Fonty

I agree that BRB was more enjoyable, and it could be stage size. In my case, I also preferred watching it from the stalls, rather than up above in the amphi, but that could be simply that I could see the expressions more clearly. I think this was really the heart of the problem. I didn't like Cutherbertson either. It could have been that she was too sophisticated. I think my own thought was that she was too balletic, and not enough like the boisterous young girl she was supposed to be. Consequently, all the bits of choreography that should have been amusing or charming just seemed almost embarrassing

Wasn't Belinda Hatley's retirement announced in advance?

I can't say I noticed a particular problem with his timing as such, which surprises me, because it is one of my pet hates in group dancing. However, I was tending to focus more on Watson than the trio together. I just felt that Hristov's movements seemed a bit laboured. Yes, it could be that Watson is more fluid. It was nice to see him performing pure, calm, classical ballet, rather than the things I usually see him in. I couldn't see the back of the stalls circle from where I was sitting, but the auditorium felt a good deal livelier than on the previous occasion.

I assume everyone else who danced it, did so at the same speed as well? Are dancers given the option now as to what speed they want for a particular variation? I can understand this for something such as the 32 fouettes in Swan Lake, because this is intended to be a show-off sort of moment, where individuals can tackle it slightly differently if they want to. But generally, I would have thought that dancers should be expected to perform to the tempo that was used when it was choreographed. And there must be plent of records to show what that speed was.

When I saw Monotones 1 the first time about 10 days ago, I thought it came across as a bit dull, which irritated me because I could see the wonderful ballet it should have been. On Saturday night I saw a different cast, and thought it was terrific, and couldn't believe the difference. I would have liked to have seen a different cast for Monotones 11, but didn't. However, I liked it just as much the second time around. Again, I thought Watson looked extremely elegant in this. I could not put my finger on why Hristov didn't look as good. He was matching the others with every step, so the only thing I could think of was that his physique was a little bit more thick set, relatively speaking. And he had some slightly clumsy finishes to his pirouettes, which stood out for me because he performed them right in front of me. I enjoyed 2P much more the second time. It may have been the fact that I was sitting in the stalls rather than the roof, but I didn't find the pigeon movements were too overdone, whereas the first time I thought it seemed to go on for ever. Choe was lovely in the role - not exactly tom boyish, but I didn't feel she was too sickly sweet, and Campbell was great. As far as the gypsy girl was concerned, although Mendizabal did a good job, she wasn't as fiery as Morera. Shame about the naughty dove at the end, it was doing its best to draw attention away from the couple, and at one point I thought Choe looked as though she was checking carefully to make sure she didn't tread on it! Still, at least the second bird behaved impeccably. All in all, I thought Saturday night was a great night, and the dancers seemed to be getting in to the swing of it to the extent that they all looked as though they were having a wonderful time. I couldn't see any empty seats down below, the applause was long and loud, and everyone looked as though they had thoroughly enjoyed it.

I watched the performance last night, but I haven't had a moment to put some thoughts together yet. However, I enjoyed it much more than the first one I saw. I found a link on Youtube, which shows Lynn Seymour speaking to Deborah Bull about 2P. She is talking about it at about the 12 minute mark: https://www.youtube.com/watch?v=x2oSmI0D4IA

Very sad news. I never saw her dance, but I have heard many good things about her.

