Scheherezade

I find Wagner and Baroque more palatable in English than other operas but still prefer the original and can see no reason why ENO still use English translations given that surtitles are automatically used.

Wouldn't we all use trains if they were reliable, affordable and well-maintained. They have a long way to go before any of those requirements are likely to be met.

A wonderful review indeed, Sim, I totally agree with almost everything, but with a nod to zxDaveM, as I also enjoyed Sarah Lamb’s Mary. I did not find her characterisation as complete as Laura Morera’s (there was more of an older dancer’s reading of a teenage girl, albeit less ‘knowing’ than I tend to find Osipova) but I thought that her pas de deux with Steven McRae were terrific, with the act 3 pas de deux particularly raw, and heavy with desperation. And Steven’s Rudolf delivered everything, including the occasional glimpse of a frequently overlooked compassionate side by gestures such as a protective arm around Stephanie early in the brothel scene. Yasmine Naghdi delivered a distinctly multi-dimensional Larisch, signalling watch your step with this woman every bit as much as her undeniable feelings for Rudolf. Rudolf aside, empathetic towards others she was not. Wonderful dancing once more from the Hungarian officers, an engaging and sympathetic Stephanie from Anna Rose O’Sullivan, with Mayara Magri providing a worldly and relatable Mitzi Caspar. And, as ever, a totally stand-out Bratfisch from the wonderful James Hay. One of my companions who comes along from time to time asked me “Who was that?” after his first appearance in the brothel scene and I had to remind her that he was the same dancer whose Mercutio she had remarked on some time back, saying how much she would love to see his Romeo. But that’s another story …

This does seem spectacularly unfair, particularly with such a good actor as Alexander Campbell. Could it be personal choice?

I know that we are not supposed to comment on the general rehearsal but I have to say that I found the chemistry between Laura Morera and Matthew Ball utterly compelling. Morera also gave what was quite possibly the most convincing portrayal of a teenage girl that I have ever seen. Not surprisingly, I have yet to see Hayward's Stephanie in this run but her previous performances have been extraordinary. I would have loved to see her Stephanie paired with Ball and Morera as Rudolf and Mary.

It was, quite simply, fantastic!

Which isn’t to say that BRB will not tread the path of contemporary dance. This is a path well trodden of late and, in my view, seldom for the best.

An ambiguous statement at best, although I read ‘contemporary’ as meaning a choreographer active currently or in the recent past rather than a choreographer of contemporary dance.

She was. An unexpected and quite exceptional performance, although I think it’s fair to say that both the storyline and characters portrayed in Like Water for Chocolate veered closer to fairy tale caricature than reality.

To my mind, the question marks regarding the age of a dancer generally arise with a younger dancer portraying someone older. This can sometimes result in a less nuanced portrayal.

As The Trocks thoughtfully take care to remind us.

Is that the one with the Trocks-style fluttering feathers? Visually striking nonetheless.

And then, from The Mail Online, there are these extracts from what is a lengthy article, replete with historical background and photographs, which could certainly peak the curiosity of non-balletomanes and raise interest in seeing the performance but is it just me or does the headline and subsequent quote suggest that this is the first revival of Mayerling in a long, long time? Disturbing story of how Crown Prince Rudolf of Austria's 'sexual and morbid obsessions led to a murder-suicide scandal with his Baroness mistress' in the 1880s is explored in a new Royal Ballet production of Mayerling The tragic affair has since inspired numerous films, novels, ballets and plays - including choreographer Kenneth MacMillan's Royal Ballet classic Mayerling. To mark 30 years since the British choreographer's death, the theatre company are reviving the 1978 ballet from October 5 to November 30 at the Royal Opera House in Covent Garden, London. A description of the The Royal Ballet's revival said: 'Inspired by dark and gripping real life events, this Royal Ballet classic depicts the sexual and morbid obsessions of Crown Prince Rudolf leading to the murder-suicide scandal with his mistress Mary Vetsera. 'The oppressive glamour of the Austro-Hungarian court in the 1880s sets the scene for a suspenseful drama of psychological and political intrigue as Rudolf fixates on his mortality. 'Kenneth MacMillan's 1978 ballet remains a masterpiece of storytelling and this revival marks 30 years since the choreographer's death. 'Expect to see the Company at its dramatic finest across potent ensemble scenes and some of the most daring and emotionally demanding pas de deux in the ballet repertory.

What can I say, Sim, they obviously have you down as a girl who likes a good time!

The best ads do stick in the memory, but only the best, and there were many creative and enjoyable ads that seemed to exhibit what was, at best, a tenuous link to the product that they were supposed to be selling. I seem to recall a growing body of criticism on the basis that sample audiences loved the ads but often couldn't identify the product, which is probably - and sadly - why they don't do them any more. And, like Fonty I can't recall having ever been tempted to try a product purely because I enjoyed the ad. Which comes back, of course, to the problem of the target audience. Maryrosesatonapin, I do agree with your comment about algorithms. As well as Facebook, the Google feed on my phone gratuitously throws up ads galore for the arts, including posts from slippeddisc and similar, but these are not going to reach anyone who has not already demonstrated a keen interest in the arts. I have not, by the way, registered an interest in the arts as such but do click on anything that might be of interest that comes up.

Hasn't this creative, prize-winning output versus identification of the product and resulting sales always been problem with advertising, whatever the genre? For those old enough to remember, cast your minds back a number of decades to the Joan Collins/ Leonard Rossiter ads for ... something or other (and countless others around the same time). People tuned in to the ads purely for their entertainment value without having a clue what was being sold.

I also like the ENB proscenium Swan Lake, Dawnstar. And it has, I think, the melancholy Nureyev solo for Siegfried in act 1. Far better, choreographically, than the Sleeping Beauty solo that opened the recent Nureyev gala.

Isn't this rather suggesting that the provinces don't deserve the chance to see the best?

I totally agree. I was particularly impressed by Christine Shevchenko's Giselle: an unforced, engaging interpretation, light as air and totally convincing, hers was unquestionably a redeeming Giselle offering hope rather than sorrow - a message that we can only pray translates to the future of Ukraine itself.

Once again late to the party, I was there last night and can honestly say that there wasn't a single piece that I didn't enjoy. Nor did I find the positioning of the orchestra a distraction or, for that matter, any noticeable problem with the size of the stage. Perhaps, by last night, the dancers had adapted to its constraints. It's hard to disagree with, or add anything to, Jamesrhblack's review of last night's performance apart from, as others have done, flagging up Frola, the man who appears able to do anything and adapt to any style. And although almost everyone has mentioned Corrales, how could I not acknowledge the 'knock 'em dead' virtuosity. The evening was, of course, all about the men, and rightly so as it was a commemoration of Nureyev. Please let's have another, and soon; my appetite is whetted!

Ditto.

Agreed. And none of the Alains I have seen have appeared remotely discomfited but, rather, have appeared to enjoy the attention.

They do. And very well indeed.

A triumph and a tribute to everyone who attended.

Yesterday saw what was quite possibly the first complete football match I’ve watched on TV since that momentous occasion in 1966. And what a match! Let’s hear it for the fabulous Lionesses who showed the grossly overpaid men’s team the true meaning of ‘football’s coming home’. Just wonderful, girls!