JennyTaylor

What an absolutely marvellous evening. As soon as I saw the cast change, I haunted the ROH website to get a late ticket to see this pairing. I've always loved Laura Morera and thought this partnership with Bonelli would be perfect. So it proved. and I was very happy with Row C of Orch Stalls where I had a wonderful view. All things seemed to come together this evening. Stunningly good from everyone. I'm so pleased I've seen the multiple entrechats. Actually I loved them and they went so well with the music. The tempi seemed to have increased this evening, so much so, I looked to see if it was the same conductor (it was). For the first time in all the wonderful Giselle's I've seen this time round, I shed a tear at the end as the curtain closed. Absolutely perfect. Lovely to see all the flowers for Laura's 25th celebration and the flowers for all the wonderful corps too. Such a well deserved ovation for a beautiful ballerina

So, overcoming my disappointment at not seeing James Hay (which I knew in advance) and Gary Avis (which I didn't) I prepared to make the best of this performance. Of course, we did still have the supreme pairing of Marianela and Vadim which is worth the ticket money on its own and they certainly didn't disappoint, producing another faultless rendition of pdds and solos. One has to glory in their precision, grace and fabulous technique. The applause level suddenly doubled in decibels in appreciation of this wonderful partnership. Act 1 left me a little cold, from the minute there was no glitter in Drosselmeyer's hat. It might be a Gary Avis hallmark, but there is no reason why others can't copy it. I found myself watching the minor characters at the party rather than the main action. I always like to do this (Manon for example), but this didn't happen when I saw this cast last week and Drosselmeyer (Avis) was mesmerising me. I very much enjoyed Bennet Gartside's Dr Stahlbaum and Leo Dixon certainly catches the eye as Clara's partner. The most beguiling character was Hannah Grennell's Grandmother. She travelled round the back of the stage at least twice and I watched her fascinated. Was she trying to get another drink, was she just after a chat with other party attendees (all in character)? She was always back at Grandfather's side at the right moments. Very amusing. There was another amusing moment when Christopher Saunders accidentally knocked Grandfather's hat of his head. He threw it back all in character and Philip Mosley did appear to be having a laughing fit as a result. The Christmas tree grew with no hitches, the pdd between Anna-Rose and Joseph was lovely but I didn't cry as I did last week at both these moments. Christopher Saunders gave a very energetic performance, but there is something about the magic which Gary Avis weaves that brings a heightened emotion to everything. For me, this was missing. I still thoroughly enjoyed the show, for which Marianela and Vadim were primarily responsible. What a privilege it is to see them perform at this level. All the Act 2 dances were performed exceptionally well - how does Melissa Hamilton do that?? (Chinese dance) but the total impact was just a little lacking for me.

Yes, this performance is now missing 2 of the dancers I particularly booked to see - Gary and James Hay. We still have the sublime Marianela and Vadim of course, plus a bonus of Will Bracewell, but I fear the glitter will not be quite the same.

I think a big shout out should go to the many dancers who are performing 2 shows a day and sometimes 2 different roles in each. For example, Hannah Grennell played 2 grandmothers and 2 lead flowers on Thursday. Olivia Cowley is working her socks off as is Gina Storm-Jensen. I do hope they are getting some recovery time.

I must admit that I thought about Ed Watson after I watched Will Bracewell in Hamlet, but now I can also empathise with the Anthony Dowell comment. I’m also so pleased that it’s not just me who sees special qualities because I question myself all the time as to whether or not, I am just going starry eyed. That’s also the case because I find it very difficult to describe what I find special about him every time I see him perform. What I do know is that the first time I saw him perform was as Siegfried in Swan Lake and I came with no preconceptions. I was just interested in seeing a new up and coming dancer perform a major role. From the moment he saluted ironically to Von Rothbart my attention was caught and subsequently I was lost. Yet he is not showy, there appears to be no ego: he is just the most beautiful dancer who also has the gift of being able to characterise each role he plays uniquely. He also appears to be able to build wonderful rapport with his ballerinas. I will shut up now.

I'm happy to report that he was wearing an appropriate performance face today. All is well with the world.