Well, I don't know anything about Ratmansky's works, but this member of the audience would be ecstatic to see the Sleeping Beauty performed exactly as it was in the Youtube film with Park. I have sat through many a performance of SB that has seemed tedious or boring in places, partly because the slower pace of some of the dances left me feeling that they had been plodded through, rather than danced, and partly because some of the parts were simply not danced very well. I have often felt that the dancers were struggling to fit the steps to the music, even at a slower pace, and often they look as if they might trip over their own feet. Also, if the idea is to slow the Rose Adagio down to a funereal pace so that Aurora can show off her spectacular balances, then it isn't working. I have lost count of the number of times I have watched some very famous dancers indeed taking an age to find their centre of balance, and then throwing up the supporting arm in a "hailing a cab" gesture, before clutching the arm of the next suitor. And all with a slight frown on their faces. I sometimes think the loud applause at the end is relief from the audience that they haven't fallen off point. Ok, perhaps I am being a bit cruel, but I can't remember the last time I saw anyone dance it with a relaxed expression, let alone a smile. It just proves that this idea that dancers today are so much better technically is wrong. I've heard time and again that they get bored doing the classics; that they want to be stretched technically. Well, they certainly display an extraordinary degree of flexibility, but often inappropriately. If I want to watch contortions, I will go and see Cirque du Soleil or something of that sort.

Oh, Floss,I am so glad you suggested this. I looked this up on Youtube, and thought I would just have a quick peep. After 45 minutes I had to force myself to stop watching because I had some urgent work to finish! Goodness, they took some of the fairy solos at a rapid pace, didn't they? I can never remember what the different fairies are called, but I don't think I have ever seen a live performance where the music for what I call the Pointy Finger dance (the 4th one, I think) has been played so fast. Now I know what I shall be watching for the rest of the evening. Edited to add I think I have got my fairies muddled up! I don't think the pointy finger one is the fast one, but I don't dare go back and check or I shall never get my work finished. Also, does anyone know who the fairies were? I looked at the end credits, but it cuts out before they list them.

I've only seen one, Sim, and I enjoyed large amounts of it, but I did find some bits didn't quite gel for me, although I am not sure why.

"At least, as it is danced by today’s Royal Ballet dancers, who are brisk modern creatures with very little fantasy in their sensible heads." Ah, that's the problem, the ballet dancers of today would rather be doing something more realistic. Like Swan Lake, for example, or the Sleeping Beauty. Good sensible story lines in both of those, much more suitable for the RB of today. I don't mind IB saying she doesn't like it, but I do object to any critic saying that people who do like it are stuck in some sort of misty, 1950s time warp, and need to get out more. So, the real, knowledgeable fans are those who appreciate more up to date stuff. Like Raven Girl, presumably. I don't recall this sort of reaction to any of the delightful performances of 2P by the BRB.

I do not know the Prologue fairy variations well enough to form an opinion, but I would love to know which dancers in the current crop at the RB would be thought to be the most suitable (rank not an issue, anything from corps to principal) Also, on the same basis, how should Birthday Offering be cast? I would really be interested to know which dancers show the required skills. I do know that at one point the RB training was deliberately trying to produce dancers "who could fit in to any company in the world." Which would seem to suggest that they were not interested in encouraging different types of dancers, although I am not sure how they decided exactly what qualities the RB pupils should have.

I think I agree with both Floss and MAB. On the one hand, I do think that at some point over the past few years, the cult of the personality became far more prominent amongst RB Principals, and as a result certain individuals were cast in roles that they were not particularly suited for IMO. There is no doubt that these people could put bums on seats, and their hard core fans adored them no matter what they were doing, but people such as myself, who were not quite so star struck, were left feeling vaguely dissatisfied in a way that was sometimes hard to analyse. I often felt that I was seeing Miss X or Mr Y in the role, rather than the character itself, and I often came away thinking that perhaps the ballet wasn't quite as good as I thought it was, and my memory was playing tricks on me. On the other hand, I have never seen Principals cast as Prologue fairies, but I have seen some rather mediocre performances in my time, and would love to see what the top dancers could do with these.

Do you think there is any chance that they might stage the second act of Mr Wordly Wise on its own? I remember seeing the whole ballet, and being reduced to fits of laughter in the first act. Unfortunately, I don't think it was meant to be funny. But the second act stays in my memory as being rather lovely.

