JennyTaylor

Jackpot duly hit by Matthew Ball and Laura Morera. Act 3 WOW! That peculiar rule about not clapping in rehearsals was replaced by roars of approval

Rehearsal this evening is the Matthew Ball cast. I feel I’ve hit the jackpot and I haven’t seen a single step yet

I went to see Onegin last night. Needless to say, it didn’t disappoint. The emotion of that final pdd! The applause started long before the curtain fell, and there were multiple curtain calls (I lost count). A wonderful evening.

I've just read Susan Scarlett's Pirouette. This is Noel Streatfield writing under another name. All Susan Scarlett's books have just been republished, so available in paperback or on Kindle. I'm enjoying them all.

I thought the cloak and hat so wasted. The hat was thrown off at the start, and after one amazing twirl, the cloak followed in the same direction. Such a shame.

I was there last night and thoroughly enjoyed the evening, though slightly irritated that it overran massively. Yes, Cesar Corrales was fabulous. The power, the intensity, the technique.........and it was great fun! Loved it. In complete contrast, but equally fabulous were Will Bracewell and Francesca Hayward in Giselle, especially when it must be so difficult to capture the atmosphere of the ballet from scratch. Yes, Francesca was a touch wobbly at the start but it was so beautiful and Will danced with intense elegance and grace. Wonderful. If only he'd been cast in the RB's last Giselle run. I felt very sorry for Guillaume Cote who opened the bill. The lighting did him no favours and he had to follow on from what seemed to me to be somewhat bizarre comments by Monica Mason about Nureyev's poison. At the time I could only suppose that she was alluding to something of which I had no knowledge, but the fact that she used to word twice, really jarred on me. So, I was still dwelling on that when Cote started to dance. I think he was given a raw deal. Yes, the stage did seem very small, but at least we had a live orchestra. The size of the stage did detract from some of the dancing though. It reminded me of when I went to see a performance of Swan Lake at Tonbridge Wells theatre. The less said about that, the better, but not what I expected from Drury Lane. I'm always interested to see new dancers and was particularly impressed by Frola. His footwork was superb and he really stood out in what was a star studded evening. Really underwhelmed by the Sleeping Beauty pdd and solos. Vadim was hampered by the stage size, but nevertheless, his usual self. However the Grand pdd for me seemed underperformed, too slow, hesitant and lacking in any sparkle whatsoever. Natascha Mair seemed to perform only the simplest of steps. Is this me - or did anyone else feel this? It would have been good to have more interviews about Nureyev, just to give the evening further insight and interest, but highly recommended even so.

Yes, running time was supposed to be 2 hours including interval. It was never going to happen

Will Bracewell was so interesting and he talked almost non stop for over an hour with a few prompts from David. We went through last season, the R&J film, next season, his early career, BRB, coaches, working with different ballerinas and choreographers, acting. Throughout, he came across as modest and unassuming. We all know what a wonderful artist he is and his humility is a joy. My first BA in person meeting for probably 3 years. It was well worth it but I do empathise with those members who would also like a virtual option too.

At last night's dinner, it was noted that Covid has hit the Ballet Association membership and attendances at meetings and new members would be very welcome indeed. As a member of several years standing now, I would highly recommend to any London based ballet fans. The membership and meeting fees are very reasonable and are very good value in terms of access to RB dancers. Last night, I had Bennett Gartside, Leo Dixon and Dame Monica Mason on my table. Steven McRae was just behind and Kevin O'Hare on the table on the other side. Over the years, I've got to know many of the dancers by attending the dinners. It's all very friendly and informal.

