JennyTaylor

Oops, I might be going to see Steven McRae for a 3rd time - thank you for the tip. Still haven't got tickets for Thiago Soares ,which is occupying my mind . Having never seen this live before, but seen many videos of clips, I went back to the full ABT Mikhail Baryshnikov DVD today, which is even more interesting now I have something to which to compare. He of course is amazing and it's possibly the only ballet DVD for me which brings goose bumps, as it's never possible to capture the immediacy of a live performance on film. This comes pretty close. How I wish I'd seen him live. So, yes I can see the differences in the production, but am still slightly mystified at the criticisms. Much is personal taste. I loved the moving houses rather than a flat set,and I also liked the RB sets for Act 2, but also agree that Act 2 is probably the least interesting - why we might ask. Quality of dancing or overall plot / choreography. I sometimes felt I was watching La Fille or La Bayadere and at one point Giselle, but I have no problem with this as that is RB heritage and I feel familiar with it. The success of toreadors depend on the quality of the male dancing, rather than anything else. I've only seen one cast so far, so will be interested to see others. This is such a great opportunity for top RB male dancers to shine. Overall, I still love it to bits, because it's joyous, happy and after a long, hard day at work, is just what I need.

It seems like the moral of the story is ..........if it makes you happy, then go and see it multiple times. If it doesn't, then leave it for those who do enjoy. Highly interesting thread with such diverse and extreme views. Personally, I'm off to see Steven McRae and Iana Salenko tomorrow........and I can't wait. I'm also taking 2 friends, who I know will be completely wowed. It's a happy ballet - be happy.

Went to the performance this evening and was blown away. Steven McRae and Iana Solenka absolutely amazing. The energy was electric and the dancing even better. I think new heights were achieved this evening, and Steven has tweeted to say it was a career highlight for him. I have no heritage of DonQ apart from old films, and this is the first time I have ever seen it live. I loved it from start to finish. Joyous, fun and a complete tonic in this sometimes dismal world. The RB were at their best, all feeding off each other to provide a performance of great energy, happiness and joy. It must be great fun to do, but also really hard work! Where to start: Steven and Iana were fantastic, and applause broke out on several occasions during the wedding dance sequence. Iana's balances were amazing, not the mention everything else. Steven was everything we know he can do, and then better. It's a part made for him. Thank goodness I have another ticket for Tuesday when they dance again For me, Elizabeth Harrod stood out amongst the ballerinas. I've read some of the reviews and am non plussed by their criticism of the set. I liked the colours and the design. In fact, as you have probably realised by now. I liked everything and especially lf course, Gary Avis as DonQ, sublime as ever in the main character part.

It was brilliant. First, Carlos presented her to the audience in the curtain calls and stood back and applauded. Then more flowers and applause in the cast curtain calls. Then the male principals came on one by one to present Leanne with bouquets. Ed Watson, Nehemiah Kish, Frederico Bonelli, Steven McRae and Thiago Soares. It was wonderful. In one of the red curtain calls, her son came on and presented her with flowers too. Not a dry eye in the house. Lovely also that Brian Maloney has a spot to himself and a flower throw both from the slips but also from behind the red curtain as the dancers also threw flowers at him. Very nice as it must be difficult to leave at the same time as such a prominent star.

My favourite Larischs' were Marianela, closely followed by Sarah Lamb and Laura Morera. What an emotional roller coaster this run of Mayerling has given to us. Just amazing performances and fabulous farewells for Mara and Leanne. I feel privileged and fortunate to have been present at so many performances.

Hello Blackqueen. No it's not part of my job - I'm just a fan and this week has been super indulgent, but absolutely unbelievable in terms of level and emotion of performances. I don't usually go this often, and don't get the same level of satisfaction from other ballets. Over the years I have developed my favourites and Mayerling is right up there at the top (with Manon). I wanted to see every cast as the principals' interpretation is so different and all performances bring such contrasts. I feel so lucky to have had the opportunity to be present.

I'm going 4 times next week (please don't tell!) I'm really excited about seeing Rupert again and Thiago is my dream Rudolf. I've seen Ed Watson many times in the role so am really looking forward to seeing if he transcends previous performances. All the feedback says that he will.

Following on from a previous comment, I received an audience survey today and it was notably changed. from the usual format. So, very specific questions about each ballet and particularly Raven Girl. I was impressed with this as they are clearly trying to source more feedback - and I gave it. Full marks for adapting to the very obvious feedback from the initial performances.

Johan and Alina are the most amazing dancers and will be very sorely missed. I'm now going to commit heresy - so apologies in advance. It would be very interesting to know how many of their joint and singular performances have been "cancelled" in recent years, leading to disappointment for their particular fans. They've never done it for me - and I've made many attempts. I know others feel very differently and I completely respect that - technically they are brilliant and it is very clear that they are respected / admired/ revered. Last time I saw them, which was in Swan Lake, Alina fell off her points in Act 3. I decided that I must be the Jonah so forbore to book any further performances. I did see Alina make her "debut" as Giselle in an ROH rehearsal with Johan. It was one of the most brilliant things I have ever seen. I also once did a tour of the ROH and they were rehearsing Act 3 Swan Lake - they did the full works for us. Utterly superb. Those are the memories which I will carry with me.

