JennyTaylor

No one has mentioned Will Bracewell! A beautiful lyrical dancer who shone throughout DaaG. Also a happy ending for 1 * single ticket debacle. I bought 2 because I couldn't get one, invited a close colleague from work who I haven't seen for 15 months in person, and we had a wonderful evening, sharing a meal beforehand and then the ballet.

I attended last night's performance. Under normal circumstances, I would probably have given this Bill as complete miss, but the draw of seeing live ballet was too tempting. First of all, I'd like to ask (yet again) - is it too much to ask that the dancers on stage are given sufficient lighting that the audience can actually see them? I would ask this question for all 4 ballets on the Bill. SO frustrating. Much to my surprise, I was blown away by The Statement. Absolutely fascinating to see the dancers mimic the verbal accompaniment - and what body movement! I was pleased too, to realise that perhaps I am not quite so set in my ways as I thought I was. I've never seen anything like this before and was fascinated and beguiled. There was a wide array of superb dancers on stage and the strength and depth of the Royal Ballet was visibly underlined. The evening did not reach the emotional highs which a performance by the Royal Ballet can engender for me, but I definitely found a feel good factor in seeing many of my favourite dancers, hearing and seeing a live orchestra (at last!) and by just being in that beautiful building. All very COVID safe BTW. I'm still driving up rather than taking the train though.

An update on the letter to Alex Beard. We had a long, detailed response from Alex and then a follow to say they were introducing a Friday Singles offer every week. I'm not sure how widely this has been distributed but at least they have made an effort to change in restrictive circumstances.

OK, I've just had another go at the ROH ticket booking. Only by booking 2 tickets can I get where I want to be - which is near the front of the Orch Stalls. The tickets I have booked as singles are Row T and Row V and I am a Supporting Friend so pretty high up in the pecking order. I'm also a member of the Fonteyn Circle - more £££ sponsorship. I know I'm fortunate to be able to do this, but it is high on my priority list of life choices. I was so disappointed yesterday when I repeatedly clicked the 1 ticket selection and was told - not available. I can't see properly if I am not close to the stage, so enjoyment is lost if I book alternative parts of the House. I almost gave up at one point and this for Mixed Bills which I would not normally see as my favourite offerings. Imagine if it was Manon or Mayerling! I know we should think ourselves lucky just to be there, but......................... I also know the super sponsors give £KKKKs and thus get first choices.

Ruth - you obviously has the same experience as I did yesterday. Very disappointed with the choices for single seats.

I was lucky enough to attend yesterday's performance having booked blind in terms of casting, but just hoping that the 1st performance would have Gary Avis as Drosselmeyer, without whom for me, no Nutcracker is complete. The bonus of Marianela and Vadim plus two of my favourite dancers, James Hay and Anna Rose O'Sullivan in the other main roles was too good to be true! For me, it was a magical afternoon. As the curtain opened on the opening scene of Drosselmeyer grieving for his nephew, emotions were at a very high point. My two favourite moments of the ballet - the growth of the tree and the Clara/ Hans-Peter pdd were executed perfectly - and the wonderful music lifts emotions even higher (if that's possible). Yes, there are less dancers on stage in the new production: less children, angels, soldiers, rats etc but to carp at that necessity is to take things to a very negative mindset. Rather, feel sorry for all those dancers who were denied the opportunity to perform as usual. Also, was there less glitter than usual - what did anyone else think? The whole cast were on fire and the entire afternoon was a complete joy. The power and acting detail which Gary Avis brought to the performance as he led the story telling was superb and I found myself drawn to watching him in Act 1, in particular as his cape swished and twirled around the stage: no-one can do it better. Marianela and Vadim executed their technically difficult solos and pdds with exquisite accuracy and brought their usual unique radiance to the stage. The whole experience made the 2 hour drive out of London to home (only 25 miles) much more bearable. I normally take the train but don't trust it at present. I was still in an extremely happy mood - that wonderful feel good factor which live ballet brings.

