JennyTaylor

I was there last night and came out of the theatre feeling perplexed. Perfectly happy with all the other ballets presented but the main talking point is Carmen and that is the ballet I had booked specifically to see. I can empathise with all the comments made so far and am still have very mixed feelings about Carmen. Experience tells us that seeing the first night isn't necessarily the best time to see a new ballet - it benefits from bedding in, but overall of course, we see the structure. For me, it lacked story telling. It appeared to be made up a series of sometime random scenes and the whole thing felt patchy. The dancers gave it their all and cannot be faulted. Marianela must have been totally exhausted by the end both physically and mentally. I too noticed echos of various choreographies from various ballets and didn't necessarily mind that, but I didn't feel the whole piece hung together, even individual pdds I really didn't like the early prison scene where the chains reminded me of La Fille and the pink ribbon, but actually jarred horribly on my consciousness. It also looked really messy. Curious that violence and sex in Manon, for example, comes off, but in this Carmen it didn't. Having criticised Carlos for his acting in the past, last night I felt his pathos was immense. So, I suffered highs and lows as I watched the ballet - sometimes really moved and others times cringing. I'm someone who goes to the ballet and takes my enjoyment from the emotion it generates - hence my comment that I came out perplexed as I had suffered so many different emotions during the ballet. One definite high was the performance of Federico Bonelli, who was just stunning. For me, it's the best performance I have ever seen from him. (I'm generally neutral when I see him dance). So, some highs and some lows. So, let's hope they can iron out the lows in future - and quickly. I really don't want to see it fail as I love Carlos and what he has done for ballet

Sylvie Guillem is the greatest ballerina I have ever seen and though her "ballerina" days have gone, for me, seeing one of her last performances ever in the UK is an absolute must. I have booked for Birmingham in September. I was lucky enough to see her last Manon at the ROH so was able to show my appreciation then for her Royal Ballet career. I want to celebrate her again in September. Just tragic how little film there is of her in ballet roles. For those doubters, just take a check on how many dancers have stated that sharing a stage with her was the highlight of their career.

I went last night and felt the audience response was a little underwhelming in comparison to the quality of the ballet we saw. I particularly liked Roberta Marquez and Rupert Pennefather "In the Night" - they had fun and brought energy to the proceedings. I find "Song of the Earth" incredibly moving and all dancers contributed beautifully last night. Carlos, Marianela and Thiago were sublime and the final movement was stunning. The music and the dance combine to produce this emotional conclusion.

Actually this did convert me to Wayne McGregor and I only booked because I was lucky enough to sit on the same table as Gary Avis at the Ballet Association dinner and he talked about it . I thought it was stunning and was blown away by Alessandra Ferri who I had never seen live on stage. Act 1 was my favourite, Act 2 my least. But overall, the experience was very exciting.

.......and multiple principals now billed including Steven McRae

Lots of tickets available. I've just booked mine. Looks like a stellar cast

Couldn't agree more about the amphi terrace, I love it, When I come on my own I always make a point of getting there early and going out onto to the terrace to relax and enjoy the ambience of the surroundings before the performance. Sitting inside is just not the same. I'm out there in all weathers with gloves and a hat if necessary.

Coming back to the original topic, I saw the rehearsal today. Not sure how much I'm allowed to say about Age of Anxiety but it's very definitely a vehicle for Steven McRae and Laura Morera who were brilliant. The New York sets are stunning too. Suggest you gen up before you see it otherwise detail and context will be missed. The Bernstein score is also amazing and the orchestra are loving it.

I thank all the Ballet.coers who are able to describe last night's performance far more eloquently than I could. Reading all the posts bring back the emotion of the evening and the sheer brilliance. I've seen many Manon's in my time, including Sylvie Guillem's last one at the ROH which will forever live in my memory. Last night was extremely special - two very experienced dancers coming together and melding extraordinarily to produce the performance of a lifetime. Added to that the rest of the cast all adding their very special contributions. I think everyone on stage feeds off each other in these situations. They know it's marvelous and special and that just ups the all round performance from everyone.