I'm not a great fan of Carlos's Rudolf. I've never thought acting was his strong point and I find his interpretation too negative and one dimensional. He just looks cross, miserable and overall, not a nice person (which Rudolf wasn't of course), but I can't empathise, although I want to. There is not enough individual dancing content to balance this, in terms of admiring it for it's own sake. So, do you ever feel for his Rudolf? I don't - but with others I do - Thiago, Ed Watson, for example. Last night I felt Leanne Benjamin transcended all of this, I was totally gripped and their 2 pdd were emotionally and artistically superb. But I found I was concentrating on Leanne rather than Carlos - which for me, when he is on the stage, is not the usual focus. I could not believe the scale of her performance. Everyone else was on top form too - so Zenaida, Laura, Brian Maloney and of course the debonair Gary Avis.

The most amazing performance from Leanne Benjamin last night with Carlos. She was phenomenal.

I went to the performance last night. I had a mixed reaction to Raven Girl. I liked some of the dancing and the visual depictions but was constantly irritated by the dark lighting and the action which lacked dancing content. I felt it was a waste of Edward Watson - so much more could have been created for him and was thankful I had read various reviews and synopses before hand, otherwise it would have been difficult to follow. Still not sure what happens to the Boy - and again, felt that role could have been given a lot more dancing content. I felt Melissa Hamilton gave it her all and deserves great praise whatever I thought of anything else. The part of the Doctor seems particularly thankless. I was really pleased when the lights came up for final curtain and I could actually see the dancers faces and identify them, but I've seen it once, and once is enough. Please could someone tell me what is the point of creating a ballet that everyone struggles to see (I was in Row K stalls). In contrast Symphony in C was unalloyed joy for me. Technically difficult and briliiant, foaming over with principals and soloists, Sarah Lamb, Marianela and Thiago (unexpected bonus). Yuhui Choe and Steven McRae - it doesn't get much better. Add the increasing crescendo of the music and this is pure bliss.

This is a huge OWN GOAL. Do they want to promulgate the Royal Ballet or not, plus upset some of their biggest fans. All the photo galleries show the dancers in the best possible light and are a delight to follow. We should continue to lobby to change this most negative policy.

I'm competely with the comments on dark lighting. I sit in the stalls and even then it can be challenging. I have no truck with "artistic" lighting. We have all paid our money and we really do deserve to see what's happening on stage. Surely this should be the number one criteria for all productions. I was struggling to see some of La Bayadere last week and that was from Row L. Light up the stage properly please

Final performance of the run - Carlos / Marianela = sublime. Lovely touch at the end for the corps de ballet ladies - a single flower presented to all of them. For those of us following them on Twitter, they tell us what hard work La B is for them. Lovely to see the principals applauding them.

I was at the dinner and was really sorry to hear the news. He's been one of my favourites since he danced Lescaut with Sylvie Guillem in Manon and I have looked out for him ever since. That was reinforced when I saw him interviewed at a Ballet Association evening. Really passionate about the Royal Ballet and proud to be one of their dancers.

I went to see Thiago Soares/ Sarah Lamb / Clare Calvert last night and really enjoyed it. Sarah Lamb at the top of her form and Thiago was a romantic and dramatic Solor. Very interesting to see Clare Calvert as Gamzatti. I thought she did really well. Top marks to the corps de ballet who worked their socks off. Was it 4 costume changes for some of them? The Kingdom of the Shades was the best I have seen so far this season- and Act 2 as a whole was a complete joy.

Aged 4, I went to Covent Garden with my mother for a performance of Swan Lake. Beryl Grey was Odette / Odile and astonishly I can remember it very clearly, even down to what I wore and where we sat. I had already started ballet classes and I suspect my first ballet was the Nutcracker at the Fesitival Hall, but I don't remember that. Subsequently we went to the Nutcracker every year. Going to Covent Garden was a treat that was almost beyond unimaginable. My mother once got tickets over the phone for Fonteyn / Nureyev but they never arrived and I know she cursed herself for not going up to London to collect them, but that was a big consideration then, so she didn't go, and we never got to see them. I saw Giselle at the ROH (Merle Park) with my ballet school, and Coppelia at the Festival Hall (Lucette Aldous). Then Monica Mason in Swan Lake at Leatherhead (school trip). I was really impressed. Many many years later Monica mentioned that performance on a discussion on the Swan Lake DVD with Marianela. I could not believe it - I was there and I remember it. I think I was 11. The question is - will I ever rediscover the theatre programme which I know is secreted somewhere. I had a long gap during which I grew up, bought a property, could not afford anything until a colleague at work asked me to apply for Paul Hamlyn tickets as she couldn't, being a Friend already. I did, we went to Giselle and I was lost forever. She showed me how to buy the cheaper tickets so I started to go again in the early 1990s. The first visit was Mayerling. I had no idea what I was viewing having lost touch, although never the love of ballet , but it was stunning and I was hooked again. Then I discovered Sylvie Guillem and she became a must see. By this time I was in a much better position to attend more often and so it has blossomed over the last 20 years. Now I have an avid interest in each RB cast and the different interpretations these bring. I've stuck to the RB as I love visiting the ROH and I've got to learn about all the dancers. Thank goodness though I went to see Carlos at the ENB when he danced Spartacus. I've dabbled with others, but never quite to same for me.