No, no cameras evident

I'd almost forgotten what it's like to see a live performance and now, here I am at home, after midnight, still buzzing after what was a fantastic night at the ROH. It was a Gala, not a performance. I loved it when Kevin O'Hare came on at the start and said - enjoy these 2 hours, and we will be back, because that summed it up. So lucky that I had chosen to book a ticket for tonight, rather than later in the run. I felt that I had to savour every single minute as precious, because who knows when I will get there again. Soon I hope, but who knows. I will keep those 2 hours in my head and go back to them when times get tough. I had experienced angst as to whether it was safe to go. I've been doing serous lockdown since March. In the end, I drove up rather than take the train as I normally do. Parked in the National Theatre and walked across from there. All was perfectly safe, the seating in the theatre was superbly arranged. I was in Row T of the Orch Stalls - no one in front, no-one to the side and no-one behind. It was perfect. Well done, Royal Opera House. And every minute was precious. The dancers all gave their all and there was rapturous applause for everyone, plus the orchestra of course. I must mention Vadim, because how does he do it? We saw several virtuoso performances tonight but his leaps and rotations were out of this world. I've been privileged to see him on many occasions but this was extraordinary. Seemingly effortless, noiseless and hanging in the air. World class, unique?? Certainly a glorious and heart warming experience.

Me neither, and I'm thinking that one of the few bright spots to come from COVID is that we have had a chance to see Matthew Ball and Mayara Magri dance together. What a sparkling, vibrant partnership and one which would normally have been cast, I suspect.

I too, went to Athelhampton yesterday and saw my first live ballet for over 6 months. I don't think I can add anything to the marvellous reviews already posted, but what a delight it was, and in a very beautiful setting. I am also the proud owner of a framed photo of William Bracewell dancing in Swan Lake which I won in the auction. Very special memories of seeing him dance Siegfried in Madrid, which was the first time I had ever seen him dance a principal role. He was utterly brilliant and I have been a big fan ever since. The programme yesterday contained a very good mix of all ballet styles and confirmed there is just no substitute for the live performance as opposed to any amount of streaming and TV replays.

I agree. Far, far better than the last 2 (Vadim excepted of course). What a relief to get a decent presenter and a much more diverse selection of performance pieces. I find watching enjoyable but also upsetting, I suppose because I have no idea when I will next get to see a live performance in the ROH. Have to be thankful that I have seen so many and have all the memories.

We had the same problem and we are in self isolation for my husband so really didn't want to go anywhere near it. In the end we wrote to our Pharmacy and asked them to post it to us. That was 2 days ago, and today they delivered it by hand (not literally) which was really marvellous (Lloyds). In future, we are going on line with Echo.

Bennet Gartside and Everybody Ballet did a Live Instagram class for beginners online last week (free). I came across it by accident and have now signed up for more beginners classes - being run via Zoom (very reasonable pricing). These classes are usually held in London at the ROH and another venue but the initiative has now been taken on line. I'm self isolating as my husband is at risk and can't see myself going out for weeks/months, and whilst I would normally have been too embarrassed to join a live class, not to mention being able to fit it into my work schedule, I have found these online classes very inspirational from a mental health perspective, as well as the physical exercise. The beginners classes are gentle and encouraging. So, I'm in my dining room with a chair as the barre. Benn was in his kitchen for the Instagram class. Well done him for offering these - I'd go so far as to say it was a public service.

Thank you Bridiem was a wonderful description of last night's performance. I wish I could write like that! I've always loved watching Soares' interpretation of the dramatic roles and he didn't disappoint last night. I will so miss him in these ballets as I found watching his facial expressions and gestures almost mesmerising. I first saw him quite by chance as the prince in the Sleeping Beauty when he replaced I think Jonathan Cope, and although I had never heard of him at that point, was very much struck by his stage presence. I then looked for him subsequently and it wasn't long before I was booking specifically to see him. Other male Principals may have more technical bravura but Thiago always added something special which made his characters alive and fascinating. He's also a great partner. Last night was a very fitting end to a marvellous career and the perfect final flower throw, speech by Kevin O'Hare and company celebration. Also lovely to read Marianela Nunez's tweet of celebration for him on Twitter. I've sated myself in Onegin's - 4 in the last 8 days and have loved this run. When I first saw it many years ago, I found parts of it a little dull, but I think the Royal Ballet have so upped their game in all departments, this last run has been exceptional. Oh well, on to Swan Lake I suppose.

I'm looking round for "gangs" and it looks like the usual crowd to me. However, I'm reminded of a recent trip to Milan when our guide on a walking tour told us to beware of pick pockets who looked like very well dressed ladies - but they are not...……….

That's what he said

Arrived this evening and had normal bag search and then was warned that there were a lot of pick pockets, working in gangs, so be very careful and keep my bag closed at all times!