Well, I thought I wasn't ready for the Nutcracker, being completely zoned in on Giselle, but from the moment tears started welling at the opening bars of the overture, I was lost. What an exquisite performance this afternoon from all the dancers. What a joy, crowned by a 95th birthday celebration at the end for Sir Peter Wright. Yes, I do hope there are some photos. I can only heap praise on all the principals who gave immaculate performances. Tears came again in Act 1 when the tree grew and also with the Hans-Peter / Clara pdd. The glorious music plays such a part in this emotional experience in addition to what's happening on stage. Gary Avis, his cloak and his glitter commanded the stage. It must be exhausting to play that part! So much energy goes into it plus there are so many times when physical objects can go wrong. Marianela and Vadim - perfection in the technically demanding dancing and Anna-Rose and Joe Sissens very much a couple now. Wonderful

My comments on last night are: Francesca Hayward and Alexander Campbell on a completely plane from other partnerships I have seen so far. I've decided it's not actually sensible to try to compare them all, but to take each on their own merits, because they are so different. For me, this was perhaps a more traditional rendering of the ballet. It was very beautiful and the story unfolded quite slowly from Albrecht's perspective. Alex was aloof from the peasants and almost appeared to be a spectator to the festivities except when Giselle was involved. He was arrogant and dismissive, in love with Giselle and then at first dismissive of the fuss until he realised the consequences and the implications. Always so happy to be close to the stage and able to see all the expressions on the faces of the dancers. Francesca Hayward's face displayed so many emotions and told such a story, it was a joy to observe. Her dancing is of course, incomparable. The pas de six was a vast improvement on several previous attempts with Mariko Sasaki, Joonhyuk Jun, Mica Bradbury, David Donnelly, Leticia Dias and Harry Churches . The lead couple shone - what potential they have! I also spotted Kristen McNally giving them delighted smiles as they completed their solos and exited the stage right next to where she was sitting. It reminded me of Genesia Rosato in the same scenario a few years ago, giving a young male dancer a sympathetic pat, when his part has gone rather horribly wrong. I was rather side tracked by Bennett Gartside's Duke of Courland, partly because he looked so like Henry VIII but also because his acting was really good and I enjoyed observing his reactions to the unfolding plot. If looks could kill, then Albrecht would have been dead long before Act 2 and we would have had a very short ballet. So glad we didn't because Act 2 was sublime in every way. The dancing of the corps was immaculate and forever spine tingling. Olivia Cowley transports me every time as she is so elegant and graceful. Mayara Magri has definitely become more imperious as she grows into the role of Myrthe. Francesca and Alex are such a powerful partnership together. Their bodies match so well and they have a connection which leads them to dance as one person. As for the lifts, the first one was not held at all and the second one, briefly, but nothing like as long as in other performances I have seen. I just didn't want it to end. Kevin Emerton as Hilarion was fine, but is not yet as strong as Luca Acri or Lucas BB. Luca practically burned up the stage on Saturday in Act 1. Plenty of time to grow into the role though.

Mayara Magri is Myrtha and the pas de six is Mariko Sasaki, Joonhyuk Jun, Mica Bradbury, David Donnelly, Leticia Dias, Harry Churches an interesting combination, I feel. I'm here to see the wonderful Alexander Campbell and Francesca Hayward and will of course, be taking particular note of the lifts. Gosh, what a fascinating thread that has been. Thanks to all who contributed as I certainly learned a lot!

Wonderful performance from Yasmine Naghdi and Matthew Ball tonight. Many layered; so beautiful dancing, deep characterisation and acting. What a pairing they are! I found so much to enjoy. I was looking forward to seeing Matthew's "caddish" Albrecht and caddish is exactly the right adjective. So different from Vadim's elegant aristocrat and more interesting in my eyes in terms of added value characterisation. I found myself thinking - I've seen this ballet so many times, but there is always something different to look out for - and that's the joy. His dancing in Act 2 was very impressive and his ability to enhance this with acting out the story, made the impact even more powerful. Talking about that, Gary Avis's gem of a Duke of Courland completely side tracked me! So much to see: the roll of the eyes, the lift of an eyebrow, the - let's get on with the hunting, is she really asking Giselle to dance.... how it added to my enjoyment. Marianela Nunez as Myrtha - the most commanding Myrtha I have seen so far, with such clear commands to her Willis and to Albrecht and Hilarion. Superb dancing technique (of course) for the most difficult sequences. Top class performances again from Olivia Cowley and Melissa Hamilton (dream team) as Moyna and Zulme. I also loved Harry Churches' Wilfred - very kow-towing to his master.. More really good acting. The corps de ballet - out of this world again. Spine tingling stuff. The only "even better if" was the pas de six which for me, lacked impact and spark. Finally - Yasmine's Giselle. Absolutely superb in every aspect. I have no other words. As an emotional experience, this performance will take some beating.

I would add that the Corps de Ballet were again superb in Act 2 and received extremely well deserved applause and cheers.

