Scheherezade

Thank you, Naomi.

I'm hoping for an upturn long before April.

Well what a lovely interview. Fumi/Kaneko - whichever is correct - is absolutely delightful, with a conspicuous absence of ego and a wonderful work ethic. Long may her star continue to shine.

Can Naomi perhaps advise whether we should be saying Fumi Kaneko as per this forum and the UK press or Kaneko Fumi as in the documentary, given that the translator informed us that we would now speak to Kaneko?

LinnMM, I think that the ENB Arabian dance with the cracking whip will have made many people feel uncomfortable. I haven't seen the production for years since I do not particularly like it either but I was under the impression that it had been modified some time ago, largely because of the potentially offensive overtones. Interestingly, the criticisms levelled against the ENB production seemed to centre around the suggestion that their Arabian dance might be seen to condone violence against women in general rather than the depiction of cultural mores more commonly manifest in an 'Arabian Nights' context. I do not feel that the content of the RB version can be said to be comparable and, as I mentioned above, my friends from Saudi, the UAE and the Middle East generally (all of whom are well educated with European values) have never felt uncomfortable with the RB depiction but do feel uncomfortable when others who do not share their heritage take it upon themselves to complain.

I couldn't agree more, Annabel, that any assumption, practice or portrayal should be open to question and examination, and everyone is entitled to hold their own views, as much upon this matter as any other. It is only by examination of conflicting views and practices and open debate as to their merits and demerits that we are able to learn from past mistakes and, with the benefit of hindsight, to reach informed decisions as to what is acceptable and what is not. Cultural sensitivity is, quite rightly, something of which we are all increasingly aware, but I cannot see how the RB Arabian dance, which to my mind was no more than a valid interpretation of the music, crossed the line of what was and was not acceptable, nor can my female friends of Arabian or Middle Eastern nationality and heritage. Rather the contrary. They have uniformly expressed the view that it is hardly the place of those who do not share their heritage to swell the ranks of the naysayers and call for change. For what it's worth, and purely in answer to your comment, I would suggest that the wholly unacceptable levels of trolling, abuse, death threats and threats to the personal safety of the families of those brave enough to challenge the prophets of 'woke' is evidence enough of the fact that freedom of speech is seriously under threat, but I do not wish to turn this topic into a political commentary and will leave it at that.

There are a lot of very easily offended people out there, Rosie'sDream, and many of them offended on other people's behalf. The age of just getting on with things and not taking things personally has been consigned to history, which, right now, means 'cancelled'.

And, if I recall correctly, lots of input from Alex Campbell (for Jan McNulty, especially).

And I'm sure that many will have heard Joelle Harvey at the ROH and other venues. But is anyone familar with Anna Clyne's work?

Having heard his Cassio in the ROH pre-Covid Otello, I am looking forward to seeing him at the Saturday matinee. With the wonderful Anna Pirozzi, fresh from her Macbeth triumph.

Thanks for the update, Alison. I’ve set my TV to record the early morning repeat, although I don’t hold out any great hopes for an improvement. And totally agree with your sentiment.

Perhaps they had received so much adverse criticism that they felt they had no choice.

Ooh, how I'd love to be a rich Russian (or rich anything) with more money than sense! On second thoughts, keep the money bit but not sure that sense for money is such a good trade. Or is it?????

Whaaaaat!!!

I thought it was an absolutely fabulous performance - and, by and large, the production held up well - and would advise anyone who didn't get to see the live performances to watch the stream.

I think it's the Berlioz: Gergiev with Olga Borodina. Presumably the same as the Gergiev/Borodina R&J on Marquee TV.

I so agree, Jenny. That Siegfried performance was what hooked me, too. I wasn’t expecting to be wowed but, my goodness, was I impressed! And have never failed to be impressed since. There is a poetry to his dancing and I just love it.

Wow! Praise indeed!

Plus an additional 10% discount if you're a Friend.

A mix and match of topics, I know, but why on earth wasn't Bracewell cast as Albrecht?

Which may be why she is so good in roles such as Ondine.

This, to me, completely sums up her performances, Maryrose. It's that 'something' that nobody else really has. And somehow it feels wrong to use the word 'performances' because it never feels as though she is giving a performance.

I feel another ballet coming on! Maybe one in which Matthew Ball can consolidate his growing range of cads. Or Wayne McGregor could explore the mathematical possibilities behind spectral manifestations in a psychological study of the uneducated medieval mind. Or perhaps Akram Khan to the helm in a dystopian revenge drama showcasing the inequalities manifest through the privilege of high rank in an unspecified futuristic society.

Agreed. I felt exactly the same and I was very pleasantly surprised. Well done all round.

I couldn’t agree more with everything that has already been said about last night’s magical performance. Having been blown away by the previous Hayward/Campbell Giselle, I couldn’t let this one get away and I am so glad that I didn’t. There is no question that Francesca and Alex are both consummate actors which, of course, added to the feeling that we were watching something that was actually happening in front of us rather than just a performance. Extraordinarily, and despite having seen innumerable Giselles over the years, I left last night’s performance as I did their previous performance together, as though this was the first time that I had seen this ballet: a rare sensation and something very special indeed. Francesca inhabits the stage with a total lack of affectation with, at the same time, every inflection of her head, her arms, her body adding to the dramatic heft of the story that is unfolding, and Alex is compelling and believable in whatever role he undertakes. If Francesca’s Giselle is an innocent and trusting ingenue, Alex’s Albrecht is a natural charmer, one who’s little gestures - a caring glance or touch, that extra show of attentiveness that draws and holds - are so hard to resist. And he is fiery too. Giselle didn’t stand a chance. I have to say that this was the most convincing Act 1 that I have ever seen. The plausibility factor of this act, so infrequently drawn with any real element of credibility, is surely what generates the tragedy of Act 2. And how unutterably tragic - and so very believable - Act 2 was. Huge plaudits, then, to Francesca and Alex but also to everyone else on stage. As ever in this run, the corps were extraordinary and absolutely deserved the prolonged applause, both during the performance and at the curtain calls. And having approached the pas de six with some trepidation after earlier criticisms during this run, I thought that last night’s performance was beautifully danced, with all six very well matched.