as one. All this, together with stunning costumes and sets (I particularly loved the jewel cave), as well as a wonderfully atmospheric score (oh yes – and a fab, lolloping Lion Dance!), make Aladdin a terrific family night out , but you certainly don’t have to have children to go and enjoy it. Like others, I was disappointed to see the run of shows was far from a sell-out, which is such a shame but may be partly due to cash-strapped times. Anyway – my verdict: no, not deep but utterly feel-good with lots of wonderful dancing. I would definitely recommend it.

Thanks very much for your welcome and encouragement, Janet!

Although I’ve lurked for quite a few years, this is the first time I’ve plucked up the courage to post my thoughts (not particularly knowledgeable – just going on what I feel), so here goes. Firstly, I really wanted to echo everything that Annamk said above. I’m so much in agreement that I could have written that post myself (although probably not as eloquently). I absolutely ADORE 24 Preludes. To begin with, the music is wonderful and that is always the bedrock for me – if I don’t really like the music, it can be much more of a struggle to enjoy the “illustration” of that music on stage. I too love the costumes (particularly with the late addition of the grey tights for the men) and that lovely, mottled lighting which shifts shade and colour to suit the mood. As for the piece itself, I find it an absolute delight from start to finish. I feel Ratmansky has played impressively to the strengths of the Royal Ballet – that they are wonderful dancers is a given, but more than that, given half a chance, they are generally dramatic dancers, and in this piece, although supposed to be plotless, the choreographer has enabled them to bring out personalities and drama through his steps. To see the adorable playfulness of Alina and Leanne in some of those sparkling, quicksilver steps is a joy, and Steven’s darting, restless solo at breakneck speed, finished with a dismissive flick of the hand, is breathtaking, as is the pas de deux between himself and Alina (I could definitely sense Johan’s input in this). Zenaida’s beautiful, melting solo hints of yearning or heartbreak. I’ve been a Rupert fan for quite a while, and I always think he is in his element when being heart-stoppingly romantic. However, his passionate, tempestuous “relationship” with Zenaida in this piece revealed a new side to him (roll on Mayerling!) together with an ability to let rip with some pretty speedy footwork of his own. And, IMO, it is lovely to see Edward Watson actually being part of a creation that feels classical, rather than extreme and contorted (for want of a better word) which tends to be quite common these days (I know he’s good at that but he is a classical ballet dancer too). He extends such beautiful arabesques and has such an expressive back, shoulders and arms. He treated us to more dazzling, zippy footwork whilst his trio with Alina and Leanne was heart-warming. I could go on and on. All eight dancers were wonderful and, as Annamk has already said, they are expanding the character of the piece with every performance, and dancing it better and better. I would be extremely disappointed if this wasn’t brought back in future seasons. (As other posters have mentioned, it felt Dances-at-a-Gathering-ish but surely that can only be a good thing!). On first viewing (at the General Dress Rehearsal), I wasn’t so keen on Aeternum. Not really being a Britten enthusiast, I found the music very tricky, although I loved the bold set and lighting and the clever way everything gradually clears and brightens by the end, and I also liked the pas de deux with Marianela and Federico. After the evening performance, I’d progressed to actually liking the fast section too (James Hay was wonderful – always is - and the rest of the dancers full of precision, energy and attack), and finding the final pas de deux very moving. At Saturday’s matinee, with the second cast, I progressed still further, my mind now having adapted a little more to the music which felt “clearer” (sorry – can’t really think of another way to express it), and I actually quite liked the first movement. Marcelino Sambe was dancing the solo (I’m not sure he nailed all of the precision and hand/arm movements that we saw James perfecting in the rehearsal in the Clore, but he certainly gave it his all and was bursting with energy and enthusiasm), and it’s great to see all the young dancers getting opportunities. Claire Calvert was simply gorgeous, and the final pas de deux with Ryoichi Hirano felt fluid and full of emotion. Definitely up there with Marianela (and that’s a compliment to Claire rather than any detraction from Marianela’s performance). So – the Wheeldon piece is still rather a work in progress for me but it’s certainly growing on me. I love Apollo – completely timeless. The three lead men (Carlos, Federico and Rupert at the rehearsal) I’ve seen have all been wonderful and suitably god-like whilst all being totally different. I’m very much looking forward to Rupert and Sarah’s official debut performance on 14 March. I feel Melissa made an impressive debut on Saturday along with Yuhui and Hikaru, and Yasmine Naghdi and Mayara Magri stood out in the small handmaiden roles at the beginning of the piece. For me, Apollo’s birth helps makes sense of the whole thing. Sorry – I’ve rambled a bit … I'll try to be a bit more compact in future.