Ah, the joy of tonight's performance. Vadim and Marianela dancing perfection. Struggling to say anything that hasn't been said before about them. Ah, the joy of the Pas de Six with Will Bracewell and Melissa Hamilton leading. How does Will Bracewell manage to light up the entire stage just by entering from stage left and inviting Berthe and the corps on stage to dance? I don't know, but he does. This is the 3rd time I have seen this cast and they just grow and grow into roles. Lucas BB once again shone as Hilarion and is extremely good value in Act 2 as he is danced to death. I have seen several Hilarion's whose steps move into the tiredness zone very quickly. But no, he keeps going right to the end. Finally, does the wooden bench on stage left win the prize for the most moved piece of furniture in a ballet?

Nothing on the ROH webiste - checked that too

I've just seen photos posted on Instagram of Marianela Nunez and Roberto Bolle rehearsing at the ROH. Dying to know for what purpose. I had a look at La Scala's website and no clue there, but I did note that he is due to dance Onegin in September 2022.

I'm with you here. Having read this thread beforehand, I deliberately stopped myself counting because it was totally distracting. Much better to stay in the moment of the story and just enjoy Vadim's superb entrechats, regardless of how many there were.

I was lucky enough to see this cast (well nearly the same) in rehearsal and although I already had a ticket for their 2nd performance, seeing Marianela and Vadim at last in a full length ballet after such a COVID dearth, proved too much me, so I spent a lot of time refreshing the ROH website until I found a ticket for this evening. Gosh, was it worth it. What a sublime performance from these two: they have such empathy together and the standard of their dancing was simply world class. Marianela literally seemed to float through Act 2, and of course Vadim produced his best in his many solos: technically superb. The corps too, were excellent and received roars of appreciation from the very enthusiastic audience, this evening. Such powerful group dancing. I loved everything really. Lukas BB was even more impressive as Hilarion, the pas de six was a delight and the orchestral music swept me away. A special word for Olivia Cowley, who stopped Vadim in his tracks with the most severe look and gesture I have ever seen.

I saw Lucas BB in rehearsal and thought how interesting it was to have a Hilarion who was both young and handsome (not always the case, and sorry if this is non PC). In addition, Lucas both acted and danced beautifully. This made the choice Giselle has to make, much more complex. In the rehearsal, she had to choose between an imperious Vadim and a more rustic Lucas. Now both Vadim and Lucas are pleasing to the eye in my opinion, so it made for a greater dilemma and more pathos, than might always be the case. (Feel like I am treading on hot coals even writing this) but it did cross my mind during the performance, not as a result of this thread. The lady sitting next to me, who I didn't know, also commented to me on Lucas, which led to a lovely discussion between us in the interval.

Thank you for highlighting - now watching. Rehearsal a complete delight and very emotional to see Marianela and Vadim together in a dramatic ballet after such a long time.

It looked like a very traditional flower throw to me from the top side boxes as the flowers rained down on Ed. Whoever did it - did a very good job!

I went to the performance yesterday, specifically as it was Ed Watson's final performance. What a wonderful send off they gave him. Perfect in every way. First to the ballet. It was my first viewing and I did try and do some research beforehand which helped to a certain extent. However, despite trying to memorise the cast sheet and the names of each dance, I failed dismally to remember what they all were, so when the Stream eventually comes up, I will watch it with the cast sheet to make more sense of it. Only by knowing what characters are being depicted can one then make sense of the dance movement (I hope). I was also playing "spot the dancer" which is somewhat distracting. I'm not a Wayne McGregor fan but for me, this was by far the best ballet I have seen of his in terms of enjoyment. That was down to the phenomenal performances of all the Royal Ballet dancers, who were completely stellar, and the fact that there was some decent orchestral music. Would I go and see it again? Yes, but I wouldn't book for several performances in a run, as I do for some other ballets. Ed's opening solo was just wow, wow, wow! I found myself wondering why he was retiring as he could still out dance anyone on stage. Oh, the grace and beauty of those long legs and arms. However, I had (once again) severe issues with the lighting in Act 1 even though I was in row 5 of the Orchestra Stalls. It was really difficult to make out the dancer's faces although I could see a lot of puffs of chalk dust. Calvin Richardson was superb as Ulysses but my favourite piece was the Thieves performed by Luca Acri, Matthew Ball, Leo Dixon, Benjamin Ella, James Hay, Joshua Junker, Paul Kay, Giacomo Rovero, Marcelino Sambé, Joseph Sissens and Stanisław Węgrzyn. The speed of attack was phenomenal and Joe Sissens climaxed the piece with the fastest turns I think I have ever seen. The rest of the audience loved this dance too and greeted it with rapturous applause. I wallowed in the plethora of RB Principals and First Soloists on show as the ballet progressed and was sad that I could not identify all the younger dancers. The climax to the ballet was absolutely perfect in the setting for Ed's final performance and it was very moving when the shaft of light lit up his final steps. There was an immediate standing ovation as the curtain fell and then the wonderful traditional flower throw. I felt that was very emotional, particularly after all we have been through in last 18 months. A full theatre, cheering one of its heroes. The farewell ceremony was marvellous. The stage was packed with past and present dancers and staff. A short film was shown featuring short clips of verbal appreciation of Ed. Contributors included: Deborah Bull, Mara Galeazzi, Thiago Soares, Deborah McMillan, Marianela Nunez, Kate Shipway, Johanna Adams-Farley, Gary Avis, Darcey Bussell, Philip Mosely, Christopher Saunders, Christopher Wheeldon, Marcelino Sambe, Monica Mason, Jeanetta Lawrence. Wayne McGregor, Koen Kessels, Natalia Osipova, Christopher Carr, Elizabeth Anderton, Zenaida Yanowsky. (I know I've missed a couple more) Lady Sarah Chatto presented Ed with a RB Silver Medal, there was a 2nd flower throw, presentations of various bouquets and a second standing ovation before the final curtain came down. A very memorable afternoon and a wonderful climax to Ed's dancing career.

