Scheherezade

And we are still in the dark as to what’s supposed to be happening on 7 November. Less than a week now and not a dicky bird…

My thoughts exactly, Bridiem.

Apologies if my post gave the impression that I thought your review referred to the chemistry between the lead couple rather than their dancing. I didn’t. I thought your post was abundantly clear, although I assumed from your enthusiasm that onstage chemistry was part of the mix too, which is something that, for understandable reasons, I frequently find lacking with real life partners.

I am not someone with any level of technical knowledge or insight, OAM, but I believe that the purpose of the performing arts, as with any art form, is to communicate, and that effective communication should wrap itself around you and touch you inside. With this particular ballet, that surely means filling you with good will and happiness and sending you home on a high. This Don Q does make an effort to link the narrative to its eponymous hero but beyond that it is pure, unadulterated enjoyment. I personally wouldn’t - and don’t - look out for anything. Just watch, absorb and enjoy.

So sorry, Dawnstar, and after all the effort you made to get to the ROH today! Do take care and get home safely.

Not, I imagine, seat 56, row M in the amphitheatre … 😜

Always a joy to be in Italy, though - assuming you did still go!

Me too!

It certainly did during their Carousel pdd during lockdown, and Sim’s review would very much suggest the same here, although that isn’t always the case with real life partners.

I am now very excited for November 7. And have Kaneko and Bracewell to look forward to on the 3rd. Can’t wait!

Nor me. I thought about it and rejected it when it was first shown on the website.

I have come late to this discussion because others have already eloquently expressed my views but for the sake of clarity let me say that I am firmly in the Capybara and Fonty camp when it comes to the RB repertoire. As to this double bill, I wasn't overly keen on The Cellist on its first run and nothing that I saw on Monday evening caused me to change my mind. Now, as then, I found my attention wandering due to too many sameish and repetitive lifts, interspersed with much purposeful walking or, frequently, dragging, as poor Jacqueline (if we may call her thus) was hauled around like a recalcitrant toddler during a lengthy supermarket shop. On Monday, as before, I felt that the work would have been much improved by cutting its running time in half, concentrating on the three major characters and ditching much of the padding that seemed to have little purpose other than providing other dancers with something to do. By way of contrast, I thoroughly enjoyed Anemoi. It was wonderful to see what the more junior dancers could do - and, my goodness, didn't they do it well! And bravo to Valentino Zucchetti, a genuine choreographic hope with a real sense of the symbiotic relationship between music and dance. The different moods were thoughtfully created, reflecting the shifts and nuances in the wonderful Rachmaninoff score, and the choreography was, in turn, exhilarating and lyrical but always enjoyable. I would have liked an hour of Anemoi and half an hour of The Cellist and I sincerely hope that Zucchetti is given more commissions that will allow him to develop his neo-classical talents and give the brilliant dancers throughout the company the opportunity to soar, and thrill, and show us what they do best, rather then the plodding, earth-bound, against-the-music and infinitely more tedious works that are currently papering the repertoire of the RB. And all the while, such a wonderful back catalogue of 20th century works that have been cast aside, seemingly never again to see the light of day. I am not prejudiced against new works per se. I have enjoyed much of the zesty, uplifting output of ENB over the last few years but I can't say the same for the current RB fare. Their contemporary works, churned out on what feels like a buy-one-get-two-free basis, feel past their sell by date almost before the first showing and completely waste the extraordinary talents of the dancers at a time when the company is filled to the brim with what has correctly been described as an embarrassment of riches.

I was certainly looking forward to seeing Tombeau before lockdown intervened. Dare we hope for next season?

I feel a trip to Rome coming on.

I can't help feeling that one of the reasons why they won't reverse their suicidal pricing strategy is because to do so would mean publicly admitting that they had made a mistake.

They are indeed. Just gorgeous! So glad you reposted them.

My thoughts, too, Dawnstar. It does make me wonder quite why only new audiences are being targeted. Is this because new audiences, who may be more used to these things in other venues, are more likely to answer enthusiastically, giving the commissioning organisations an excuse to say that these are the sort of things their audience wants?

And how much money is being squandered on this rubbish instead of paying the performers and orchestra or reducing ticket prices? Admittedly the situation doesn’t even come close to the ever-increasing disaster that is the ROH, and the ENO cuts are not the fault of the Coliseum, but it all adds to the ever expanding cult of consultancy that seems to blight every aspect is modern day life. And for what, exactly, apart from the usual box ticking and providing unnecessary and bloated fee income for the consultants?

This is baffling, worrying and, potentially, utterly disgraceful all at the same time.

I love this, Rob S.

Oh, yes please!

Noooooooo!!!!!!

To the never knowingly misunderstood Donkey Shot.

Spaniards will indeed say Kheehoteh, the French opt for Keyshott but many Brits - possibly sloppily or perhaps to sidestep the stigma of looking like a show off by trying to sound authentic - will still say Keyohtee.

I sincerely hope that it isn’t the future of British dance, Bruce, but it had energy and honesty, it’s always uplifting to see the barriers between different art forms kicked aside and as a vehicle for breaking down the overwhelming prejudice against traditional art forms that exists in this country, I sincerely wish it ongoing and repeated success.