I went to the cinema last night and really enjoyed seeing both ballets again. I found I saw many things I had missed first time round. I love DAAG and the joy of seeing so many wonderful dancers on the stage at one time still makes me feel happy. I do love the close up viewing you are given at the cinema, so many close ups of the dancers faces. Hard to pick out individuals ...but I will. Will Bracewell was stand out for me, Marianela of course, Alex Campbell and the wonderful Laura Morera. Such pure dancing throughout.. I also found a lot more emotion in the Cellist 2nd time round and I think the cinema production helped as if focussed on the principals and the storyline very clearly. Watching first time, I found I was confused by so much action going on all round the stage and wasn't sure what quite to focus upon. I will repeat that I think Marcelino Sambé gave the most phenomenal performance: one of the best I have ever seen by any dancer. One, does of course have to give credit to Cathy Marston for this in terms of her choreography and ideas. I'm so curious that the Cellist seems to have been given rave reviews in the press but not so rave on this forum. Discuss! I'm not in the rave category, but am delighted that I found so much more in it last night. I don't go to the ballet to be disappointed. As I am writing this, I am watching the original cellist and conductor play the Elgar cello conductor via You Tube. Not sure the rendition will ever be bettered. I remember watching it as a child and the fuss there was at the time.

I went to see Thiago Soares and Itziar Mendizabal last night and loved it. I've seen Thiago in this role many times and he never fails to move me. It was also lovely to see Itziar being given a chance to shine in this major role. The last pdd was electric. I was interested to see the contrast between the Roberto Bolle and Thiago's characterization of Onegin. Bolle was far nastier, condescending. With Thiago there's a much finer line between the pleasant and the unpleasant, which makes it easier to believe why Tatiana still loves him at the end, despite everything that has happened. His final performance next week is going to be very emotional but the perfect part for him to make his exit.

I felt exactly the same about Sambe, - in the end I couldn't take my eyes off him: an extraordinary performance. For me, that was the most emotional part of the ballet's experience. I had expected to feel more emotion, but it didn't really take off for me, even though I really wanted it to. Probably need to see it again.

I thought the 3 Principals in the Cellist were superb, with Marcelino Sambe absolutely outstanding as the cello. Best thing I have ever seen him do - and that's going some. I wasn't so sure about all the narrative - some bits worked, some not for me. Similarly I liked the choreography for the 3 Principals as they interwove between each other and my favourite piece was when they "performed" the Elgar cello concerto. Very moving. I didn't find myself blown away by it, but there was much to admire and the audience gave it resounding applause at the end. Apparently Daniel Barenboim was in the audience although I didn't see him. As for DAAG, what a luxury cast and luxury viewing.

In my view a phenomenal performance from the whole cast last night. Seems wrong to pick out Nunez/Bolle but their chemistry and dancing was electric. I saw them do this same ballet in Milan last autumn, so was so excited to get another chance to see them - and as Roberto Bolle said on Instagram that he got to play Onegin one more time, I am assuming this was the last performance in these roles for these 2 as a partnership. I was in Row E so had a marvellous view of their faces and emotions. Curtain calls were just so lovely. It never ceases to amaze me how uplifting ballet can be and what joy it can bring, especially sometimes when work or personal stuff are not so good. I think Marianela and Roberto surpassed even their Milan performances and as for the entire company - well the Royal Ballet are streets ahead of the production I saw in Milan - which was perfectly acceptable, I hasten to add.

Or have a peak into the Grand tier, where they usually sit to watch the performance

I've watched this several times now and am beguiled every time. I think you need to take it for what it is and enjoy it and try to forget that you don't see the dancers' feet all the time, and as you would on the stage. So much is enhanced with the opportunity to expand the backdrops, particularly the fight scenes, plus all the close ups of the dancers' expressions. For me too, it is a luxury cast with Francesca Hayward and Will Bracewell the perfect casting. I know we all have our favourite R&J's but they SO look the part, and their dancing is so beautiful. Glorious to see their expressions in close up. I was brought up in my teens with the Zeffirelli R&J which I still see as the ultimate Shakespeare R&J. This reminds me of that production - trying to be true to the age of the characters and so pure. . As for Matthew Ball as Tybalt - is it possible to smoulder better than he does? The film gives him more scope to characterise and I thought he was electric when I saw him on stage. This is even better. Then we have the glorious James Hay and Marcelino Sambe as Benvolio and Mercutio. Always my pick on stage and the film does capture their dancing and their acting and the fun they create. Biggest regret? The fact that we miss all the steps of the 3 boys in their scene with the Nurse. I love that scene, but the full impact is lost without seeing their feet, because the steps are part of the fun. Biggest revelation - Tomas Mock as Paris. Really empathetic performance - brought this very difficult part to life. Depicted far better on film that on stage

Quote from the 2 ladies behind me at the RB Sleeping Beauty tonight "Isn't this long. When we came to see Coppelia we got 2 intervals of 30 minutes and it still finished by 10 o'clock" What are they coming for - the intervals or the ballet???