First of all, I've really enjoyed reading everyone else's posts. It's brought back so many happy memories. For me, I think this has been the best season ever for two reasons. First, because COVID lockdowns have made me realise how precious it is to be able to go to the ROH and see these amazing dancers. Second, because the dancers - and that's all the dancers - have been fantastic. The standard of performance is now mind blowing and very inspirational. Top, top, top for me are: Fumi Kaneko and William Bracewell in Romeo and Juliet, which I had the privilege to see 3 times (inc. rehearsal). Mind blowingly marvellous in every way. Laura Morera and Federico Bonelli in Giselle. The strength and depth of their performance and the emotion they brought was breathtaking. The Swan Lake for Ukraine - what an evening, what a performance! Then, in no particular order because I'm unable to choose: I loved seeing all the different interpretations of R&J, Giselle, Swan Lake. All the different partnerships, the brilliance of their dancing and the bringing in of more junior members to play the important secondary roles. What depth of talent there is now. Fumi Kaneko and Will Bracewell in anything really. I see I am not alone in my adulation of these 2 dancers. The Ashton Triple Bill - more, more more please! Gary Avis in all his various character parts. His VR was chilling, his Tybalt was so finely crafted and his Duke of Courland in Giselle, a delight. ......and then there's Drosselmeyer, where he is unparalleled. Special mention for Claire Calvert in Swan Lake. What an evening. You could feel the love!

No, nothing. Usually, after a ballet, the music goes round and round in my head, not because I choose to let it, it does just it automatically. I haven't had a single note of LWFC repeat in my head, nor can I remember it at all even when I try. Very disappointing actually, because the music plays a big part in the emotional experience for me. .

I went last night too, for the 3rd time, and for the 3rd time of seeing this cast too (accident rather than design). I certainly find it difficult to see how anyone could surpass the quality and passion of their dancing and acting: they were all were all magnificent and fully deserved the standing ovation. As for the ballet itself, sadly it still failed to move me, and I still haven't found a tune in the music which I can latch onto, although it's all perfectly pleasant. I do now have favourite moments, such as Yasmin and Will Bracewell's pdd at the start of Act 2 and Joseph Sissens (just watch those hips move!!). So, it's the dancers themselves which make it for me, rather than the ballet itself.

A bit of a nightmare trying to book tickets this morning. Finally, after changing browsers and accessing the ticket options via my Friends' page, it finally recognised me and stopped giving technical errors. In the meantime, I tried phoning the Box Office, but was continually on hold. Oh the joys....................

I went last night (second time) and really enjoyed it. A lot more than the 1st showing. That may be because I had a brilliant seat at the front of the Orchestra Stalls, so I was able to enjoy the full impact of the orchestra and see the dancers really close up. I'm still not sure if this is a sustainable ballet. The performance of all the dancers was fantastic (once again) but I think my initial view was reinforced: the music doesn't move me at all - it's pleasant but I don't remember any of it afterwards. Normally, I have music running through my mind for days afterwards. Act 1 is too long, but Acts 2 and 3 have some fun moments and I enjoyed them more. Discussing with friends during the intervals, we all preferred Alice and The Winter's Tale to this latest offering. It has many merits and judging from the Instagram posts, the dancers are enjoying it. I'm going one more time so, I'll be curious to see if my reaction changes again.

I saw her in the area below the Orchestra Stalls with a couple of friends.

...oh, and yes, Marianela was there as an audience member

My first viewing of this ballet today and where to start??? Firstly, I'm not surprised that BalletCoers are raving about this cast. It was always my first choice cast and they were electric. Fantastic performances from everyone. Cesar Corrales' wow factor just seems to get more stunning every time I see him. Yasmin Naghdi gave everything and Will Bracewell was perfectly cast as the sympathetic doctor......and Fumi (!) what a characterisation! My jury is still out on the actual ballet. I am seeing it again next week so expect to have a more concrete opinion then. First thoughts were that the music was far too similar to the Winter's Tale and I kept having throw back moments throughout. I like the Winter's Tale but I don't wish to see it repeated in another ballet, I want something different. Also, I couldn't find a haunting melody to latch onto - there were snatches, but nothing that stuck. Reading the synopsis is essential if you are going to follow anything that's going on. I've read the book, but didn't care for it. However, it did help in this case to resolve the plot. The action moves fast (good) and the scenery and props are very well thought out. Not so keen on the fact that there is a symbolic tree (another echo of the Winter's Tale) though nothing like as resplendent as in TWT. I didn't have any moments where my spine tingled, or a hairs on the back of the neck moment. Perhaps I will next week. I hope so. However, I did appreciate the superb dancing by all concerned (watch out for Joseph Sissens in Act 1 in particular). Do I want to see it again - yes I do. Will it be a fixture on the RB repertoire in years to come - I'm not sure.

