JennyTaylor

I often choose Row E or F, though usually try to sit on the end of the row. It's not too bad, but definitely get a cushion. I always it on my coat as I'm short.

I'm an amateur too, so I don't know the technical stuff: I just know what I like! It's not so difficult to do, I was overwhelmed the first time I did it because I had never imagined I would, but tickets are easy on line, flights are cheaper than a train ticket to Manchester and back, and then it's up to you where you stay. Public transport v reasonable in Milan so no need to stay in the centre where hotels are expensive. The first time I went, I also booked a tour in English which I think they do every day, so got to see all of it and a bit of history before I went to the performance. I think the auditorium beats the ROH for sheer beauty although the ROH comes up trumps with the Floral Hall (but not the new Open Up areas I hasten to add). I justify it to myself each year I do it, as a birthday treat (my birthday is in September!) I just can't resist when it's those 2 dancing.

I treated myself to a trip to Milan to see the opening night of Onegin (last night 24th October), at La Scala, with Roberto Bolle and Marianela Nunez. It was my 3rd trip to La Scala, having been overwhelmed by my first experience 3 years ago, to see the same ballet with the same dancers. On the basis that any performances by these 2 dancers as a partnership is now finite, I'm keen to make the most of any opportunity to see them, such is the electricity between them. I was not disappointed. Who knows, this might be the last time I see them together. Other major members of the cast were: Lensky: Nicola del Freo Olga: Martina Arduino Gremin: Gabriele Corrado Going to La Scala is such a pleasure because it is such a beautiful theatre, so it's an aesthetic experience before you even start. It's easy to book on line BTW and tickets are sent online. There is an English option on their website. Arguably, easier to navigate than the ROH website. I was in Row B1 so 2nd row of the Stalls on the extreme left. A very good seat, with no rake problems with Row A and I don't think I missed any action on the left hand side of the stage. Also, I could see the dancers feet, so definitely better than equivalent at ROH. The audience were quite subdued throughout, until right at the end, which quite surprised me. No clapping for Bolle's entrance (amazing, and counter to what happened at the ROH!). In previous performances I've seen, they've been more energetic. Onegin is a ballet I love so no problem for me enjoying it. Having seen Bolle/ Nunez in Manon so recently, it seemed a bit strange to see them playing such different parts. Another card game, different side of the stage I thought during Act 2, when Bolle acted out disdainfully playing a card game with himself on the left , as opposed to reluctantly taking the cards against M GM on the right hand side, in Manon. Marianela, was as ever, Marianela. Beautiful, expressive dancing, delightful personality and I feel the part of Tatijana really suits her. We went on a journey with her and that's how the whole ballet pans out as the story unfolds. It was also very interesting to have seen their rehearsal during World Ballet Day. The Mirror pdd was of course, the highlight of Act 1 - degree of difficulty - high. Roberto Bolle was a superb partner as ever and really got into the rather unpleasant character that is Onegin. His rejection and impatience of Tatijana and her letter to him in the ballroom scene was emphatic and I found this particularly interesting in comparison to his depiction of Des Grieux only just over a week ago. The final pdd in Onegin always gets to me, I think it is superb choreography and Tatijana's rejection of Onegin is high drama. Bolle/ Nunez gave it their all and wrung every emotion from it. Wonderful and it brought the house down. There were so many curtain calls, I lost count. In terms of the company performance, I enjoyed Nicola del Freo as Lensky. Very dramatic particularly in the Ball scene but not quite Vadim! The production went with pace but it brought home the strength in depth we have in all departments in the Royal Ballet as a comparison. As I've said, the audience were luke warm to moderately enthusiastic, to loud applause and multiple curtain calls at the end. They nearly all stay in their seats during the interval, presumably because there aren't many places to actually go in the theatre if you do get up. I always go for a walk round the building as I enjoy the ambience of the surroundings. 24 hours later, I'm home and still on a high. There are several more performances - I'm jealous of anyone else who is going. Never mind, more Manon's next week, but in the meantime, I've downloaded the music and am playing it to refresh the memories.

