penelopesimpson

I am a keen RB follower, nevertheless an amateur spectator. Would be interested to hear others views of tonight's opening night performance. For myself my review is mixed. It is a very different R & J - pacy and colourful, more Cuban Carnival than Downton Abbey. Immensely strong corps de ballet and marvellous performances from the males dancing Tybalt and Mercutio. Vladimir Shkylarov delights with his leaps and strong presence - this is Romeo as stud muffin - but Konstantin Zverev dancing Paris had so much sheer presence and charisma, he dwarfed the others. I adore Diana Vishneva and loved her Anna Karenina the last time they visited, despite a lukewarm critical reaction. Tonight she didn't disappoint - lithe and elegant, technically superb. But for me she isn't Juliet. She is too polished, too much the older woman who's been around rather than a vulnerable virginal young girl. And I couldn't find much chemistry between her and Vladimir Shkylarov, the relationship not seeming to develop at all. However, neighbours to the left of me thought the dramatic tension was wonderful, so... Packed to the rafters with an enthusiastic audience who gave a warm welcome.

Astonished to see a poster complaining about comments about somebody's personal expressions or physical appearance. Ballet is a physical art form and the audience are entitled to express their opinion in an acceptable way. To add my twopennyworth, I find Sarah Lamb's physical appearance somewhat lollipop like which detracts from her dancing. For me. I mean no personal insult, just an observation.

MAB - I found your post very interesting and helpful. I have always liked ballet, but my passion was really aroused about twenty years ago when I saw Ruzimatov and Altynai Azimuratova in Bayadere and was spellbound. The closest since for me has been Cojocaru and Kobborg and, latterly, Ed Watson in Mayerling. I found the Bolshoi last year uninspiring, disappointed and over-hyped and am apprehensive as to how the Marinsky will be. I saw Vishneva in Anna Karenina a couple of years back and loved it although the audience were a little lukewarm. I tend to think you are right and the Marinksy are not what they used to be.

Can anybody help re who are the 'must-sees' for this year's Marinsky visit? I already have booked to see Vishneva in Romeo and Juliet and could afford one other. Any suggestions ?

I don't think my intention is to have a go at Darcey whom I admired greatly when she was dancing. My point is that anybody doing a presenters job needs to be good at presenting and Darcey clearly is not. This would have been noticeable whatever programme she was presenting, but having her introducing an evening of total superlatives just threw into sharp contrast how amateurish she was. I don't really mind who does the job although I always through Deborah Bull was great, ditto Tamara Rojo, but they need to be GOOD. Re. criticism, I'm with you there. I like to post the positives but would also enjoy a little more discussion about different dancers. For example, I cannot engage with Sarah Lamb and would love to know why when clearly she is an excellent dancer. To me there is no characterisation and little heart.

simonbfisher: I have emailed the ROH, also on the cinema thread. The first time my comment was removed, a fresh one has been waiting moderation for 24hrs but is still up. I don't know about DB 'doing better this time'. What on earth was she like before? This is not amateur night at the local village hall, these are big, expensive and important broadcasts going worldwide. As for being interested in what she says about ballet - she didn't say anything!

Well, thank-you Fonty. It is OF COURSE the all-round experience that is part of the evening. Normally at the ROH the ballet is the focus but for those of us in the cinema on Monday, we had a lot of time to contemplate the 'extras.' I don't feel sorry for Darcey who is a hugely disciplined lady, lately pursuing a media career with huge determination. She had plenty of time to prepare for this gig and I am frankly amazed that a professional of her calibre, operating on her home ground, could not take the time and trouble to master the basic techniques of interviewing. For those of us in the cinema, the links could have been an important and educating part of the performance which could help to bring in and maintain the interest of new audiences.

So agree, Melody. But if she really is a fixture, why doesn't ROH work to improve her technique - very ordinary things like holding the microphone the right distance from her mouth, would help. I thought it was amazing that all the people she interviewed could manage it, but she couldn't. What I was most struck by was that she appeared totally disengaged with the subject. It's a poor show. What were they saying on Twitter?

Does anyone know if there is a possibility it will come back next season?