Who makes the final decisions regarding costumes? Is it the choreographer, or someone else? Do dancers actually like dancing in leotards and pants without tights? Does it give them a sense of freedom? If one dancer put their foot down and flatly refused to accept the costume, would they be removed from the ballet? Lots of questions there, but I do wonder why modern ballets tend to go for the "no tights" look. It isn't particularly flattering on anybody, and positively off putting on ballet dancers. They are so thin, every sinew and vein stands out, and personally I think it is horrible to look at. I remember that when Deborah Bull and Sylvie Guillem appeared in Steptext, they had different costumes. Bull had a red leotard and no tights, Guillem had a very fetching red all in one. I know which one I think is more attractive, and wondered why poor Bull wasn't given the rather gorgeous all in one. http://static.guim.co.uk/sys-images/Observer/Columnist/Columnists/2011/6/9/1307638112220/steptext-007.jpg https://s-media-cache-ak0.pinimg.com/736x/61/7e/9a/617e9a51844bc63ec44a3a82d13dbf5c.jpg

I looked for some photos showing the appropriate angle in a classical ballet. Came up with this one: http://static1.squarespace.com/static/53dcdde9e4b06edf127a2085/53dce347e4b05b7d2eaeda4c/55b5e159e4b04ba2ac15fd01/1437983107929/?format=300w Edited to add that it is Sylvie Guillem. I was trying to find some where the female is partnered, but in the quick search I did, I couldn't find one.

This is not the first time LJ has said this, was there anything specific that sparked it off? Other than the photo, that is, which is not the most flattering I have ever seen. What is it from, BTW? Although it doesn't really matter, I have seen that position many times in WM ballets. I did enjoy Woolf Works, but I think a lot (most?) of that came from the performance of Ferri. Plus the fact that as I have disliked just about everything else I have seen by him, so it was a relief to find that there was something I could enjoy!

I just wondered what it was like as a ballet, leaving aside the subject matter. I've seen The Judas Tree several times, which I recall had a gang bang in it (?). Not to mention a hanged man. Not sure if I enjoyed it or not, I can't remember, although I do recall that Benjamin was wonderful in it.

Has anyone seen The Invitation? I remember reading about how shocked people were because there was a rape scene in it. I wonder how shocking it would look today? And is it a ballet worth reviving? Edited to add I hadn't realised they were doing it so soon next year. :dunce: As it is on with my pet dislike "a new Wayne McGregor" and I know nothing about the Wheeldon one, I wondered if it was worth mentally pencilling in to the 2016 diary?

Me too. Keep them coming, Floss, I find them so interesting.

Christina has been with the Royal Ballet for 20 years, which must make her in her mid to late 30s. If she is going to be given more, it will have to be sooner rather than later.

Does anyone know where she is going?

I was going to add that to my post, but you beat me to it, MAB. I don't know enough about pointe shoes and how they are made, but I would assume that advances in technology has allowed for improvements in the way they make the feet look. Yes, absolutely. I remember mentioning it when they showed the film of Fonteyn in the Sleeping Beauty on the BBC. All the dancers seemed so quick and light on their feet.

I heartily dislike the tendency to slow everything down, and have no idea why it has been allowed. The trouble is, when someone posts a clip of say, Fonteyn, on Youtube, all young people seem to go on about is how ugly her feet are,or how low her leg is. Nobody mentions the beautiful arms, twinkling footwork, beautiful positioning, speed, lightness or just the plain, straightforward ability to dance to the music. I think the reason many people think that today's dancers are technically so much better is because today's dancers keep on telling us that they are. Yes, if the music is played so much slower, we get much more time to admire the luscious limbs, extraordinary leg extensions, highly arched feet, stunning turn out and so on. But the flow of movement seems to have been lost.

Sadly, this one-size-fits-all approach seems to mean that ballets that were created, say 40 years ago, do not appear to be successful a lot of the time when they are revived. Then people say the reason is that they are "old fashioned", although if that is the case, then surely Swan Lake and Sleeping Beauty should be described in the same way. I would love to see Sylvia again. I last saw it with Bussell in the role, and she seemed to be struggling a lot of the time with matching the steps to the music, which really surprised me, given how strong technically she was supposed to be.