Fonty

Well, personally I can't see that anything that has been said so far could be construed as going too far, although I appreciate that any thread can turn into a expression of agreements and disagreements regarding the topic being discussed. I didn't realise Choe had been with the RB ffor 13 years, and has been a first soloist for 8 years. In my mind she was still one of the fresh new youngsters coming through. Where does the time go? Regarding the reasons for promotion, I remember Dowell saying that raising Yanowsky to principal was his gift to her on his departure. I think I've got that right? Not that I am objecting to that, as I am a huge fan of hers. The sad thing is I feel she was never used properly once she got that promotion, although with her height, finding an appropriate partner was always going to be an issue. However, you would assume that anyone in a position to give promotions would think about that beforehand.

It is one of the great mysteries of life. Shops seem to have decided at some point over the last five years that what we want to look at is a complete outfit, with matching accessories. Ok, but then you have to have assistants on hand to point shoppers in the right direction. They seem to have become as rare as hens' teeth these days. And then when you eventually find one who isn't manning a till or walking very rapidly away in the opposite direction, they tell you that half the items on the exquistely dressed dummy are either out of stock, or haven't come in yet.

Totally shocked. I just couldn't believe it when it flashed up on my screen.

Lin, when I was typing my comment about Choe, I did think about Bussell. I believe she was not noted for her dramatic skills during the early part of her career. I was living abroad when Darcey was promoted, so I am not sure what the other female dancers were like at that time.

I don't suppose anyone knows the answer to this, but I'll ask it anyway. If someone on a lower pay grade regularly dances principal roles, do they get any extra money for doing so?

James, I haven't seen some of the things that both Hayward and Takada received praise for, but I have seen Choe in several things recently. I also saw her in Pigeons, and I said at the time that I actually preferred her to Cuthbertson, as she was more lively and less "balletic." I also saw all three of them on stage together in Within the Golden Hour, and thought she more than held her own. In fact, I liked her the best, there was a lovely lyrical quality to her dancing that stood out for me. I wonder if she might lack a little dramatic bite. perhaps? This is pure speculation on my part, but maybe she is seen as a bit too gentle a stage personality to be convincing in some of the tougher dramatic roles? .

What did she used to do? Apart from take drugs, that is.... Thank goodness for that. I wrote to the BBC and complained about Wimbledon2day(or whatever it was called), and got a reply along the lines of "we are gearing it towards a wider audience, some of whom do not know much about tennis." Well, they would have been none the wiser after watching that pile of rubbish. What is wrong with excerpts of various matches, followed by discussion and analysis by ex players? It is good enough for football.

Oh dear! Yes, I suppose those seats are "restricted view". I think I have only been on CC once, in all the years I have been entering the Wimbledon ballot, and I was right up the back. If I get anything at all, it is court 1, up in the roof somewhere. It is so cold up there, I hate it. I don't know what they have done to make it so drafty, but if I get those types of seats now, I don't take them.

Interesting article, Janet.

I've never been lucky enough to sit in the front row of Centre Court.

I don't remember Sharapova adjusting her underwear. I've seen Nadal play several times, and in real life you barely notice this particular quirk. But on tv, the camera always seems to zoom in to give us a close up of his rear view when he prepares to serve. Lots of other men adjust their clothing, but haven't become famous for it. Andy Roddick indulged in what I would describe politely as "front fiddling.", as do a few of the other current male players. Talking of grunting and shrieking, I've never watched Sharapova, but I have seen Serena Williams and Azarenka play, and didn't think they were loud when you are actually there watching them. Do the on court microphones pick it up so that it sounds much more pronounced on tv?

Sim, I didn't realise that was supposed to happen either. I didn't go back to read any reviews, so if anyone mentioned it I had forgotten. I did think the ending was rather odd at the time. We didn't know whether we were supposed to start clapping or not.

Haven't got one yet. I thought it might clash with my tiara.

I wonder what was in the picnic baskets? And the glasses look as though they are filled with rain water.

I hadn't really registered that Campbell was not particularly tall, I have been so overwhelmed by his handsome good looks wonderful performances.

I didn't see that partnership, but I agree that certain ballets don't look right if the female is much shorter than the male. The Invitation is one of them, because they are supposed to youngsters of a similar age, and their height difference must make her look considerably younger than him. I know McRae is on the short side, who is the other shortish male?

I know very little about opera, James. I always assumed that opera audiences would start throwing rotten fruit at singers who took liberties with cherished scores.