Oh, yes, a second run please.

Hi SPD 44. Thanks your response but not altogether sure what point you are making. If Darcey is 'out of her comfort zone' then she shouldn't be doing the job - this is not amateur night of Opportunity Knocks. Secondly, how can she be in this situation? She makes her living through television nowadays so should be totally at ease. This was the ROH for goodness sake, not Homes Under the Hammer! She was absolutely terrible and didn't even appear to know her subject - ballet! And finally, the fact that you point out that the performance was being transmitted around the world makes it even more imperative that she get it right. If she can't do the gig, don't take it. Really, really bad job Darcey.

Shouldn't laugh about the ABBA bit, but it must have been funny. I saw it tonight in Dorchester and technical stuff was pretty near perfect. We did get some blank screens in between scene changing when I presume they just stopped filming, and for the introduction the screen was a little cloudy, but sound levels were perfect. As I said before, the only terrible thing was Darcey Bussell who should really be absolutely ashamed of herself for giving such a naff performance at what used to be her home territory.

My first ballet at the cinema and it was a great experience. Okay, I adore Watson in anything but surely Winter's Tale is the shape of ballet to come? I loved every moment, every nuance. For me the score was also wonderful although I note that others aren't impressed. Had not seen Yanowsky dance before and she was a revelation. The cinema experience gives you things you don't get at ROH, i.e. the close-up expressions which are incredible. However, missing the audience reaction was terrible and I am going to be on the phone all day tomorrow to try to get a ticket. For me it was almost up there with Watson's Mayerling. And then, amidst all that perfection and disciplined artistry, we get the bumbling Darcey Bussell who apparently couldn't spare the time to learn where to place a microphone. My viewing was in a small provincial cinema but everybody was moaning about her in the interval. She used cue cards, muffled her words and was mostly inaudible and deeply embarrassing. As we got three doses of her, wasn't there anyone brave enough in the production crew to tell her she was making a mess of it? The scenery was incredible, the energy, the different tempos for each act - can't praise it enough. A small negative for me would be that I've never warmed to Sarah Lamb and tonight was no exception. She just doesn't ever get in character - the others are actor/dancers, she just dancers. Still, in a night of superlatives, I can live with it. I do hope ROH is putting this one in their repertoire. Knocks spots off what was, for me, a lacklustre Don Quixote.

Thanks Bangorballetboy. Credit card in hand!

Help! Got a chance for a ticket. It means eight hours of travelling and getting home at 02.30. Did it for Giselle and for Watson's Mayerling - shall I do it for Winter's TALE?

Views of an amateur. I go as often as I can but have little technical knowlege. For me yesterday's matinee was a lovely affair. I was rapturous about Rhapsody. Francesca Hayward, ravishing. Is this lady a successor to Cojocaru, maybe? Rhapsody had a wonderful reception and the audience were touched by the central couple. Wayne Macgregor's works baffle me but I am never sure if I am meant to understand them. It worked for me on many levels but how much of that was because of the sensational cast left me suspicious of how effective the piece is. I loved the lighting and the staging but found the costume changes irritating and confusing. As an amateur I enjoy working out who is who and changing costumes rather spoilt this enjoyment. Athletic, challenging and complicated certainly. Heart and emotion completely absent. My first time at Gloria and I would like to see it again. I found it effecting, dramatic and moving. But I need greater exposure. Have just learnt of the cancellation of the evening performance. This would seem to me, wearing my commercial hat, to be a spectacular own goal.

All these memories of Cojocaru and Kobborg make me so sad. They are still overwhelmingly in my mind and for me they are a great loss. The only performance I've seen that moved me as much was Edward Watson on opening night of Mayerling last year. Truly one of the most special nights of my life.

That was my point, Amelia. Macrae was wonderful with Osipova last night in Rubies but I couldn't see them as a partnership in any of the great tragedies. The physical compatibility does matter. I can't understand why they are putting Acosta with her most of the time. He is winding down now and she needs to develop partnerships with others. And, as another poster said, they can each sell out performances on their own. I wanted to see her in Giselle but the tickets went before I could turn round.

