Scheherezade

I always politely tell them that I already have one and they respond with a beaming smile.

Sorry Geoff, I didn’t like it at all. I found the doubling made it impossible to engage with the characters which, for me, made it emotionally sterile.

Could this be a reference to Kasper Holten's oh so complimentary observation that if UK audiences, unlike their better-informed northern european counterparts, couldn't appreciate what was being served up to them, they would have to be re-educated.

Thank you Buddy. That was me. In another life.

True, but fruit that is especially forbidden - and the risk in Catholicism extends to the immortal soul - always tastes that much sweeter.

Shifting sideways a little, A Song at Twilight is scheduled for July at Richmond’s fabulous Orange Tree Theatre (very possibly my favourite theatre at the moment - Trevor Nunn’s Uncle Vanya will be running somewhat earlier in March and April), along with Noel Coward’s Suite in Three Keys.

Ah, but the irresistible lure of sin has always been a big part of Catholicism - the bigger the no no the greater the appeal.

Let's hope you're right on the u-turn.

An annoying split stage throughout that totally diminishes the tension and, if you're sitting or standing to one side of the auditorium, makes it very difficult to see what's going on in the other half of the stage. Iirc, Lucia's madness is put down to a miscarriage, but at least it retains the Victorian Gothic so despite its flaws its not the worst I've seen at the ROH..

It’s a wonderful idea but one that, sadly, I can’t see ever taking off in London. The ROH and other theatres won’t run with it unless the cost is met by someone else and neither TfL nor the mayor is likely to forgo a single penny in potential income.

Me too, Balletyas. I so agree with all your wishes, Capybara.

Wasn’t it just! And it was the physical and emotional heft of Act III that we took away.

I’m with JohnS on this. Ausrine Stundyte, who has previously sung this role with Pappano, impressed me too, and having heard of Nina Stemme’s problems at both the general rehearsal and first night, I was relieved to have her for the whole of the performance that I attended. And aesthetically pleasing too, no visual horrors either, so one to see, I’d say.

So much has already been posted about Saturday’s wonderful triple debuts that it really is difficult to find anything to add, but I have to say that much as I enjoyed Act 1, for me the emotional connection between Naghdi and Bracewell moved into another gear with the Act 2 pdd and reached a breathtaking, heartrending climax in what can only be described as a truly unforgettable Act 3. The controlled lyricism in Bracewell’s dancing allied with the unforced dramatic integrity that we have come to expect from him formed the lynchpin of this performance and made the tragedy of Manon’s downfall all the more poignant, as Yasmine’s Manon moved seamlessly from the avaricious hedonism of shallow self interest to a moving and untimely recognition of the beauty and value of enduring true love. The emotional intensity and pitch-perfect partnering - those Act 3 aerial spins in particular- had me catching my breath more than once. Whose heart could not break for the cruel fate that met this Manon and this Des Grieux? Mine is still more than a little splintered. A shout-out too for Anna Rose O’Sullivan’s spirited, minxy mistress and Luca Acri’s Lescaut, another complex, shifting and ultimately tragic victim of the venal society of haves and have-nots in which this cautionary tale is set. There are those who have said that the gaoler’s scene is hard to watch. Yes it is, but life in those times for convicted prostitutes in the penal colonies was hard and to paper over this would be disingenuous and would also dilute the impact of the rest of Act 3 and of the ultimate tragedy that befell Manon. And I have to say that sleazy as Gary Avis’ gaoler was, memories of David Drew’s gaoler back in the ‘70s are imprinted in my memory as far more uncomfortable to watch. But coming back to the present, what wonderful performances from the entire cast for those of us lucky enough to be in the audience last night and how very glad I am that I was there for the stunning debuts from Yasmine, Will and Anna Rose.

So many terrific casts to see in this run and if they come even close to the truly moving performance we were lucky enough to experience at today’s general rehearsal we are in for some real treats.

Me too. Very pleased as I haven’t booked for this cast so was hoping it would be them.

I found last night’s naturalistic Act 1 portrayal of Giselle and Albrecht particularly moving, something that, for me, rarely comes across in the more histrionic RB mad scene. Khaniukova was the absolute embodiment of a fragile, innocent (and very young) girl in thrall to an all-consuming first love and, when coupled with the charm of Arrietta’s attentive and concerned Albrecht, the horror that ensued at the end of the act was all the more heartbreaking. As regards the lighting, I am in the camp that found it satisfyingly atmospheric. I didn’t have problems seeing what was going on, despite being in the balcony, although I was in the front row so perhaps that made a difference. Oh, and I’m happy to report that the bells sounded loud and clear from where I was sitting this time round. I agree with the plaudits for Emily Suzuki, Ivana Bueno and Francesca Velicu, all of whom are realising the promise shown over the previous few seasons and I also applaud the clarity of Henry Dowden’s dramatic skills as Hilarion. I do get the first night comments about being less moved overall, and perhaps this is due to the very strong dramatic impact of the RB Act 2 as opposed to the more understated romanticism of the Skeaping Giselle. Whilst always happy to see Khaniukova, I was, like others, disappointed not to see Frola, particularly since Arrieta, whilst always technically accomplished, has previously disappointed me on the dramatic front, but I have to say that last night I found his Albrecht very convincing. On a more mundane level, I was also perplexed by the laughter from some parts of the audience at the start of Act 2. Otherwise, there was the odd whiff of popcorn near the start of Act 1 and some sustained and ear-splitting whoops from immediately behind me during the curtain calls but nothing of particular concern.

Yes, and however many times you may disregard the marketing push, there comes a point where almost anyone will decide that perhaps they will give it a try.

As a matter of interest, why is he so anti-RB?

A lot of pensioners nevertheless have no private pensions, or very small private pensions, live outside the Greater London parameters and are not therefore eligible for free bus or train travel into central London, with all their assets tied up in their home and, consequently, hardly any disposable income. I have a number of arts-loving friends of many decades standing in this position who have been entirely priced out.

Agreed. And I am the world’s greatest sceptic but thought the report worth mentioning nonetheless.

Following Suffolk Council’s plan to axe its entire arts and culture budget, and Middlesbrough Council‘s bankruptcy warning, Shadow Culture Secretary Thangam Debbonaire has described recent arts funding cuts as cultural vandalism and pledged that a Labour government will prioritise arts funding and work to identify new funding sources for arts and culture.

I’m in the balcony row A with my daughter tonight. It’s the lack of leg room that I find hardest but have never had any real problems with the rail, nor any need to shift around. Perhaps it’s a height thing. My daughter and I are 5’3” and under. I will agree that row B is absolutely dreadful. Couldn’t see a thing and will definitely never sit there again under any circumstances but found row C manageable. Am looking forward to tonight and hoping for more emotional engagement than last night seems to have delivered. Hopefully the performance will have settled in after opening night.

But could generate more income as people in the state pension bracket are increasingly being priced out.

It is indeed. Uplifting, refreshing, totally feel-good. Everything, in fact, that the current RB commissions are not.