Scheherezade

Thanks for the info Nick and LinMM as seat view tools never give an accurate impression of the actual view.

Oh dear!

And, although not on topic, how lovely to read Mark Monahan's assessment of Campbell's "intensely moving partnership with Yuhui Choe in ... The Two Pigeons."

Noooooooo! I am self employed so would lose out financially but the thought of a few extra Bank Holidays cheers me up no end.

Late castings are a problem with ENB, too. And, as in the case of this September's Akram Khan Giselle, those of us who held back pending castings found that all the seats had gone.

Does anyone have any thoughts on the view from the differently priced seats?

It sounds to be a wonderful cause, Sim. Can you give a rough indication of the likely programme?

And obviously the four saints' days are long overdue.

Why not Guy Fawkes Day and the solstices?

I am reluctant to identify the partner as she is well known. And clearly able to hold a balance for an absolute age. Suffice it to say it wasn't Fonteyn .And I think that the difficulties in dancing with Nureyev were equally well known at the time. I should add that I remain an absolute, unreformed fan, however difficult he might have been as a partner. I'd be interested, by the way, to learn what others think of Muntagirov's partnering skills. To me, he can scarcely do wrong, either solo or as a partner.

Yes, both Darcey and Anita Rani looked fantastic. As, for that matter, did Ore Oduba. And I totally agree about the winner. Fabulous quality of movement but it really was extremely masculine, which is entirely different from projecting strength, as, for instance, with dancers such as Tamara Rojo.

Of no real consequence, but was anyone else irritated by Anita Rani's highly-stressed pronunciation of Makarova as 'Macca-row-va' during the ballet heat?

I recall being told by a male dancer who was in the corps in the early 70s of one occasion when Nureyev, dancing with a partner he did not like, deliberately went off on an unrehearsed, unchoreographed solo spree leaving his partner balancing on one pointe for what seemed like an eternity. Although, as always, Nureyev was catnip to the audience, to his extreme annoyance his partner, who retained her balance thoughout, brought the house down.

Ballet competitors are also at a disadvantage in that it is hard for them to appear relevant when an out of context excerpt danced in tutus, tights and other period-style costume is shown on screen. The male ballet dancers may have to cast a wider net and draw upon current works, including pas de deux for two men, if they are to hold their own. The obvious examples are Wayne McGregor (Obsidian Tear, Multiverse), Wheeldon's After the Rain or some of the work recently danced by the ENB, provided that they are allowed to dance excerpts from pieces such as these and that they are sufficiently adept and well-trained.

At first glance, the photograph does rather give the impression that Darcey is Nafisah/the winner.

Thank you for the link, Duck. I enjoyed watching the video.

I was in the front row of the balcony, I am 5'4" and my daughter is 5'3" and we both felt that the view couldn't be bettered..

Yes indeed, Duck, many thanks for your review of a company and programme that I would have liked to have seen. I love Alvin Ailey, unlike some in the UK I enjoy Jiri Kylian and I have to say that Scarlett's Vespertine sounds an extremely interesting piece.

I have now seen two of the casts (the Cuthbertson/Muntagirov and Nunez/Soares Diamonds casts but Takada/Heap and Campbell in each) and, having loved McRae in Rubies last time round, I have to agree with Nina G's definitive casts. As with so many other posters, I am really bemused as to why Nunez and Muntagirov were not cast together, more particularly when past form dictates that they are in a league of their own in pieces such as this and bounce off each other in such a breathtaking way. I am a big fan of Campbell but Rubies really is McRae's stand-out piece. His speed, flair and quicksilver qualities bring this piece to life in a way that I have yet to see with anyone else although I was impressed by both Takada and Heap. Naghdi, as is increasingly the case, brought her own special lyricism to Emeralds and, again as usual, it was impossible to drag one's eyes away from the wonderful Morera, who really seems to be achieving the recognition that she deserves under O'Hare's stewardship. As others have already said, Gasparini also stood out for me. I agree with To the Pointe's observations on Emeralds, which held my attention far more than previously, no doubt due to the quality of the performances. Overall, just lovely!

Thank you, Sim. I have to say I am not unhappy at the results. ?

Thanks for the heads-up, Geoff. I, for one, am always happy to listen to the fabulous Mariella Devia and equally happy to hear any Donizetti.Wonderful!

Yup, agree with all the positive responses to Lohengrin and particularly pleased that Klaus Florian Vogt will be back on the UK stage. Also happy about the Opera Rara concert performance of L'Ange de Nisida. Surprised at the Hvorostovsky casting since it wasn't all that long ago that we were told that his balance problems had put an end to full-on opera, although he is also slated for a couple of performances at the Liceu so hopefully all is well, and is the Netrebko Lady Macbeth the promised trade-off for her withdrawal from Norma? The Di Donato/Barcellona double act again in Semiramide (La Donna del Lago anyone?) but can Joyce match Shagimuratova at last year's Proms? Too many of the usual suspects, as per usual, with most of them featuring in the cinema broadcasts, it would seem, and why yet another outing for the muddled KH Don Giovanni? I agree with Sim that overall the opera programme looks more promising than the ballet but, let's face it, that isn't saying much. Oh well, we shall see what we shall see!

This information is very useful, Lindsay, and, as John PW has said, helps to explain what, for me at least, was previously a benefit that was far from apparent. Why, however, was a decision taken not to extend the orchestra pit during the last closure? It was not all that long ago and the dangers to the musicians must surely have been known.

Me too. My daughter is always asking when they're going to do it again.

And I've only seen the orchestra spread into that area on a couple of occasions so I really don't see how removing members of the audience can reduce the decibel levels affecting their hearing.