Fantastic performance by Zenaida and Roberto Bolle tonight. Standing and stamping ovation. It was HOT! Great passion from Roberto, marvellous dancing and acting from them both, superb partnering / pdds, I was sat on the edge of my seat it was so good - and that was right from the off, They gave it everything and produced magic. I really enjoyed Carlos as Lescaut and he and Laura Morera had a ball together. Act 2 contained so many different nuances I struggled to know where to look so as not to miss anything. At one point Carlos conducted the dancers in his drunken state. Loved William Tuckett as M.GM - had a real presence, plus of course we had Gary Avis as the gaoler. Didn't want it to finish. I think we have seen something rare tonight.

I've only waited once by the Stage Door at the ROH when I was staying up in London that night and on my own, so was free to do it. Some people were waiting inside but I didn't think I should do that and ended up being the only person outside. I enjoyed seeing all the dancers I recognised leave but didn't have the courage to say anything. My best encounter was at the Coliseum a few years ago after a Carlos gala type performance. I was walking round the back of the theatre where my husband had parked to pick me up, when I saw Thiago Soares standing in the street. (Marianela had been performing). I was so astonished that I went straight up to him and said how much I was looking forward to seeing him and Marianela perform their 1st Romeo and Juliet. He was probably equally astonished to be recognised but was charming and told me they had been practicing really hard! Aahh. My evening was made and he probably left wondering who this strange woman was who had accosted him in the street. I'm a Spurs fan and have waited loads of times for footballers after games. Somehow that seems completely different, though I have no idea why . It's now really difficult to gain any access so I don't bother but I used to get an autograph book per season. It was usually the older, more experienced players who were the best at this as they valued the fans and knew this life was very transient,

I felt really flat after Tuesday - and I had been looking forward to it immensely, and almost feel traitorous to Carlos for saying this, Wednesday's performance (Steven/ Roberta) was for me, 100 times better in all respects

I saw Steven McRae and Roberta Marquez last night and they were fantastic, This was how Manon should be and I knew it from the very first pdd. This was in complete contrast to all 3 performances I have seen so far (not seen Vadim and very regretful of this). Steven and Roberta were as one - they were a perfect physical match and there was immense passion. Steven was anguished, Roberta loved her jewelery and as ever, when she dances with Steven, she was on fire. Steven's dancing was phenomenal and his fast spins in Act 3 when he has killed the Gaoler were breath taking. I felt the rest of the cast rose to the occasion and I left the building feeling as I have always felt in the past after watching Manon, but never so far in this run. I too, had wondered if I was suffering from Manon fatigue and I had just seen it too many times. As an aside, I love watching what's happening in the background too, especially in Act 2 where the corps have a wail of a time. I noticed on Tuesday that a couple of them had "frozen" in some very difficult positions where it must have been really difficult to hold their position. Last night they didn't. Did I also spot the beginnings of a conga at the back of the stage early in Act 2? Loved Valentino Zuccheti as Lescaut and he's one to watch. Noticed some subtle differences from Thiago, particularly where Thiago held the audience at the end of Act 1 Scene 1 when he came to the front / middle of the stage and really held that position with great effect before the cloak sweep exit..........and Act 2, Thiago scrambled for the money that M.GM throws. I think no other Lescaut's do this. That's why I book to see so many casts for this ballet - all are really different, and that's so fascinating. Still on a high from last night and actually relieved to be so.....as I had started to be worried, Also delighted that I was with a friend, for whom it was her first Manon, She was transported, and so glad I picked this performance for her.

This was my 3rd Manon and in terms of the principal pairing, I felt the most disappointing. There was no chemistry between Acosta and Osipova, so it didn't move me at all, I'm afraid. I thought her interpretation of Manon was interesting - regret at leaving Des Grieux etc and she certainly threw herself into the role. But it needs the pairing to work and for me, it didn't. People around me were cheering at the end so there will be different opinions. I enjoyed Thiago Soares return as Lescaut as he brings so much detail to the part and Clare Calvert's mistress was great fun. Gary Avis was exemplarily horrible as the Gaoler, but I'd like to see him in more Monsieur GM performances

An interesting aside. I was sitting next to someone who asked to see my cast list. She looked the 2 principals and said "never heard of them, I wanted to see Carlos, Tamara or Alina" . I explained the context of today and that this partnership might actually be quite good. She looked sceptical but at the end of Act 1, turned to me and said - you were right, that was amazing. At the end of the performance, she was on her feet, just like everyone else. I'm just hoping the principals didn't notice all her fan waving which was right in their eyeline during all the most dramatic pieces. We were seated by the aisle where Vadim made all his exits/ entrances (joy for me).

