Norman Reynolds

(Iksanov was introduced onstage before the start of Sunday's streaming of Bayadere and chose to be quite anodyne in his few remarks, with no mention of the Filin incident at all.) During the second interval the multi-lingual presenter, in connection with mentioning future cinema relays, did mention Sergei Filin, saying that he is in hospital and would be back at the theatre in due course. That was the gist of it, as I didn't quite catch the exact words, but no details of the incident were mentioned, quite understandably I think. Also, in the first interval I think it was the interim Artistic Director Galina Stepanenko who is helping Filin to oversee his work for the present, being interviewed, speaking I think about the La Bayadere production. She appeared very pleasant and well-informed and a good speaker. I am rather surprised that it is assumed that loss of sight would terminate Filin's career, especially given the outstanding example of Alicia Alonso of the National Ballet of Cuba who has pursued a long career as ballerina, choreographer and artistic director despite partial and worsening blindness.

Nice to see more collaboration between the National Theatre and members of the Royal Ballet. For Nicholas Hytner's production at the Lyttelton Theatre of Alan Bennett's new play 'People' Jonathan Watkins of the Royal Ballet is the Movement Director. One of the final scenes of the play in particular contains a considerable amount of well choreographed movement.

There is of course the 1991 ballet 'Caroline Mathilde' made for the Royal Danish Ballet by Flemming Flindt, music by Peter Maxwell Davies. There are a couple of reviews on some 2007 performances of this in the Ballet.co archives by Jane and Janet. Amazon lists the film you mention, Anjuli, as there is also a DVD, but possibly only in European format. I assume the novel you mention is 'The Visit Of The Royal Physician' by Enquist and Nunnally, also on Amazon. There is also a book by Stella Tillyard - 'A Royal Affair: George III And His Troublesome Siblings'. This is said to be a very readable book, but having read it before seeing the ballet I found it a useful and informative account of George III's siblings, with the greater part devoted to Caroline Mathilde. Other books mentioned on Amazon include: Princesses: The Six Daughters of George III by Flora Fraser and a book in German - Die Verschworung Gegen Die Konigin Caroline Mathilde von Danemark

On Monday January 7th there will be a 10 hour web broadcast from 10.30am on the Royal Opera House, The Guardian and The Space websites of 'Royal Opera Live 2013', similar to the 'Royal Ballet Live' given earlier this year. Not ballet, but the same theatre, the same orchestra and so on, and ballet afficionados may see some interesting backstage views. Available worldwide with highlights on subsequent days. See the ROH website for details:- http://www.roh.org.u...g-day-announced

The choreographer for the Vienna State Ballet dancing at Schloss Hof will be Ashley Page.

I see the casting for The Wind In The Willows (December 12th to January 5th) is as follows:- Choreography Will Tuckett Music Martin Ward Set design The Quay Brothers Costume designs Nicky Gillibrand Lighting design Warren Letton Narration Andrew Motion Performers:- Conductor Tim Murray Toad Cris Penfold Ratty Will Kemp Badger Sam Archer Mole Clemmie Sveaas Otter/Gaolers Daughter Luke Heydon Rabbit 1 Paul Rooney Rabbit 2 Kayleigh Gore Dancer/Singer/Puppeteer Connor Dowling Dancer/Singer/Puppeteer Sonya Cullingford Dancer/Singer/Puppeteer Anna Martine Narator Anthony McGill Female Swing Jo Meredith Male Swing Tom Woods Orchestra CHROMA

Matthew Hart has been creating a new Circus-based version of The Nutcracker for Sarasota Ballet for December 14th and 15th. http://arts.heraldtr...med-nutcracker/ http://www.sarasotab...ormances-lineup He may be rather busy. However, as we know, Mr Toad relishes fantastic feats!

I think it's slow by an hour, i.e. on Greenwich Mean Time, so if it stays like that it should be right on October 28th when we in the UK go back to GMT for the winter!

http://www.opera.ee/...s/pahklipureja/ This link is the Estonian National Opera page for 'The Nutcracker', also available in English.

I think it must be 'Nutcracker' as it appears that (vaguely in French) pahkli means 'nut' and (in Finnish) purijat means 'biter'.

I'm still waiting for mine, plus a rehearsal ticket booked later. I thought I might have failed to tick a box and was about to phone up to see if I had to collect them in person. So I'll wait a bit longer.

As explained in the interview with Madge (Irina Zibrova), Kobborg deliberately altered her presentation, making her younger, no humpback, no long finger nails, less witchlike. Towards the end she lifts the bottom of her skirt to reveal an ankle and a long white skirt suggestive of the sylphs, exploring the question of who or what was Madge, had she been a sylph herself, what drove her hatred of James? There are other, less obvious, changes, such as when James conceals the Sylph by holding up the shawl, instead of covering the chair with it as she sits there, so that the empty chair is not revealed by somebody else.

I'm sure you're right about this, toursenlair. POB do distinguish between 'les spectacles lyriques' and 'les spectacles chorégraphiques' in their literature. In English we don't seem to talk about opera as 'a lyric production' so much. It is a bit strange, though, that the article implies that the Ballet subsidises the Opera. In the POB annual report they provide countless analyses of various statistics, but no attempt is made to break down income and expenditure between Ballet and Opera. So too in the Royal Opera House report this analysis is avoided as far as I can see. .

I would have thought that the term 'productions lyriques' (lyric productions) in other words 'lyric theatre' refers to theatrical productions with music, that is both Ballet and Opera. In which case the Ballet yields a large part of the total income, which may be more or less than the Opera.

Booking this morning for the Royal Ballet Friends priority Winter Period I felt that the system had taken a step backwards after the last two much improved experiences. Getting in was more difficult as I logged in and out and in again before finding my way to the booking page. There was no waiting room and this quite confused me. I missed the comfort of knowing that I was in the right place. Eventually I did find the first event to book, but then on clicking on 'Continue Shopping' I was taken to a general what's on page and it was only when I used the Calendar, leafing through from September as far as February or March and clicking the relevant day, that I could continue booking. After that all went swimmingly and I had booked five events, paid and logged out within about 15 minutes all in. So by missing the waiting room it was overall a much better experience after all, leaving me with an idle hour or so and time to post this! Regarding ticket availability the choice was not quite what I wanted but reasonable. Arthur Pita's 'Metamorphosis' in the Linbury seemed to be selling fast and one could not choose a specific seat, just area and price, and I ended up somewhere in a corner I think.

Thanks Janet, it's much easier navigating if you're logged on. Hitherto I have been lurking, and reading the interesting reports of your ever ever more wide-ranging ballet trips.

"I think Margaret was talking about "In Rehearsal" rather than FGRs" Thanks bangorballetboy - now I understand. I've never even attempted to book one of the 'In Rehearsal' events, partly because they are evening ones.

As I understand it, Friends Priority Rehearsals booking was in April for Premium 1 and 2 Friends only. Rehearsals booking for all other Friends ( Supporting, Senior, Joint and 'ordinary' Friends) starts next Wednesday June 20th at 10.00am.