It depends what your motives are for choosing. If you want to be the first to see a new ballet, then go for the first night. If you want to see the best performance, then later in the run is usually better. I think that for most couples dancing principal roles too - they seem to warm up 2nd time round: perhaps slightly less nerves and more confident, having done it once. This isn't normally my first option in terms of which performances I book for though - I go for the couples I want to see dance, plus how it fits in with my personal and work diary. Sometimes my personal and work diary gives way to ballet!

I went to the performance last night and am still trying to decide what I thought. After the extreme highs (for me) of the Nunez/Bolle performances, I certainly did not get the same emotional pull. I booked for Matthew Ball specifically and he definitely didn't disappoint. I also like Lauren Cuthbertson's interpretation of the role which is different in that she is a much more thoughtful Manon, and you don't sense that she ever really gives herself to M.GM , she's always in love with Des Grieux. Of course, one could argue - is this how Manon is really meant to be, but I like to see different interpretations, so I don't mind. It could be then, that I saw 2 excellent dancers, partnered together, as opposed to 2 excellent dancers partnered together who had a real emotional connection. I didn't feel a spark although I enjoyed the performance very much indeed. Bennet Gartside isn't as nasty a M GM as Gary Avis and at one point I began to wonder if he was even meaning to play him as nasty. Tom Whitehead is a particularly brutal Gaoler and has a powerful physical presence. I have an eye for detail and enjoyed watching some completely different interplay before and during the card scene. Also timing - last night Matthew Ball got the travelling bag all the way down the gangplank and onto the floor, whereas Roberto Bolle didn't manage it on either occasion, because the Gaoler had moved in on Manon much faster and he therefore had to react to that. (Yes, I know I'm sad)

I've been lucky enough to see several RB classes, but this one was definitely the best because it was properly introduced and some explanations were given as to what was actually happening. I think it's also the first one I've attended which has been to a large audience. I spent the entire time trying to spot dancers I recognised, which was both frustrating and rewarding as I couldn't name them all. I think it would be great if there was sort of roll call at the start. I'm sure you've all been to business meetings where everyone goes round the table and says briefly, their name and their role. I'm not suggesting this as it would take too long but perhaps read out list of names with a quick hands up from the dancers as their name is read out. I've also noticed in class that some dancers tend to "appear" half way through. No idea if this is actually true as they could have been at the back in the barre session, but suddenly I noticed Mayara Magri, Melissa Hamilton and Will Bracewell. Particularly happy to see Will after such a long lay off with injury. Good also, to see a selection of Principals participating. All the boys strutted their stuff at the end with bravura leaps and turns - very entertaining. Joseph Sissons a stand out, but I also love Itziar Mendizabal who always shines in class.

Have confidence in your opinions! It's all in the eye of the beholder. You will find that we all have different opinions and perspectives. Ballet is an emotional thing so it's all about how it affects you personally. A ballet that someone else loves will leave me absolutely cold, and vice versa. But that doesn't matter. Each to their own and we all have our own favourites. Reading others views and feelings is what makes this Forum interesting and worthwhile.