I went this afternoon and am still feeling completely blown away. Surely this was one of the most definitive performances of R&J ever. Daria and Vadim hit incredible heights. I felt the choreography lent itself to even more emotion, and knowing the McMillan ballet so well, I preferred both main pdds and the death scene to his version. Never did I think I would utter this heresy. Of course, in the round there is so much more to see and more capacity for extended movement. which adds to the drama, but Daria could not have had a better final performance. It was the stuff of dreams. Loved Mercutio and Benvolio, loved everything really.

I too saw Cast 2 last night and felt they compared favourably overall to Cast 1 (can we stop calling them that please). I loved Bennet Gartside and Marianela and would go so far to say that this was the best performance of Bennet's career. I've seen both casts once and a rehearsal so am getting my eye in and I found last night the most moving experience so far. Bennet is a less extrovert Leontes than Ed Watson but there was a deep emotion there and as I was seated near the front, I could see the expressions on his face. Act 3 was particularly memorable and that final pdd was superb. For me this has been very special, as partly as a reaction to some ill health, I was beguiled and then chose to join the Winter's Tale Syndicate - the first time I have even done such a thing, and a big decision. This has meant I have been privileged to see behind the scenes as the production has developed, and my goodness me, do I feel I have hit the jackpot. We have a new 3 act serious story ballet which is a major triumph and I think, can only get even better. The detail of the creation behind the scenes is unbelievable, with the crowning glory being the tree of course with every ornament adorning it hand made. I'm going again tomorrow - so sad it will the last time for the moment.

Sylvie Guillem and Jonathan Cope - the best. Jonathan never the same partnering any other dancer Their Romeo and Juliet a particular highlight. He came alive when dancing with her and although she chose other partners, I never saw the same connection Steven McRae and Roberta Marquez bring out the best in each other - recent Giselle's bear this out. Also La Fille / R&J. I think she went to another plane when she started dancing with him Ed Watson / Mara Galeazzi = Mayerling Sarah Lamb / Rupert Pennefather - Manon Darcey Bussell / Roberto Bolle - at last Darcey found a partner with whom she connected. I remember a particular Manon.

So, what's happened with Bennet Gartside? There are some seemingly unhappy tweets

I saw Marianela and Thiago last night in company with 2 of my friends, one of whom was in tears at the end with the emotion of the experience. It was her first R&J. I've seen R&J many times but for me, it was goose bumps early in act 1 with the ballroom scene. The electricity of their first encounters - just looking at each other - was phenomenal. In terms of partnering, they are a perfectly matched couple and then we come to the acting. Thiago has always been a supreme actor on stage, but now Marianela has grown into a superb actress too. Her agony was heart wrenching. The whole experience was an emotional roller coaster, crowned by their delightful curtain calls. Thiago gave an interview to the Ballet Association last month, during which he said that he liked reprising roles as every iteration gives him the opportunity to enhance and enrich the roles. This is so true in this instance and is what is also so interesting for us fans, as we see dancers begin their careers and then we follow them as they mature and develop their interpretations. I've seen their R&J many times and this broke new barriers. A special mention also for Eric Underwood as Tybalt. A really strong interpretation. Also very interested to see Tristan Dyer as Benvolio. An impressive performance.

I went to see Bonelli and Sarah Lamb last night and was distinctly underwhelmed, particularly by Sarah who seemed to have no elevation. Bonelli better but not in comparison to McRae or Acosta. Was this just me please as I was somewhat surprised.

I went last night too, and fall more in love with the ballet, every time I see it. Not difficult as Steven McRae put in yet another phenomenal performance, plus perfect supporting cast. Ryoichi Hirano and Laura Morera just fabulous. It is really important to have really strong people in those parts. I would have loved to see Laura as Kitri - I feel she is made for the part. I also met my new found Ballet Co friends at the intervals again. Thank you! It's great to talk to people who have seen all the performances (I wish) and spot certain differences in each cast. Or even differences in the same cast. We also commented, that although one might always want to book for the first night, actually, it gets better when the cast beds in. Marienela and Carlos are a classic case. 3rd time round on Wednesday, was SO much better I'm feeling quite sad about some of the critics' sniffy comments after the opening. I read the ballet piece in the Telegraph today ... and it made some grudging comments about Carlos being past his best as a dancer but a fun production. Sorry, but bring yourself up to date. All performances sold out, Carlos and Marianela rocked all round the country on Wednesday, and come and see the reaction to the performances at the ROH every night.

