capybara

Gavin Sutherland to come back to the UK, please. Until recently ENB’s MD; now in Munich.

Loads of tickets have come up for the 20th mat. on my feed.

I've never 'got' Koen Kessels; other conductors preferred. Time for a change at the RB too perhaps?

Thomas Whitehead really does seem to get under the skin of his characters. I liked his recent Don Quixote/Gamache/Lorenzo turns too.

The 'joint signing' at the ROH - presumably Vadim of his autobiography and Marianela of her photo collection - has been confirmed on the ROH's IG feed for 1.30 - 4.00pm this coming Monday, 18th December. A lovely opportunity to see both of them in close up and have a word without the usual squash at the Stage Door! [Sorry - I don't know how to copy and paste links to Instagram.]

He's on his way.........!!!!! 😊 And his recent, very varied performances can have done nothing but help his steady rise.

But, as with Osipova now needing someone who can lift her and be a reliable support enabling her to dance as the mood takes her (Clarke), Guillem possibly preferred a steady pair of hands to support her while she weaved her particular brand of magic. Not sure that I can relate this back to Lamb except that there are so many dimensions to being partners which we don’t see and never really know about.

I hope you enjoy your selected shows @Alexis. You have certainly prompted an interesting discussion on here - thank you.

I understand your disappointment @Alexis . Obviously, Lamb and McRae wanted to dance together but injury has intervened. Have you seen Hirano recently, I wonder? I’m asking because, although his technical level may have dropped a little, I have found him to be a very secure partner and an ever more affecting actor. Many years ago, there was an RB dancer I found difficult to watch but, wanting to see his partner in various roles, I booked nonetheless and then proceeded to block him out! Maybe you could try that - or, better still, give Hirano a chance. He might surprise you. Unfortunately, as younger dancers are promoted, the focus is ever-shifting. Sarah may no longer be first cast but she is very much appreciated and I for one am very glad that she is continuing to dance so brilliantly deep into her forties.

Looking back, Marco joined the Company at the same time as Daichi. So, yes, he is probably a ‘cover’ for Hans Peter - and very deservedly so. I think that there’s a bit of hangover from ‘you know what’ in terms of dancers progressing into 🌰cracker opportunities. This year seems to be one for bit of a ‘catch up’ to the benefit of all, not least the audiences.

Agree that Marco is an amazing talent but I’m afraid his constant ‘attention-drawing’ antics as a beggar in Don Q and, now, as a ‘room worker’ in The Nutcracker are all too much for me. I appreciate that corps dancers are encouraged to weave their own stories to make the background ‘live’ but he is a distraction from what should be ‘centre stage’ and (in my view) needs to be told to rein it in a bit.

Yes. The casting this year is especially interesting. A lot of debuts happening in the many special performances. Nutcracker provides numerous, great opportunities in both cameo and more substantial roles.

There’s been an item on Sky News tonight about the deterioration in behaviour with reports of people being hospitalised following ‘in theatre’ attacks, drink-fuelled rowdyism etc.

So lovely to read that your experience was exactly how a relaxed performance should be.

Ouch, @alison IIRC things were going well until Ivan incurred his ACL injury. I, for one, loved him as a performer - as Des Grieux; Prodigal Son; Lensky; Beliaev; Pierrot Lunaire, and in Rhapsody.

The whole of the second cast of Like Water for Chocolate (especially Naghdi, Corrales and Kaneko) completely transforming the ballet from a meh to a ‘knock out’ YAY.

I have been thanked for my additional donation and have suggested this to NB.

I’ve just read Jonathan Gray’s enthusiastic review of the O’Sullivan/Sambe/Allnatt/Dixon cast on Gramilano and have realised that this thread has not (yet) gone beyond opening night. Hoping that comments will flow after the cinema relay. There are some interesting line-ups.

I did get the email and, in relation to the orchestra, read it as implying that early 2024 NB performances would now be accompanied by live music.

I noticed those two perspectives as well@Ondine

I really like Fumi and William as a pairing although, in common with Culture Whisper (see today’s links), I sometimes have reservations about his variations (and, actually, his partnering). Fumi is a glorious, world class ballerina who lights up every partnership she is in. My experience of her dancing both full length works and pas de deux with various others suggests that we should approach her Manon and Swan Lake with an open mind at least. It’s fair enough for fans to have favourites but it makes me feel uneasy that judgements are already being made on here on the basis of supposition. Fumi/Vadim; Yasmine/Will; Frankie/Will; Lauren/Will. Bring them on …..

Source?

BRB has just posted a tribute to Bill Cooper on IG to celebrate his retirement.

I sense that there are wide variations among BCF users in terms of our ability to spend on ballet tickets. I have ‘taken a punt’ with my MacMillan triple booking on the basis of probability. But I am fortunate in being able to do so. If I had to pick just one performance, I think that the casting would matter A LOT. However, as I said upthread, there is probably space to wait a while longer before booking and, as @Richard LH has pointed out, the ROH has arrangements for returns/credits.

Was that the first time that all three leading female roles in The Nutcracker have been taken by Japanese dancers?