Yes, Kevin O'Hare was there for both performances and I might just have managed to mention to him my thoughts! Putting that aside, Bracewell was chosen as Romeo for the BalletBoyz film plus the rehearsal was chosen for World Ballet Day so that must mean he is highly regarded in this respect? Very interesting to choose a non Principal for the film.

I've just had one of the best days for months and months and months. No coincidence that my day comprised of 2 stellar performance of one of my favourite dramatic ballets, Romeo and Juliet. How I had forgotten the total joy that a live performance of a full length ballet can bring. I've been really grateful for all the streaming and the triple bills featuring loads of principal dancers and party pieces, but this was it! I've already waxed lyrical about this afternoon, so onto this evening with Francesca Hayward and Cesar Corrales plus a super "supporting" cast if you can call it that including Matthew Ball as Tybalt, Marcelino Sambe and James Hay as Mercutio and Benvolio, Mayara Magri as the Chief Harlot very ably supported by Olivia Cowley and Meghan Grace Hinkis. Plus Gary Avis. What's not to like! This evening I found myself enthralled by the whole cast rather than the 2 main characters, so it became difficult to know where to look. Benvolio v Tybalt right at the start of Act 1 was fearsome and set the scene for the entire ballet. Wow, wow, wow. I love the extra touches Matthew Ball gives to Tybalt - a little kiss blown at his Montague protagonists in Act 1 and in Act 2 he actually managed to reach Romeo in his dying thrall. He is certainly streets ahead of all other Tybalt's. Mayara Magri brought huge energy to the Chief Harlot and so many extra touches again. I love Olivia Cowley in anything she does and the vibrant energy on the stage was extraordinary in the crowd scenes. The dancing was of super high standard too. So, what am I going to say about Romeo and Juliet themselves? Well, a marvellous performance and extremely enjoyable. For me it didn't hit the heights of the Bracewell / Kaneko partnership in emotional dramatic depth but I still came out of the theatre buzzing because of the overall show experience. What a day. This is being a ballet fan is all about.

Kevin O'Hare said that there were some dancers who had left during the pandemic and they could not recognise their leaving publicly on stage due to said pandemic. Natalie had been invited back to reprise Lady Capulet and thus has proper recognition. Really nice gesture and very good to have his special announcement to pay tribute to her

I just stood across the street near the stage door to see what happened. There were around 20 people including some ex dancers who were supporting Natalie Harrison I think. So I spotted Leanne Cope with husband Paul Kay (not ex) plus several others who I recognised but annoyingly could not name. Kristen McNally came to join them. Fans were respectful of distance and I wore my mask throughout conversations. There was also a lot of hugging amongst those who knew each other.

Well, I've just had the pleasure of telling Will Bracewell how marvellous I thought his performance was in person, Plus I met his mum! I went round to the stage door after the performance which is something I have never done before, but I'm here for the performance in the evening so I thought - let's see what it's like round there. There were a few people but there was a nice opportunity so I took it. What an absolutely delightful experience. So, he and Fumi plumbed the full depths of emotion this afternoon. I'm still shaking. Utterly passionate, romantic, despairing. Gorgeous, brilliant, exquisite. I don't have sufficient adjectives. The whole cast pulled out the stops and it was great to see Joe Sissens as Benvolio at last - he was excellent as was Luca Acri (again). A mention for Natalie Harrison about whom Kevin O'Hare came out to give a special announcement before the performance. A special farewell for her today and she received flowers and applause from the whole cast at the end of the show. What an afternoon. Can this evening match it? Well, Matthew Ball is in the building because I saw him arrive, so watch out for that fiery Tybalt.