jm365

Has anybody seen this yet? If so, what is your opinion?

I think it is not possible to equate 'Principal' and 'Star'. Many excellent principals are not stars - you have to have an extra, almost indefinable 'something' to be a star.

John, thank you so much for this link. I had no idea the facility existed. By experience I know which seats to go for in the Upper Amphi, and I've often wondered what the view was like from those slip seats very close to the stage.

My goodness! Hats off to Simkin for having the courage to do it!

Delighted to say he came on stage briefly at the end of Jewels tonight.

I have one question - when Bolle and Vasiliev perform Jeune Homme - which one of them will be La Mort? Seriously, I assume they will have a guest 'Queen', but on first reading the press release I had a wonderful double take.

I am sure you will make it to the stage door in time, but just to make sure, ask the stage doorkeeper if Cuthbertson has already left.

i also went to the performance last night and, after all the comments in this forum, and the reaction of a friend who went on the first night, I was surprised not to dislike Raven Girl all that much! I do agree that the opening is a bore and far too long. I was sitting in Row G of the amphi and had no difficulty with seeing most of the action - just the corps de ballet work was a problem, but from what I COULD see, that was probably an advantage too. Symphony in C was a joy - and although I would have been interested to see Igone de Jongh, (what happend - was it her or Rupert Pennefather who couldn't make it?), I could hardly complain at getting Soares and Nunez instead!

I was.at both the actual first night with Fonteyn and Nureyev and also what a lot of us called the 'real' first night.with Seymour and Gable. It was quite clear that the true creators of the roles were the latter and IMHO have rarely begen equalled and never bettered. David Blair was also terrific as Mercutio. I think he might also be added to the list for his role in Pineapple Poll.

Aileen - thanks for mentioning Song of a Wayfarer - I already have a ticket!! However, it is not so much the choreography as the style of Bejart's own dancers that I miss. The old Ballet of the Twentieth Century was my favourite company, although I was (and am) a great fan of the Royal Ballet.

LinMM - yes, the Bejart company does still exist - based in Lausanne now, and called the Bejart Ballet Lausanne. The Artistic Director is Gil Roman, who was one of the last 'stars' who actually danced for Bejart himself. The company school is still in existence too, so I assume the style will be preserved. They still dance some of the Bejart rep, but not the big works. Unfortunately, I haven't had a chance to see the company over the last few years because, as you say, they don't tour here and I haven't managed to get to Switzerland to see them. They were always something of a controversial company, as Bejart was such a divisive choreographer in this country - you either loved him or loathed him on the whole - and therefore the financial risk for the company in coming here was considerable. But I do wish they would take that risk!!

I echo the suggestion of Alexander Grant - and I agree with you that he is unbeatable in Fille. I also suggest Lynn Seymour - unforgettable as Juliet and, in a very different way, as the Girl in Two Pigeons and the fan in The Concert. Ashton in Cinderella. Fonteyn. Definitely Robert Helpmann, though I only saw him at the end of his dancing career - the Tango in Facade and Cinderella again in particular. From abroad - Roland Petit, and most of the principals in Maurice Bejart's Ballet of the Twentieth Century. I think Stephen McRae is getting better and better as a dance actor - his last Bayadere was extraordinarily good.

I couldn't agree more with the above comment!

The press release about the season that I have just received by e-mail reads as though it has been translated from some other language! Most odd.

I have sat almost everywhere in the Opera House over the years! Do not be fooled - the low price for the slips is because the view is restricted and the accommodation unbelievably uncomfortable, because you have to twist your body to see anything at all! I actually had to go for a massage after one visit. However, in all fairness, I must say that there are people who go regularly - they must be tougher than I am. I am a big fan of the amphitheatre - as long as you have good strong opera glasses and are as near the centre as you can manage. The seats are steeply raked and I have rarely had the 'head blocking' problem. Even the cheaper amphitheatre seats are fine, although a long way back. I sat in the Orchestra Stalls yesterday for the Bayadere General, in Row R up against the stalls circle barrier at the left hand side. No problem, because being there gives you a pretty clear view past the people in front. It was a bit to one side, but nothing was invisible apart from one or two entries - none of the action. Given the Opera House's horseshoe shape, any of the seats at any level on the 'straight' part of the horseshoe will have a restricted view - the worse the closer to the stage you get. I was once in the upper tier of the boxes and had to move as I could see hardly anything at all. Also, it will vary if you are in the front row of the box or the back. I completely agree - best view of all is the front centre of the Grand Tier. All that said - I hope you have a wonderful time!

I was just about to make the same point as Grand Tier Left. And not only did MacMillan work with the dancers - he was particularly pleased to have Mukhamedov available for Rudolf - but he also worked with the director of the video. I haven't seen the Watson version, either live or on video. I'm really looking forward to seeing him in the upcoming revivials.

Sorry - as far as the ballet itself goes, I'm with Clement Crisp! Plus I had the misfortune to sit a couple of rows behind a little girl who was most definitely not engaged... she was constantly moving up and and down, sometimes standing up to stare at the rows behind, sometimes sitting on her mother's lap - and all the time her mother did absolutely nothing to control her. I suppose I was lucky she did not cry or talk!

A friend and I watched this on air - and enjoyed it - but were very surprised to see it was apparently made in 2007. Did it go out for the first time then? I certainly would have watched it if I had spotted it six years ago.

I was so disappointed with the Rojo/Polunin performance that yesterday I looked up Guillem/La Riche on Youtube, and even in the tiny little screen I thought their performances were infinitely better - so much more subtle. I did see Guillem as Marguerite on stage, but do not remember being particularly impressed by her, so this was an unexpected reaction on my part. Maybe it was just the contrast?

Oh Chrischis, how very much I agree with you! I was lucky enough to see Nureyev on many, many occasions (including the first night of M & A,) and the comparison is ludicrous,in my opinion.

Yet again - proof of how individual is the reaction to a performance! I found the Rojo/Polunin M & A totally uninvolving, completely unmoving. A thoroughly disappointing end to an otherwise superb evening. It was wonderful to see both Monotones again.

My understanding of the 'claps' in Raymonda are that they are supposed to represent the brushing of finger cymbals - hence not very appropriate to make them really loud. I don't know if any dancers have ever worn such cymbals? I did enjoy this triple bill very much indeed at the Saturday matinee.

My goodness - what a long way to go for such a miserable experience! I do hope there were other pleasures to be had in Tallinn - I've heard it's very beautiful. Julia

Dear Ian What are vomitories? Should I be glad they were installed in 1964?!!! Julia

Does anyone yet know which performances will be danced by Nicholas le Riche?