Good to read your experience GDallas which seems to be a bit like mine. I was most underwhelmed by Diamonds which just doesn't work for me. I was blown away by Osipova. If that is OTT - well, bring it on. And McCrae was a revelation to me. Melissa Hamilton also excellent and not overpowered. I am a huge fan of Ed Watson (the opening night of Mayerling this year was one of the great experiences of my life) but he was dead in this role - if you can call it a role. He is an expressive rather than an elegant dancer and I think it was a waste of his time. I'm afraid Marquez didn't particularly do it for me, either - which is a shame as I'm seeing her in Giselle later this season. Rubies on its own was worth the money but overall I won't be rushing back to Jewels.

Cojocaru and Kobborg were unbeatable for me, and I did, just the once, see Mukhamedov and Durante. I always thought Viviana was sidelined because Darcey Bussell was ROB's favourite. Darcey was great but she never had the beautiful emotional lyricisim for me that Durante had. I think she was a great loss to RB. I am wondering who they will develop as Osipova's partner. Macrae was great last night but I don't think he is the right partner for the romantic leads. They are using Acosta mostly at the moment but he is surely on the way out so who will she get?

I agree MAB. Osipova and Macrae were wonderful. I think I need to read up on my Balanchine so that perhaps I can understand the work better.

I've given Jewels three trys now and I just don't think it's the ballet for me. It seems so lacking in emotion which for me is what ballet is about. Emeralds is a pretty spectacle and whilst I'd always thought I could enjoy Ed Watson in anything, I am not sure what he was doing in this role because it so isn't him. Loved Rubies and this is my favourite because it provides emotion in the form of vitality, the joy of dancing, the sheer verve of the piece. My first view of Osipova and what can I say other than WOW. Now I see what everyone has been raving about. A great partnership with McCrae for this piece but I don't see him working with her as a romantic lead. There is a height difference which is noticeable. I cannot rave about Diamonds although I can see the beauty of the piece. I found it competent, a feast for they eyes but it didn't touch me. Cutherbertson and Pennefather gave what for me was a workmanlike performance and then that was it. Excellent reception for the evening and I suspect it is me, but won't do this one again.

Yes, meant to mention Bennet Gartside. A great performance

No, I didn't leave early. Look, I did enjoy it - a lot- but for me, IMHO, it wasn't top flight. I adore Watson and thought Hamilton was excellent but there was something missing and maybe it was that I couldn't detect any magic between them and didn't think they were well matched. As for starting a panic about a lack of leading ladies, hardly! I'm only an amateur but I know when something really moves me and I miss Alina and I thought Watson and Galeazzi were an inspired pairing. I also thought Emma Maguire was wonderful with him in Mayerling, but I wasn't getting it yesterday with Hamilton. As Ed lost his partner and as Johann Kobborg was probably coming to the end of his dancing, I think RB should have moved heaven and earth to keep Cojocaru who is exquisite and, IMHO, in a major league that would include Altynai Asymuratova, and Viviana Durante. I have not seen Osipova yet so can't comment but wonder why she is being paired with Acosta virtually all the time? Come back Alina! Maybe she was difficult to manage or suffered from a lot of injury. I don't know. What I do know is that stars like her don't come along very often and they are worth a little trouble.

Anyone catch today's matinee? I am an amateur fan but I was underwhelmed. Edward Watson his usual wonderful self (huge fan) but IMHO Melissa Hamilton not up to it. Lovely dancing, tehcnically proficient as far as I could tell, but the drama just wasn't there. I was left feeling that Ed was an elderly Uncle to a young niece. Maybe I am being unfair but the applause was little more than purfunctory and the coughing throughout was noticeable. Having last seen Mr. Watson in Mayerling twice in the summer, I couldn't recognise him. I should, however, confess, that I am still reeling from the loss of Alina Cojocaru. Yes, it was dreadful to loose Johann, too, but he was nearing the end of his dancing days whereas Alina was in her prime. What a partner should would have made for the wonderful Ed Watson. The Royal Ballet is light on top ladies at the moment and it was supremely careless to lose Alina, especially in the same year as Tamara and Mara and Lauren all departed.