Fonty

A few thoughts from last night. Overall I loved the production, and although it wasn't the cast I was expecting I really enjoyed the performances from the two leads. As Giselle, Khaniukova in act 1, was so delicate and fragile it was almost as if she was already part of another world. In act 2, she appeared to be so light, it was as if she was actually flying and Albrecht was having trouble holding her back .I thought the corps were excellent, and I really enjoyed Suzuki’s Myrtha. Did I read that it was her debut in the role? She seemed very polished and accomplished. I also agree that Burno and Velicu were great as Zulma and Moyna. Albrecht either has to be hopelessly and helplessly in love with Giselle, or an out and out bad boy who is faced with the impact of his actions in a horrific way. Arrieta was good as far as the dancing and partnering were concerned, but I didn't get much of an impression of the character, other than he was rather young and seemed a nice chap. It was interesting to see the differences between this production and that of the RB. Here it is made very clear that Giselle is in poor health, and dies as a result of that. Very traditional, and exactly how I remember it being performed many years ago by the RB. However, I did feel that the mad scene was much more muted. No tumbling hair, only a small amount of playing with the sword. I am not bothered that Giselle doesn't commit suicide, in fact I think Act 2 makes much more sense if she doesn't, but I didn't feel it made the dramatic impact I am used to. Of course, this could be the result of Khaniukova's interpretation, and I shall be interested to read about other casts. Giselle's act 2 is one of my favourite ballet experiences, and generally I prefer it to act 1. I loved the staging for this, but I did feel that the very subdued lighting for parts of it was a big mistake. Fine right at the beginning to create the correct atmosphere, but after that it was very difficult to make out what was going on. Surely they don't need to dim the lights so much that you can barely see anything? Also, I didn't get the feeling that any male was being danced to exhaustion. My brother and niece, as newcomers to Giselle, loved it. They said they preferred act 1, but they did say that although I had explained the story beforehand, the lighting for act 2 made it very hard for them to understand a lot of it. Such a pity. I have to say that the reaction of some of the audience was most peculiar. A row of women behind me seemed to find much of it very funny. The first appearance of the Wilis in the background, the retrieving and throwing of the flowers by Mrytha, the arrival of the corps in their veils, the menacing sequence where the Wilis move from side to side in arabesque, Giselle's veil removal, were all greeted with loud hoots of laughter. In the end I turned round and gave them the evil eye and a loud shush. They did shut up after that, but goodness knows what they were finding so amusing,

Obviously I haven't seen every Giselle, but if I had a top 5, Guillem would have to be in it. I wasn't a fan of her in everything, but she was extraordinary in this. And I would put Morera in my 5 as well. One of the last performances I saw from her was in this ballet, and she was absolutely superb.

You've got me worried now. I have no idea where we are sitting tonight, my niece booked, but I know it is upstairs somewhere. As I haven't been to the Coli for ages, I couldn't give her any advice on seats. @LinMM Curious to know who the others are in your top 5?

So looking forward to this tonight.

I've just seen something odd about the Live Screenings on the ROH website. I went to check the date of the Manon screening, put in my postcode....and found the only one close to me was in Leicester Square. Took out the postcode, put in London, and got the choice of about 6 - one in Leicester Square, 4 I've never heard of, and would have to look up, and one in Dagenham. Eh? Went and checked the website for 2 cinemas that I normally go to, and Manon is definitely listed on their websites.

Very odd, @JNC I certainly managed to view various other dates with no problem at all. I didn't get the seats I wanted, but I had no issue with moving around within my allotted time.

I'd like to know how people manage to get SCS tickets. I have never, ever been lucky enough to get one, and believe me I have tried. Do you have to be a friend? Or do I have to be lucky enough to be one of the first people in the queue? Incidentally, using multiple browsers will definitely slow the system down. Each one uses up a bit of juice, as it were.

Well, I actually remembered it was the first day of booking. I logged in, waited, and was really excited when a screen came up telling I was in a queue with 2 minutes waiting time. I was not so happy when this changed to 8 minutes...to 14 minutes...to 40 minutes. When I eventually got in, having tried masses of dates, I did manage to buy one ticket for Swan Lake, paid for it, and got the confirmation on screen. At which point my computer suddenly decided to pick that moment to do an upgrade and started to reboot. I hadn't had a chance to make a note of the booking reference, nor can I remember which date I actually booked for as I looked at so many. I do know who I am meant to be seeing, obviously, but that is about it. I would have expected a confirmation email straight away, but nothing yet. Also, when I logged into my ROH account, it says I have no upcoming tickets. However, the booking has been registered on my bank account so the payment has gone through. I am so angry, as I ALWAYS record the booking reference straight away. Edited to add I have just got the confirmation email, so at least I have managed to book 1 ticket. For Fumi and Vadim.