A prolonged standing ovation from the entire House - yes, it was an event. What a night! For me, Nunez and Bolle have such an emotional connection, which is what I'm always looking for in the 2 principal dancers. I loved every minute of it. It's quite rare that I don't enjoy a performance because I vote with my feet on what I do, and do not book for, but this was definitely one of those that will live in the memory. The whole cast, of course, makes the full experience and this was a very high class cast - the same as on Wednesday, except for the change already mentioned. I'm a big fan of Bennett Gartside, so always happy to see him included too. I think Nunez/ Bolle were a notch up on Wednesday, though it's close. All their pdds were exceptional and I got the hairs on the back of the neck feeling early in Act 1. Their genuine joy and emotion at the end of the performance was such a delight to see. For me, also the pleasure of being lucky enough to see different couples in the same ballet is one I treasure. I enjoy seeing different interpretations and like then for what they are, rather than seeing one as better than the other. For me, Marianela is a bit too flirty from the beginning, but that's how a lot of Manon's play it and I just think - OK, that's the way she is doing it and enjoy. You could however, see how she was torn between the flirtiness and her real love for Des Grieux as the ballet progressed. Lauren Cuthbertson, played it differently, which I also enjoyed, with a much more obvious switch between her 2 selves, particularly in Act 2. No right or wrong, just different. I could watch Roberto Bolle all night, and also thought, as he stood there for a prolonged time on his own, taking in the applause, that this is probably his last time at the ROH. I first saw him partnering Darcey Bussell, and was the only partner I ever saw her really come alive with (also in Manon). Then of course, there was Zenaida Yanowsky's farewell performance (Manon) which was overwhelmingly brilliant - what a pairing they were on that night. Now, with Marianela. Yes, he deserved that applause. Gary Avis was phenomenal as GM. Such detailed characterisation, and something happening ALL the time. The card scene was brilliant in it's own right and the way GM's eyes followed Manon, then the cards, then Manon, while Des Grieux fumbled cards in the lining of his coat (not the pocket this time). Blink and you've missed something. Then Marcelino Sambe as Lescaut - excellent on all counts. Then, trying to look for Olivia Cowley who again, always provides something special. So difficult to take it all in! Then looking for Hannah Grennell in the corps, because I've now met and chatted to her so I always look. I think I found her in Act 2. Interestingly, I haven't booked for a single performance of the triple bill yet because I don't think I'll get the in depth joy and fascination, which a ballet like Manon provides. Just my opinion though.

Yes, 10 minutes of curtain calls and I think it's clear that both principal dancers' posts on social media show they thought it was a particularly special performance. They do dance together at La Scala too, and clearly have a connection. I can't wait for tomorrow evening.

Well, I applauded, as one would for a Principal on their first entrance - and I'm not part of his travelling fan club. I also applauded Marianela coming on as Manon. I read somewhere that the dancers like this, coming on to eerie silence can be a bit unwelcoming. I agree though, that it's rare in Manon for Des Grieux. . I know the exact place in the music when Des Grieux makes his entrance so I always look for him. But, yes, sometimes he's there before you know it. Bolle made his entrance from the mid/ right back of the stage as you look at it. I think some Des Grieux's come on from right at the back - slightly right.

A stunning performance tonight from Roberto Bolle and Marianela Nunez with the equally stunning Gary Avis as Monsieur GM and Marcelino Sambe as Lescaut. To say it was a treat is the understatement of the year. The Bolle/ Nunez partnership were on fire from the start and the audience reacted accordingly with applause and cheers for the 1st pdd. It then went from strength to strength - wow, have they got chemistry. We had the exciting Marcelino Sambe as Lescaut and he has definitely grown into this role since the last run with far more characterisation and of course, excellent dancing. Yuhui Choe was fun as the Mistress but Gary Avis nearly stole the show with the most remarkable Monsieur GM - every gesture oozed sleeze and unpleasantness and he put so much into the part - something's happening ALL the time. How can such a nice person manage to be like that!! He is such a good actor. We had 4 top class courtesans too in Melissa Hamilton, Claire Calvert, Romany Pajdak and Olivia Cowley. What to say about Bolle/ Nunez: the passion, the fusion of the pdds, they were SO together. So pleased that he came over to partner her - shame he didn't do Romeo with her earlier this year - that would have been something, but I don't think he does all the full length parts any longer. Completely blown away and I've seen Manon loads of times.

No, it was Ed Watson - and I think he did rather a good job! Really looking forward to his 2nd performance.