Hi everyone, a few quick thoughts of yesterday's matinee. I didn't dislike Obsidian Tear, I quite enjoyed it, but at the same time I wouldn't rush to see it again. The first section with the two dancers went on a bit too long for me, and I was starting to get a bit restless, but the whole thing picked up when everyone else came on stage. I just wish that McGregor could sometimes provide choreography that has everyone on stage doing the same thing at the same time, rather than individuals doing their own thing. I missed the moment when the man in red was marked, I was looking at someone else moving about. Dramatically, I think it would have worked better if the ballet had finished when the victim is thrown into the void. The extra bit after that didn't really add anything to the ballet IMO, it just seemed to be filling up the music till the end. The Invitation was very powerful dramatically. I was slightly puzzled that when the Girl and the Husband start to get a bit fruity on the dance floor in front of everyone else, they do so under the gaze of the mother and the governess. Surely one of these ladies would have stepped in a lot sooner? In fact, nobody seems particularly interested, unless I missed some of the reactions. I thought Naghdi was superb in this, and the whole ballet really packed an emotional punch. Yes, it has its flaws, but with acting performances like that, I wasn't too bothered. Finally, I loved Within the Golden Hour. Gorgeous dancing, and lovely music. I found it interesting to see those particular lead females on stage together. For me, Choe more than held her own against the two newly promoted principals. In fact, I enjoyed her performance the most. It was also good to meet LinMm, Jacqueline, DonQ, Indigo and Janet. Great to put faces to names after all this time.

I wonder if the reactions of De Valois to the incident also had something to do with the fact that she wanted Fonteyn to shine above all the others, and didn't like it when dancers were perceived to be stealing the limelight. I was thinking here about Moira Shearer's comments, that when she was performing Giselle, she went to Karsavina for advice and coaching. De Valois was furious with changes she made as a result. If I remember correctly, when Shearer told her who had helped her, Karsavina was approached to coach Fonteyn in complete privacy, and nobody else was allowed to receive the benefits of Karsavina's expertise. A very nasty thing to do, and I am not surprised some superb dancers got very down hearted. Regarding changes to choreography, it depends on what changes are being made. Personally I don't mind slight changes to the steps to suit certain individuals' physiques, provided they stay in time with music being played at the correct tempo. Would there be an outcry if a dancer altered the arms slightly in certain poses, because their arms are longer/shorter than the originator's? If someone can fit a double pirouette into music where traditionally the choreography shows singles, good luck to them, as long as they don't set a trend that other, less speedy turners feel they have to follow. However, I do have a very strenuous objection to someone throwing in a triple pirouette, and then missing out the next sequence of steps, or providing make shift substitutions, because they don't have time to fit the correct ones in. .Imagine the outcry if an opera singer missed out some of the low notes in a score, and substituted ones a octive higher because they sing high notes very well! Regarding the changes that some modern dancers have made to the Rose Adagio, I can't think of any that have actually enhanced the portrayal of Aurora. I often thing that making it more ponderous makes it look as though Aurora is celebrating her 30th wedding anniversary.

I am very pleased Campbell has been promoted to principal, as he has been superb in everything I have seen him in this year. I've not seen enough of Hayward to pass comment, but she was clearly marked for the top. I am slightly surprised that Takada and Hirano have been made principals, though. Can't say that either of them have stood out more than others of the same rank, for me anyway.

Yes, I shall be there at the matinee as well, badge less, but carefully examining everyone else in the hope I can spot a fellow forum user. The weather says it is going to rain on Saturday, unfortunately, so the outside terrace looks like it could be a bit damp.

I've just checked with my other half, and he says we were usually there by 6.30am at the latest. I must have blotted that out of the memory banks. I've never tried to get in on the first day, though. I usually go later in the week. While it is terrific to know that people are so keen to get a ticket, there is no way I am prepared to camp over night. .

I notice they got Bussell to do the ceremony for Fonteyn. It seems a pity that they couldn't also have had someone who actually knew Fonteyn well.

Oh, they do that at the O2 as well. I went and bought a ticket from the Box Office, in person, and paid on the spot, in cash. I was charged a huge amount as an "booking fee". I think it was £5. I know I was shocked and argued about it, but the stony faced employee just shrugged.

I've been out of the country for the past three years, but prior to that I have queued every year for a ground pass, and I think there was only one occasion when we weren't successful. However, we always picked a day when Andy Murray wasn't playing during the first week, , and we had to be in the queue no later than about 7.30am, as I recall. The one year we failed to get in, we were delayed by about an hour because of a broken down tube train. I have my fingers firmly crossed that somebody beats Djokovic before the final.