I'd just like to say that after some of my previous comments on this thread, I was invited by Bluebird to meet some Ballet.Co-ers at the ROH - which I did, last night. Its amazing to meet people who you have only known by pseudo names in person and I was made extremely welcome. So, thank you to one and all!

Last night was my first viewing of Marianela and Carlos and it was SO well worth waiting for. What a joy Marianela is - can there be a ballerina who radiates so much happiness on stage and her chemistry with Carlos was electric The whole cast performance was definitely a notch up from anything I have seen so far and particular mention for Ryoichi Hirano and Laura Morera - absolutely superb. I also much preferred the Christopher Saunders DonQ and Gary Avis Father casting rather than the other way round. Glorious evening. Did someone mention a "flop" somewhere earlier in the thread? Um no, quite the opposite.

Fascinating thread. I am an ordinary ballet fan,who in later life is now able to indulge my love for the ballet and buy tickets for the ballets I wish to see, wherever that may be. My personal choice happens to be the RB as I love going to the ROH but I will pick performances very carefully both for cast and specific ballets. I've seen most of the new works, but apart from Alice have never been tempted to repeat the experience. That's my personal preference and I'm sure some would call me a philistine. I don't care, because for me, I just like classical ballet. I've been to see Sylvie Guillem in her post RB days at Sadlers' Wells and appreciate what she does, but it never wows me like her Manon did. I've also been to the ENB and one off performances such as Carlos Acosta specials (thank goodness I went to see Spartacus). I'd like to try to see more ENB now and would also say that Thomas Edur and Agnes Oakes were totally sublime. . All that being said, I have a home and a husband to go to, so there are limits! I think MM did a good job with the RB. It's a very difficult balance - and she tried to encourage new works, They haven't been to my taste, apart from Alice,but they have been approved of by others. Basically, "modern" dance does nothing for me. I like a story and I like emotion - oh, and I hated Raven Girl, although I could admire the performances of Sarah Lamb and Melissa Hamilton. Once seen is quite sufficient, thank you. Bring on anything related to Mayerling, Manon, Giselle, La Fille, Onegin. DonQ, Romeo and Juliet etc. I'm bored with the Nutcracker, most RB Swan Lakes and SBeauties, but realise they are box office. I would like to see some Petit, Nureyev, other classical interpretations though. As for the clique around ballet dancers. I joined the Ballet Association as few years ago which gave me unprecedented and in my view unbelievable access to RB dancers, both through the monthly interviews and the annual dinner. Yes, you need to live near London to make the most of this but it is v cheap to join and membership is completely open to all. Some people go to every performance at the ROH, so there is inevitably an inner circle of people who all know each other and also hang out by the stage door. They are easy to spot at the ROH during the intervals. I often go on my own so tried to become friendly. but struggled. Yes, they do know the dancers by name and the dancers know them and are grateful for genuine fans. That being said, at the BA dinner I have sat next to Nehemiah Kish, Philip Moseley, Roberta Marquez (twice), Yuhui Choe and Laura Morera. All were totally delightful. I've seen many interviews including Marianela Nunez, Thiago Soares, Tamara Rojo, Brian Maloney, Jonathan Cope (twice), Monica Mason, Darcey Bussell, Rupert Pennefather, Steven McRae (twice) and many others. Again, all came across as delightful, self effacing and very interesting people and were all very happy to pose for photos and chat afterwards. One would never of course, share those conversations on line. So, yes you can feel an outsider and I do quite often. But you can join in via the Ballet Association and gain some incredible access. I think it is also easy to feel an outsider in this forum too. I read some postings and know I can never compete with the in depth knowledge of some of the people who post here. I wish I could, but I can't, so I don't try. I say what I feel and hope others respect that, which I think they all do. Another way to connect is via Twitter. Bennet Gartside, Olivia Cowley, Gary Avis and others tweet, and during performances. There is nothing like tweeting a comment during a performance and getting an answer back from them during the interval. That is connection! A bit of a ramble, but hopefully, I have addressed some points on the thread.