I think I will be saving quite a lot of money on the Mayerling tickets. I'm actually very disappointed with the Rudolf casting. Matthew Ball was brilliant last time round and it will be very interesting to see Vadim, but apart from that, I will focus on any ballerinas I wish to see. However, I disliked one particular portrayal of Rudolf so much last time I saw it, nothing would tempt me again, I'm afraid. Such a shame, as it's one of my favourite ballets.

What a hugely interesting thread. I've seen 10 performances of Swan Lake live and all have moved me in different ways. Yes, the Act 3 fireworks have been performed in many differing ways and I know which ones I preferred. I have tried to refrain from criticising where perhaps critical comments may have been deserved, because I have loved all the dancers I have seen, but I will say, I hope in a polite way, where I have been disappointed. There are dancers, which I simply don't book to see, because I know I will get nothing from it, or be irritated. So, sometimes, silence can be equally powerful. I prefer to praise if I can, but no comment is also an option. In my mind, any Principal of the Royal Ballet should be up to performing Act 3 to the highest standard. I'm sure they all can in rehearsal so when they don't, it's a disappointment to the audience. Often, as others have said, I'm feel more for the dancer concerned than I do for myself as an audience member and when Act 4 comes along, it's all forgotten. But this Forum thrives on personal opinions and long may that continue.

What I love about William Bracewell, apart from his beautiful, lyrical dancing, is his acting ability which makes every performance he gives in roles such as Romeo and Siegfried so amazing. This is the reason I try to sit really close to the stage, as I am mesmerised by his characterisation second by second - so much does he bring to the role. The cinema close ups bring us all these different fleeting expressions perfectly which is why it is sometimes better to see the cinema production than the the live theatre. Of course, it is best to have both worlds, but having seen the cinema cast live last Friday, I was very happy to see it at the cinema again, in all its glory. Members of this forum know I am a huge Bracewell fan, having fallen for him in Madrid in this ballet, from a clear blue sky. I note this ironic salute to VR has now disappeared and they just nod at each other now. On a different note, how can a lovely chap like Gary Avis produce such a malevolent VR? Just amazing acting! Again, seeing his facial expressions close up - just chilling!

He's doing an interview with the Ballet Association on the 16th June!

It seems that his ballerinas value him. That's another bouquet for him from Lauren last night!

Lauren was not underpowered when I saw her last week. It's not a super fireworks type Act 3, but it is in keeping with the overall tone of the whole performance. A spontaneous standing ovation (including Orch Stalls) was the audience's reaction at the end.

Lovely to see Lauren present a whole bouquet to Will this evening as in Rob's picture above. So privileged to have tickets in Row A of the Orch Stalls, where I wallowed in being able to see every fleeting expression of the dancers' faces. I picked them up only yesterday and gave my original ticket back for resale. My husband suddenly decided he wanted to come to see what all the fuss was about. He thoroughly enjoyed it (having previously being in the habit of falling asleep, hence I now usually go alone.) I could see he was enjoying it, which made it even better. Will Bracewell is such a joy to watch and with Gary Avis as Von Rothbart, the interaction between the 2 is a masterclass in characterisation, never mind the dancing. Lauren was extremely expressive in Act 2 in particular and you could see the fear in her eyes. The depth of characterisation was superb. It wasn't flamboyant though the Act 3 party pieces went extremely well, but somehow given the mood set by Act 2, that seemed appropriate. Act 4 was heart breaking - how I love the music. Still feeling the beauty of it all.

Standing ovation for Will Bracewell and Lauren Cuthbertson this evening. This was a tender, tragic love affair. Very beautiful indeed. Still recovering from this wonderful experience.