I'm interested to know what everyone thought about Bennet Gartside and Mara. I saw the performance last night and thought it grew in intensity and the Bennet gave a very empathetic portrayal of Rudolf and absolutely gave it his all. Mara was exemplary as always.

I loved tonight's performance with many highlights to pick out. Roberta Marquez and Steven McRae are always one of my favourite couples and tonight was no exception. A particular highlight was also the performance of Yuhui Choe as Gamzatti. Superb dancing and great stage presence. Also a very impressive High Brahmin from Eric Underwood and no performance is ever complete without Gary Avis.

Thiago was the best last time round. I try to see all interpretations, and I agree, he was the only one, who made me feel sorry for Rudolf, who let's face it, was not a particularly nice character. Superb performances. As for the DVDs, both are excellent and if you are new to Mayerling I don't think it matters too much which one you opt for. Mukhamedov was a definitive Rudolf and I wil never forget the power of his final performances and feel privileged to have seen them. Ed Watson and Mara "meld" so they are special too. What is so interesting about Mayerling is that every Rudolf is so different, but the dancers who can act as well as dance, are the most powerful. So interested to see that Bennet Gartside is going to perform the role now. It will be fascinating to see his interpretation.

I've tried most areas in the ROH and in general I think you pay for what you get but it's true in the Orch Stalls, you can pay top price and if you get tall people in front of you, the vision can be very restricted - very annoying. Rows H, J, K are probably the best with Row H sides being particularly good as they are over the exits so there is no one in front of you. Be careful if you venture further forward. I think the rake actually goes down in C and D. The sides are better. Boxes are really disappointing if you are in the 2nd row of seats. I once had tickets for the royal box (top price by the way) and it was dismal for sightlines - it was Sylvie Guillem in Manon and the last tickets available - that's my excuse anyway. I have also sat right at the sides of the Stalls Circle, very near the stage - for Mayerling. Marvellous close ups of the dancers, but when they committed suicide at the end - we couldn't see a thing, as it happens at the back of the stage. There is also personal preference. I like to see the dancers' faces close up, so opt for Orch Stalls (sides are quite good for slighter cheaper seats) . However, argually, a position higher in the theatre enables you to see the corps de ballet at much better advantage. If you have vertigo - don't go near the Slips or back of Amphi. I once tried to Slips and spent the whole of the 1st act clinging onto my seat and not seeing a thing as I couldn't look over the edge. The back of the amphi is steep and can have the same effect. The design of the Opera House is generally poor for the spectator as it is so curved, but at least you can see the view when you book your seat - very useful.

I went to the matinee today and we had Yuhui Choe and Nehemiah Kish - delightful. I was particularly pleased to see Brian Maloney as the White Rabbit and Itziar Mendizaba was excellent as the Queen of Hearts. I always feel this is a show rather than a pure ballet but love it - pure enjoyment.

Goodness me, this really is "in the eye of the beholder", so many different opinions. I thought La Valse was very pretty but not much else. The 1st act ballets then improved and reached a dazzling crescendo with Alexander Campbell and Yuhui Choe who received the most spontaneous applause from the audience all evening. I hated Monotones. Nothing to do with the dancers at all, but no atmosphere and dreadful costumes. Of course, I had bought my ticket in anticipation of M&A. I thought it was very good and was really hoping to be moved, but it failed to do so. I'm slightly bemused by the critics adulation. For me, Sylvie Guillem and Jonathan Cope are still unsurpassable in this ballet (I never saw Fonteyn & Nureyev - so wish I had). I remember going to a ROH rehearsal where Jonathan (in some orange shorts) and Sylvie (who I understand did not believe in public rehearsals) marked a lot of their steps but still did the PDDs, and I was swept away but the speed and passion of their delivery and came away walking on air. The audience reception last night was quite muted initially. Only when the principals and cast made their bows was there more reaction. Compare that to the spontaneous reception for Alexander and Yuhui, and Onegin with Marianela and Thiago last week - not a patch. I'm sure the intensity will heighten in the next 2 performances.

I saw 3 performances 2* Marianela/ Thiago and 1* Bonneli/ Morera and all were fantastic. The 2nd Marianela / Thiago performance hit completely new heights as was recognised by the uproarious reaction of the audience at the end. I also loved Laura Morera and indeed all 4 principals in that cast. A special mention for Nehemiah Kish as Lensky - a very moving performance. I love the dramatic story ballets. Roll on Mayerling.