Scheherezade

Personally, I'd rather have a website that worked without hiccups from the outset than one that told me what I already knew.

Wasn't that wonderful! And why can't we have more of the same/similar?

I have a lot of respect for what Tamara Rojo has achieved but honouring much loved retirees does seem a matter of common courtesy.

Me three.

Yes, he's someone else with a strong and appealing stage presence.

Thus is so true! Far too much time wasted going from one date to another searching out seats that turn out to be unavailable and losing others in the process.

This does sound wonderfully civilised. Hoping your return leg is just as good.

Nogoat, I do hope that you send your post to the ROH. Each and every one of the points that you make should be addressed - and satisfactorily addressed- by way of a reasoned and informative response, not dismissive corporate-speak which, lets face it, is either patronising, insulting or both. And if you wish others to add their names before approaching the ROH, I will be more than happy to provide mine.

Totally!

Yes, over the last couple of seasons he has evolved into the ‘complete’ performer. The sheer beauty informing his flawless technique has always been on another level but after his Rudolf in the last Mayerling run and now this DG, Vadim is delivering masterclasses in dramatic interpretation too. For which I think we should add a massive bravo to the coaches, too.

Back home from Manon and what can I say that hasn’t already been said so eloquently by everyone who has already posted. Although the fact that I am still sitting here, four hours later, should in itself say plenty. Fumi’s debut was just extraordinary and she carried us with her with every sublime, nuanced step - from the excitement of her reunion with Lescaut in the courtyard to the horror of her death in the swamp. There was never any doubt that this Manon loved Des Grieux and that in itself made us love her more. I was in the camp that couldn’t quite make my mind up about Vadim’s Des Grieux in Act 1. I wouldn’t say it was lack of engagement; more like diffidence. But, my goodness, he had me by Act 2 - the adoration, the passion, the lack of comprehension, the hurt. And by the end, I had my heart ripped into little pieces. It was unbelievable, utterly wonderful and totally unforgettable.

Ooh, ah, a little bit more! Can’t wait!

Absolutely. It was that all too rare humanity that shone through everything he did.

If no takers by 2.00 pm for Manon this evening, will return this SCS £14 ticket to the box office.

Have there ever been so many tributes, so wide ranging or so richly deserved? He will be so, so deeply missed. The space that he leaves on the ROH stage is not one that will easily be filled.

Four very different pieces and I enjoyed them all. Two of them I would be happy to see again. They were the two pieces in the second half. Of the first half, Boundless, for me, had more promise than delivery. It's sharp, spiky attack sat well on the music but was insufficiently varied; some of the movements felt a little awkward; and it seemed to me that Gemma Bond was less comfortable working with the slower parts of the score. Naghdi and Hirano were outstanding - something of a given - and brought integrity and chemistry to the stage, and the rest of the cast impressed throughout. I would like to see what some pruning and revisions could achieve as the parts that did work, worked really well. Although, unlike Joshua Junker, the music used in Never Known was not something that I would listen to by choice, I felt that it was an excellent choice for what he was looking to achieve, and whilst the overall effect might be said to be somewhat derivative - well what isn't? - I enjoyed the rolling, somnolent nature of the movement far more than I thought I would. That said, this is not the type of choreography that, for me, bears repeated viewing as I find it hard to imagine that it would reveal anything new to me. I came to For What it's Worth somewhat biased since I have enjoyed pretty much everything of Mthuthuzeli November's work that I have previously seen. I find him an intelligent choreographer and a consummate storyteller and this piece was no exception. I loved the music, the colour, the performances - Mayara Magri was compelling and it was good to see Leo Dixon, whose stage presence always draws the eye, take a more central role. Africa is a continent that I love and I certainly felt Africa in this piece. Yes, I would be happy to see it again and couldn't we commission more work from the never less than enjoyable Mr November? I would also happily see Twinkle again and cannot understand the bitchy disapproval shown by some of the critics. It was charming, witty, visually and aurally pleasing. It played to the strengths of the wonderful RB dancers (Bracewell's lyricism and that captivating quality that Kaneko brings to everything she does), and it was gloriously and undeniably ballet. More of the same, please. What's not to love?

I have SCS D2 for sale £14 for tomorrow (Friday) evening's much awaited Kaneko/Muntagirov pairing. Please DM if interested. Thank you. Patrina

Can I join the queue please for this performance. Looking for 1 or 2 SCS, balcony D or cheap amphi tickets for Friday 8 March.

Agreed. And not just because of the sound levels.

And a total standout in Two Pigeons.

He and Hayward were sublime all those years back.

I really like the Bausch version. Not so much the Mats Ek. My daughter wanted to leave 10 minutes in, And having unwisely sat it out to the end, all I can say is that notwithstanding Jeffrey Cirio's utterly stunning performance, I wish we had followed her instinct.

I hear what you say, Vanartus and Roberta, but I find the whole concept of a ‘thought leader’ not only worrying but somewhat sinister. Freedom of thought is something that should be enshrined in the ethos of every organisation, culture and society. Its absence can only have one outcome - bigotry, oppression and persecution. It also leads to an unedifying elitism on the part of those who believe that they know better than anyone who disagrees with them, and the inevitable and unacceptable rise of thought policing. I will say no more as I do not want to politicise this thread.

I find the appellation “a thought leader” very worrying.

This certainly makes it easier for Patrons, who have the luxury of being able to afford the most expensive seats, to ‘book blind’ since there will invariably be a choice of acceptable seats available if and when they decide to swap. The same is not true for those on a budget restricted to the cheaper seats.