I went to the performance last night to see Matthew Ball's debut and I was not disappointed! Yes, the first solo was a little tentative but he grew in to the role and Act 3 was just anguished! Loved it. He's one of my "must see" male Principal's now. Personally, I liked Lauren Cuthbertson's interpretation of Manon. There was definitely two different Manon's on display: one - the real Manon who falls in love with Des Grieux and the other Manon who knows what she has to do to earn a living. Yes, she was beguiled by the riches but not so blatantly as other Manon interpretation's I have seen. The 2 Manons were most obvious in Act 2 in the brothel scenes. She flirted with Monsieur GM but there was an obvious switch between her demeanour to him and what she really felt in her true self for Des Grieux. I liked that interpretation as the fully flirty Manon doesn't sit so comfortably with me. Personal choice I know. Valentino Zucchetti was an excellent Lescaut. The drama and drunkenness wasn't overplayed and I loved Beatrix Stix-Brunell's mistress. There were one or two slight changes to what I expected, but I'm happy if different casts do different things. Could someone tell me please - did Matthew Ball use his right hand coat pocket to cheat at cards or not? I didn't see it but may have been looking away at just the wrong moment. I always have trouble in the brothel scenes knowing exactly what to watch - there's so much to see! I also discovered last night that Ed Watson is coaching this pairing as well as Alexander Campbell and Francesca Hayward. I think they did him proud.

Hayward / Campbell - they have been electric when partnered together - but we haven't seen them properly together for a couple of years. I am SO looking forward to it.

I'd be curious to know if there are any other reviews of the different casts for the other 2 performances, who could arguably be said to be stronger, dramatically. One of my favourite ballets, but I can see the merit in some of the points made in the review and above.

You are not wrong, I had to ask specifically about going to Japan. My first tour was Madrid so I was sent the LA details, which didn't interest / suit me for a number of reasons. But I was interested in DonQ in Tokyo, so requested options, and what they offered worked for me.

So, last night, the final performance of 6, we had Natalia Osipova and Vadim Muntagirov, so anticipation was high for some fireworks and we certainly got them! Other main parts were: Mercedes: Beatriz Stix-Brunell Kitri's friends: Meaghan Grace Hinkis and Anna Rose O'Sullivan Lead Gypsies: Romany Padjak and Lukas Bjorneboe Braendsrod Queen of the Dryads: Claire Calvert Amour: Isabella Gasparini Espada: Valentino Zucchetti Don Q was Gary Avis, Lorenzo - Christopher Saunders, Gamache - Thomas Whitehead, Sancho Panza - Philip Mosley The entire cast pulled out the stops for the last performance and there were some extra jokey bits in the slapstick comedy. Natalia and Vadim were totally switched on and electric from their first entrances on. Natalia's speed of attack was phenomenal and produced gasps from the audience. Interestingly she didn't really attempt the balances in Act 3 which the audience were clearly waiting for, but her fouettes had to be seen to be believed. Vadim, of course, produced leaps that made us gasp, even though expectation was high. I think he does variations on his repertoire of leaps at each performance. Claire Calvert made the difficult technical demands of the Queen of the Dryads look easy and Beatriz was a lovely Mercedes. Very nice to see her in this role. The 4 ruffians tried to outdo each other with their exit from the stage at the end of their dance and Valentino Zucchetti was excellent as Espada. No-one has surpassed Ryo Hirano in that role though - being in his home country appears to have inspired him to new heights. Overall, a joyful experience and a lovely touch at the end when a bouquet was presented to Helen Crawford and she was also pushed on to take a solo curtain call by Philip Mosley and Thomas Whitehead, to mark her retirement. They then joined her and bowed their respect. So nice. I've been part of the Royal Ballet's official tour party as a supporter, and I've had the most amazing experience. I've been able to see all the performances, plus rehearsals, Class and even a studio rehearsal of Mayerling where 5 of the major pdds were rehearsed - 2.5 hours worth. I thought I had gone to ballet heaven at that point. Part of being a tour supporter is that you get to meet the dancers, but I do feel the RB went above and beyond for me, when they saw how keen I was. So interesting to meet members of the management team too. There were only small number of supporters (as opposed to Madrid where there were over 30), so it was easier to arrange - but even so. I also watched Act 2 of last Saturday's performance from the wings, which was extraordinary. All the dancers I met were, without exception, friendly and charming. So, now it's back to work and reality, but with loads of marvellous memories.

and yes, he did dance - so all is well. I'll post later on the performance, which was another triumph. I have a plane to catch!

