Scheherezade

Ah, thanks for this.

You are obviously a glass half full person @MAB I thought was too but obviously not since my reaction tends more towards I’m not holding my breath than my fingers are crossed.

I have no musical background @Geoffbut I generally find dramatic Interpolations that have no connection to the music irritating in the extreme. I also find them patronising since they tend to imply that the audience lacks the imagination to join up the dots in the plot.

Did you have someone in particular in mind? ( … the chances of my ever watching him conduct again …)

Sorry, Alison, not sure who you mean. Did I miss something earlier?

I think that most of us probably choose not to comment rather than posting unequivocally negative views. Personally I have to really dislike something before sharing my negative impressions but I am very happy to read the less than positive views of others. As well as giving a balanced spectrum of opinion, it makes me feel less of a grinch when I do so.

I think that Reece Clarke answered this potentially thorny little matter rather effectively last night by visibly starting at Von Rothbart’s prostrate form draped over the rock, inducing him to check the area behind.

I totally agree with @bridiem and @Rachelm. Please let us have your true thoughts, @Buru.

It didn’t occur to me that the post in question might be referring to the weight of the cygnets. I automatically assumed that the poster felt that they were heavy on their feet.

Oh, most definitely great minds …

Yes indeed, so sorry to hear this.

I loved Friday’s Lucia and found Nadine Sierra’s performance rather thrilling, something I hadn’t expected as I was in two minds about her Adina back in the season. Thought the rest of the cast were fabulous too but am still not a fan of the split stage, which I find both unnecessary and unnecessarily distracting, which is a shame since I can otherwise happily live with the sets.

Not so weird, @LinMM I went from The Famous Five straight to Rider Haggard.

Yes, this totally makes sense. Thus is something that, I’ll admit, I have wondered too, but took the view that Odette, having given her heart freely and totally, would be unable to love again and, of course, is too pure at heart to try to ensnare the next chancer merely as a device to break Von Rothbart’s spell.

I saw Sarah and Reece last night and would also be interested in the views of anyone else who was there. I found Sarah’s Odette eloquent and touching in both Act 2 and Act 4 and she zapped onto the stage at the start of Act 3 with a delicious, look-at-me air of entitlement that heightened my expectation of what was to come. I didn’t feel that the rest of Act 3 crystallised into the stunningly wicked Odile I had anticipated - and was it just me or did anyone else feel that the music was way too slow for the initial speed of Sarah’s fouettés? It certainly felt to me that this may have contributed to the slight off-balance that led to her falling out of the fouettés as from where I was sitting it looked as though she was attempting to slow to the pace in the orchestra pit, but she covered without pausing for breath and certainly no one sitting near me seemed to notice that anything was amiss. i thought that Teo Dubreuil grew in confidence as the performance went on and was impressed by Ella Newton Severgnini in the Neapolitan dance. Was this also a debut? And there were two bits of falling fabric last night: the ribbon in the Neapolitan dance and then again in the Czardas which, fortunately, didn’t cause anyone to slip as they stepped over and around it. What little imp was wreaking havoc from the netherworld? Reece was very much the ultimate prince. It is some time since I have seen him in one of the big three Tchaikovsky classics and since then he has developed a dramatic command to align with his undoubted technical skill. I must see more of him. And he and Sarah were terrific together: oodles of chemistry and what felt like that level of comfort with each other that usually only manifests itself in long-standing, established partnerships. I would love to see them dancing together again.

Well, catering and retail. Both of which seem to be given far more prominence than the performing arts.

I think we can very probably hazard an accurate guess.

Me too, Dawnstar, and that’s it.

And as someone who purchases a healthy dose of both ballet and opera tickets, I never get offers for either.

Hi Sebastian, if Saturday evening is still free I would be interested. Have also sent a PM.

Absolutely! Very much deserved. She was terrific!

She would. She has that quality of unforced spontaneity that Juliet demands.

Don’t be! 😅

I loved Cinderella last time round and it was so long since it was last scheduled I will be more than happy to see it again. I remain lukewarm about Alice, ditto the music, so would much prefer LWFC if we are to have a full length Wheeldon. It may be more dance theatre than ballet but it moves along apace, has some stand-out segments and far more enjoyable music. It looks as though Maddadam is on its way, like it or not. We shall see. if we are to have more new works can we please have Zucchetti. And/or commission Tyler Peck, Mthuthuzeli November, Arielle Smith, Annabelle Lopez Ochoa or David Dawson instead of more McGregor or Joseph Toonga. Bayadere is sadly off the menu as, it seems, is Fille and Giselle and in view of Cinderella, R&J and the current triple bill we are unlikely to get more Ashton or MacMillan. A triple bill with Ashton, Balanchine, Robbins or MacMillan, or something like the pre-lockdown Raymonda Act 3 triple, would be more than welcome. Or, if not, the old style mixed triple with a bit of something for everyone but again, sadly, unlikely. So my hopes are pinned firmly to Onegin with the remainder awaited more with trepidation than expectation.

She has been wonderful throughout