I have worked in IT for the last 25 years, and am on the internet every single day. However, I never use Twitter/X. Had a look at it once, decided it was not for me. I don't mind companies or individuals using it, although it shouldn't be the main means of communication. To be fair, I've always found ENB pretty quick to change their website casting with any last minute changes. For ROH, I rely on the good people on this forum for the latest info. I am wondering how my brother with cope with Giselle. Although he enjoys ballet, both he and my niece are relative newcomers to live performances. At least it is traditional, he nearly had a nervous breakdown when they went to see Matthew Bourne's Swan Lake. Men dancing together? Good grief. They should enjoy it, but you never know. They may object to the jolly dancing peasants in act 1, as it goes against their political views!

I went away and looked at Mr WW again, and I agree that the second act could make a great inclusion in a triple bill of some sort. I think it would work fine as a plotless work, especially as they are very unlikely to put on the whole thing on again.

I am going on Friday, with my brother and my niece. Neither have seen Giselle before, so I sent them a link from ENB explaining all about the second act and the Wilis. Really looking forward to it.

Yes, the Wayne Sleep clip was great, wasn't it? So much fun stuff being shown. I've seen the clip of Fonteyn in Giselle many times on Youtube, and it is gorgeous. I always find it interesting that the cross on Giselle's grave is a huge one with the appearance of being carefully prepared. Clearly this Giselle was not buried in unconsecrated ground if that is anything to go by. I also love the bit of her dancing the Rose Adagio. Again, I have seen that many times, and in this programme it only shows the final bit. The camera angle is slightly strange, but the one thing that comes across is her radiance in the role. The cavaliers saunter casually up to give her a hand with the balances, as if there is all the time in the world. They are all done without a trace of a wobble, with a beaming smile on her face. She really was a magnificent Aurora.

I don't know much about Tharp. The only thing I have seen by her is Mr Wordly Wise. Was it 2 acts or 3? If it had a third act I can remember nothing about it. I enjoyed Act 2, but nearly left the theatre after Act 1.

It would seem that the Russian Orthodox Church no longer does a service in remembrance of Pavlova either. At least, a search didn't reveal anything.

Madness to take out the Ashton. I've no idea why there was this desire to "go back to the original" when there is such an exquisite addition. I seem to remember going to an event and the Garland Dance being mentioned. There was talk that nobody could remember exactly how it went nowadays. Surely it must have been notated?

In the second episode, the excerpt from Apollo was wonderful. I love the way Fonteyn described Balanchine's choreography as "unemotional". A lovely pdd from Don Quixote as well. It was also fascinating to see Tchaikovsky's house, in very picturesque snow, and the interior of Pavlova's home, Ivy House.

According to Wikipedia "The series caused a stir because up to that time she had not been known for speaking on camera, and after rehearsing what she would say on each segment, she ad libbed the lines without cue cards. " She looks so gorgeous as well. I found myself gawping at her teeny, tiny waist.

Broadly speaking I would agree with you. Interesting you mention Giselle. I can't say I have noticed dancers struggling in that. I am not particularly bothered what speed the SPF is danced at, as I have never seen choreography that I like for that particular solo. However, I hate it when music that is already reasonably slow is slowed even further. I did notice the grand pdd was being played at a different pace at the performances I went to, and that is not exactly a fast piece to start with.

Read the article, and saw the alleged budget, to which the RB is contributing half. I wouldn't know whether 2 million dollars (just over £1 million) is a lot or not for a new production, knowing nothing at all about the various costs.

Indeed it is, but I thought I would watch one or two on a weekly basis, thoroughly enjoy them and relish the anticipation of the next programme. Am I very peculiar in that I never binge watch anything?

I am glad someone else feel the same way as me, I sometimes wonder if there is something wrong with me for not liking him. I went to Woolf Works and heard so many people saying they were really blown away by it. To be fair I can't say I actively disliked it, but having seen it once I feel no desire to rush back. I haven't seen the Dante Project, but I have seen the pictures of some of the truly horrible costumes, and that was enough to put me off.

I hate to say this, @PeterS but standing ovations are ten a penny these days. It seems that every production I go to now, be it drama, musical, or dance, gets one at the end., no matter how unremarkable. I sometimes wonder if there are people in the audience paid to rise to their feet and cheer loundly, forcing others to stand so that they can see who is taking their curtain call.

I haven't read MaddAddam, but I really enjoyed other Margaret Atwood novels. They are not exactly a barrel of laughs though, and the ones I have read would be extremely difficult to portray in dance. I would be interested to know McGregor's reason for choosing that particular novel. Incidentally, each time I read the novel title, I get the theme tune for the Addams Family in my head. How much power does the dreaded ACE have? I can imagine a scenario which insists that in order to get funding the RB has to show it deserves it. I can hear the words "innovative", "meaningful" and "inclusive" being used.

One of our local tube stations was closed because of flooding a couple of days ago.

Just to remind everyone that the second and third parts of this are going out on BBC4 tonight at 9.30pm and 10.30pm.