Scheherezade

Am I wrong in thinking that the rather thrilling ROH Turandot, has gone the way of so many of its other wonderful productions and now seen its last due to cultural stereotyping and the outdated notion that spirit-crushing, non-contextual greige productions are the way forward? How much longer can the current Butterfly last? On which note, my booking for later on in this run is entirely down to Asmik Grigirian’s casting as Butterfly, which I see the critics are singularly raving about. Did she do it for you, @JennyTaylor?

My thoughts: the weakness in Act 4 revolves almost entirely around the lack of agency given to Siegfried. This apart, there is a strong religious thread running through Act 4. We have the ascendancy of the swans over evil/Von Rothbart, the resurrection of Odette’s spirit representing the ultimate victory of good over evil through sacrifice and death, and the return of her mortal, human body in death, emphasising the difference between human frailty and betrayal with unconditional love and eternal life. I don’t think that Siegfried’s contrition is anywhere near enough but if he were to take more of an active part in the defeat of Von Rothbart, the ending would ultimately feel far more satisfying and this would perfectly carry the swell of the closing part of the score.

I find the Tchaikovsky score in itself transcendent (and I think that’s such an accurate description, Bridie).

A happy confluence, I'd say.

Just read this, Blossom, and glad to see that your tickets have been snapped up. Thanks so much for asking and, yes, I am sorted. Should have confirmed sooner.

Absolutely. It all turns on the portrayal and the technique. They were stand out, weren’t they? Unfortunately some of the other trios somewhat suffered by comparison.

And on the topic of gaffes, I received an email from the ROH apologising for an error in the Coming Up section of the recent Friends newsletter advertising a signing by Angela Gheorghiu in the Linbury foyer on 13 March. The signing took place on 13 February.

The various posters on Slipped Disc are pretty much in agreement that ChatGPT wouldn’t have made such obvious gaffes. There are some rather amusing responses.

Agreed. I was just about to say he could show his versatility by doing them all but you beat me to it. Why not?

He made a great gaoler too.

Thanks Silke. Have sent you a DM.

That’s the thing about incredible people, Roberta, they never do believe that they are particularly incredible whereas some of those who are not find it much easier to believe that they are.

First thing that came to mind.

Yes, he impressed me in the lovely programme NB brought to the Linbury.

NYCB at Sadler's Wells. Let's start at the beginning. Rotunda. I wasn't expecting to be wowed, but this? It started with a group session involving much running round in circles and, believe me, it didn't improve. Dull doesn't begin to describe it. It was so painful I felt in need of an anaesthetic. Around half way through, two audience members in my line of vision separately got up and very visibly walked out and I knew how they felt! One of them could only get out by dislodging people closer to the end of her row and as I counted them I felt a rush of envy at what I took to be four people lucky enough to be escaping together but inexplicably three of them came back. What a mistake! On then to the costumes in this piece, and they were dire. They made the grey vest and knickers combos so often favoured in the RB's forays into contemporary dance look like haute couture. I have to say, though, that the men drew the short straw here, with one particularly unfortunate victim - the male half of the pdd with Sara Mearns (Gilbert Bolden III?) - wearing what could only be described as an extremely unflattering romper suit. Very occasionally we were given half a glimpse of what this excellent company might have been capable of had it been given the chance to partake in something approximating engaging choreography. The lucky recipient of one such isolated occasion was (I think) Daniel Ulbricht but even he couldn't escape the curse of the dreaded running around in circles. What a waste! If this is Justin Peck, no thanks! At least we had some Balanchine after the first intermission and, yes, it had its edgy, quirky side and it was beautifully danced by Megan Fairchild and Anthony Huxley, but it was far from being my favourite piece of Balanchine, and it wasn't nearly enough, and along with @Lizbie1 I could have done without the lengthy bits at the start of each segment where the two dancers stood awkwardly by the piano while the music played on. We then had the pause before the Tanowitz where people got up and began to move towards the exit until they were sternly reprimanded and told to stay where they were. By this time, you will not be surprised to hear that my hopes for the rest of the evening were not particularly high but surprise surprise, I found that I didn't mind Gustave Le Gray No 1 at all. It might have been my high vantage point, right at the back of the second circle, but the unusual red costumes, the geometric patterns and the serene movements and interplay between the dancers were aesthetically rather pleasing. The music worked too, and apart from the somewhat unnecessary relocation of piano and pianist, sans stool, from one side of the stage to the other - (and the point of that was?) - I rather enjoyed this piece. And found it way more satisfying than any of Tanowitz's creations for the Royal Ballet. Which leaves Love Letter (on shuffle), Kyle Abraham to James Blake, and - even bigger surprise - I really liked it. At last, a platform to show what these dancers could do, and if it was something of a love child of Playlist, Blake Works and the Orlando section of Woolf Works, it was none the worse for that. I loved the costumes, thought the music sat well on the choreography, felt the lighting and the shifting, wavy projections on the floor enhanced the mood that the work was looking to create and, best of all, the company seemed to be having a blast performing it. I did feel that it could have done with more of the rapid fire pieces and wonder whether these might have been the sections that @Bruce Wallreferenced as having been omitted from the evening performance. Either way, it brought a curate's egg of an evening to an uplifting and enjoyable close.

The illusion of height also depends upon body proportions. People with short bodies and high waists look taller than their height and those with longer torsos look shorter.

Thanks for this, Emeralds. Sounds like a plan for the May half term.

As someone considering taking my 10 year old grandson to the right ballet for someone who loves music and movement but has had no exposure to ballet - football is his thing - what does anyone think? RB or Northern Ballet R&J?

That was just lovely, Roberta. I have indeed had a good wallow and as someone who couldn’t make last night I felt I needed it. Just gorgeous.

What a lovely memory, RHowarth, and doesn’t that sum up the wonderful Me Campbell perfectly.

Bridie and Sim, and James in the parallel thread, between you have said everything that I think all of us feel about Alex’s departure. It’s odd, isn’t it, how some people touch us in a way that others never can. Or perhaps not so odd. It’s the human side, isn’t it, that natural, genuine warmth and lack of artifice that always lit up Alex’s performances, and I think that’s why we all feel such a sense of loss. He will, I have absolutely no doubt, shine equally brightly in his new role and I, too, send my very best wishes for a wonderful future, but we will miss him here.

Beautifully put, James. I hope he is aware of that warmth and the regard in which he is held.

Gorgeous photos, Rob S.

I am looking for 1 SCS or Balcony D standing for Wednesday 20 March. If anyone has a spare, please DM. Many thanks.

I couldn't be there tonight - although thankfully I was there on the 2nd - so thank you so much for uploading the curtain call and speeches, Lady Emily. It is all much too soon!