5th performance and 5th standing ovation! Marcelino Sambe and Yasmin Naghdi were back in the starring roles, with Ryoichi Hirano (Espada), Itziar Mendizabal (Mercedes), Yuhui Choe and Beatriz Stix-Brunnell (Kitri's friends), Fumi Kaneko (Queen of the Dryads), Romany Pajdak and Tomas Mock as the Lead Gypsy couple. Character parts played by Christopher Saunders, Philip Mosley, Gary Avis and Thomas Whitehead. Another superb performance all round with Marcelino and Yasmin outstanding again - possibly better than Saturday, where there were a couple of minor gliches but the whole company superb again. Yasmin's holding of the long balances were a particular highlight and of course, Marcelino produced a virtuoso display in his solos. Overall, there's quite a lot of interchanging of roles but it doesn't seem to make any difference in terms of quality of output. Only 1 more performance to go (sadly). Good news is that Laura Morera is here and rehearsing for future productions. Not so good news is that Reece Clarke was slightly injured in Act 1 (matador) and didn't return in Act 3. Hopefully, it's not too serious. Another comment is how well behaved are the Japanese audience. Not a mobile phone in sight. It's very refreshing compared to European audiences. Also, everyone is seated on time, no overrunning of intervals etc. They have visible clocks which count down the interval duration and a 5 minute warning too. All extremely efficient and helpful. I'm loving the overall theatre experience. I hired a really good pair of binoculars today too. You pay a deposit and small hire fee and get the deposit back, on return at the end.

Judging from what I've just seen in Japan, Mayara Magri is now right up there as a potential Principal, with Fumi Kaneko not far behind. Interesting to see what will happen.

Just to show you that the DonQ horse has also travelled and is behaving beautifully. There's something so exciting about seeing the Royal Ballet perform in another country: it is a different experience. They are really playing to the audience, so with a flourish at the end of each dance and beautiful Spanish attitudes. The enthusiasm with which this is received is exciting in itself and definitely adds to the overall atmosphere and feeds in on itself to create even more buzz. The closest equivalent of the theatre in the UK, is probably the Barbican in London. I'm loving Naomi's posts and she has far more technical knowledge than I do.

Thank you, I posted via my phone, so brevity was necessary, especially as I hadn't sorted out charging any of my devices at that point., but was so overcome by the performance, I felt I had to post something to support Naomi's account. . I'm now on my Laptop, so Marianela Nunez and Vadim Muntagirov were out of this world on the first night. I've seen all 4 performances so far, plus a rehearsal and a Class on stage. All 4 performances have received standing ovations, and each so different in their own way, with all 4 couples bringing something different to the main roles. So far, we have had the aforementioned MN&VM plus Alexander Campbell and Mayara Magri, Marcelino Sambe and Yasmin Naghdi, Lauren Cuthbertson and Matthew Ball. Plus the whole cast has been on fire and so hard working. Gary Avis and Christopher Saunders are interchanging as DonQ and Lorenzo, Thomas Whitehead is quite heroic as Gamache in every performance, plus Philip Mosley and Jonathan Howells interchange as Sancho Panza: again physically demanding. The comedy aspects of the ballet are being played to the full and very expressively and overtly, Ryoichi Hirano is on fire as Espada. I've never seen him dance with such fire and panache and the Japanese audiences are loving him but also everyone else. It's really uplifting to hear such applause in places where they would not receive normally it at the ROH, and they are clearly very knowledgeable - they know what to look for All 4 leading couples have pulled out the stops in what is such a bravura ballet. It's really interesting as after the first night, one wondered how it could be bettered, but in their own way they each bring something different. They are all so physically different too. It was a delight to see Mayara Magri really shine as Kitri and she and Alexander Campbell really nailed it - definitely up a notch on their cinema performance. Marcelino Sambe sizzled as Basilio - goodness, he can perform and he also brought a special cheekiness to the role. I agree that his partnering could be refined, but as a couple, he and Yasmin really gelled. Go from him to Matthew Ball, who is so different physically but really went for the spectacular leaps and turns and again, nailed them. Matthew, also has great acting skills too of course. Lauren danced beautifully and was very expressive in the her "naughty, chiding" moments. Special mention for the Queens of the Dryads Fumi Kaneko and Yuhui Choe. Apparently this is a feared role, because of its technical difficulty, but has been executed perfectly by both of them. Other news: Reece Clarke is back from Injury and played Espada today - very well. Clare Calvert is still replacing Laura Morera as Mercedes as well as taking her own allocation of the role, and she has been excellent. Luca Acri is making more than most of playing one of the ruffians. We have extra ninja kicks and jumps thrown in. The full set is here and moving and working very well. The stage door is besieged - it's more like a football match. They have to put barriers up at the end of each performance. Some of the dancers also signed autographs inside the theatre, sat at a table. The ROH shop which has been set up, has sold out of most items. The theatre is modern and well appointed with excellent sightlines - much better than the ROH for this. The audience is predominantly female, we were told 90% on the first night, and that's certainly what it looked like. A few more men yesterday and today. It's a rest day tomorrow and then we are back for Tuesday evening. I've just had my first evening meal since I arrived (Friday 7am). I haven't had time up until now, but what a rewarding experience it has been so far. I'm loving it. '

Yes, I was there last night and if it is possible to imagine Marianela and Vadim getting any better, well they did. Stunning virtuosity. Ryo was on fire too. What a performance

Just going back to Nehemiah Kish, I've always felt he was a very understated and under publicised principal but I have always enjoyed his performances. Most recently in Frankenstein, Romeo and Juliet and the Firebird, but going back I remember that he partnered Marianela in her first performances in Manon. I sat next to him at a Ballet Association dinner several years ago now and he was charming and like many of the dancers, unassuming. I asked him about partnering in Manon and in particular the final pdd, and how difficult this might be. He said "tricky", which is a phrase I have always remembered and comes to my mind whenever I see the pdd. He also commented on what a responsibility it was to partner Marianela in this situation, to ensure that it all went well for her. I loved that. I agree with everyone that it's also really nice to recognise other dancers who are retiring after many years service, as it is in any place of work.

I saw this at the cinema last night and what a difference this makes (some good, some not so good) to seeing it at the theatre. I must start with Matthew Ball, who is now at the top of my list in "must see" for any dramatic dancing role. I was first blown away by his Rudolph in Mayerling which I saw quite by accident due to a cast change. Since then I have been watching with avid interest and have never been disappointed. This was my first view of his Romeo and I loved it - every nuance of expressions which flitted through his face, made even better by the close up camera work for the cinema. Pretty good dancing too! As a pairing, I loved them both - Yasmine is such a lyrical dancer and again, the close ups at the cinema exposed the acting required for the role in this genre, far more than is ever necessary for a stage production viewing. She really stepped up for this. Such a strong supporting cast and fascinating to see Gary Avis's portrayal of Tybalt. Loved it - what a great character artist he is. He seems to get better and better. Down side of the cinema is that you miss what's happening on the whole stage, especially in the market scenes, which for me is one of the joys of watching at the theatre, where I can see Romeo, Tybalt, Mercutio, Benvolio simultaneously and not miss any action.