JennyTaylor

So sad not to see Laura Morera tomorrow. She and Matthew Ball were stunning in the rehearsal.  Just so pleased I saw that, because it will never come again now. 

40 minutes ago, capybara said:

I can't help feeling that 'splashing the cash' on (quite frankly) ridiculous designer costumes for works such as Prima (there are other previous examples) and unnecessarily extravagant sets should become a thing of the past if the ROH is to cut costs.

 

It simply can't go on and on and on about ACE reductions without taking a serious look at itself in every respect.

Having read the explanation for the costumes in Prima, it seems the ballerinas were viewed as models on a catwalk and hopefully some sales for the designer from their performance would ensue.  Having been privileged to see how the costumes for the Winter's Tale and Swan Lake were created, I'd suggest the RB stick to their traditional in-house creative team for their "proper" ballets. 

Yes, for me dungarees, pants and vests have the effect of making me loathe the ballet before it even starts, and they distract me, because I keep thinking how much I dislike them. 

Interesting that Leanne Benjamin in her recent book spoke of her love of dancing with minimal costumes.    

Each to their own. 

I usually vote with my feet when the RB present a "modern bill". Unfortunately, I wanted to see several other aspects of the "Celebrations" so in this case, I chose to attend and am going again tomorrow.     

I've seen the programme twice, once at rehearsal and once in the cinema.  I enjoyed the cinema performance far more, because it was better lit and the dancers were close up.  Obviously the dancing was up a notch too, but that's the difference between a rehearsal and a performance, though not always it has to be said!  I also enjoy the interviews and chat that they add to the cinema performance especially in this instance with all the new works, as they gave further insights. 

I've loved reading all the comments. Isn't it great when so many people can see it so early on.  Some random thoughts from me. 

I loved the chosen opening of the overture from La Fille. In the theatre, I felt quite moved as it is such a beautiful price of music and lovely to see if followed in the evening by Alex and Anna-Rose. Who else held their breath at the end in anticipation of that fiendish lift which closes the whole piece? They made it!  Made me wish to see the whole ballet again please - and soon. 

Manon - the same. Think of all those luscious partnerships there could be. 

I don't like Wayne McGregor's pieces but did appreciate Melissa Hamilton. Stunning performance from her.  

Prima and For Four - really enjoyed seeing the wonderful dancers, but could find no pattern, story or emotion to latch onto, so left a bit cold. Zuccetti definitely my favourite of all the new choreographers. 

See Us!!  I interpreted this as being about black power because it started off with Joe Sissons doing what looked like a black power salute, but I may be completely wrong here. Certainly, the dance and dancer sequences line didn't then follow that path later on.  There seemed a lot of anger, posturing, youth moment - I don't know!!  Is that what it was about?  Certainly, the choreographer didn't explain in his interview.  For me, this was dance not ballet.   

Dispatch Duet - longed to like it as Will Bracewell was in it - but sadly, apart from looking at him, I could find no meaning to it and hated the music.  Weird costumes too.  

If we look at the choreographers chosen for the new works, then diversity and inclusion is well served. 

Diamonds - Hurrah!  The real performance was fantastic.  Marianella and Reece sublime. Oh, what a joy. That's what I pay my money to see.   Left on a huge high. 

8 hours ago, emmarose said:

 

I found myself start to clap when the curtain opened and asked myself why I was clapping.

But yes, it very much felt like, at last, something spectacular was happening.

They did the same thing at the rehearsal, and yes, it felt very much like "thank goodness, here's something beautiful that we know we will like".   You could almost hear the sigh of relief

1 hour ago, alison said:

I'm afraid that the Toonga piece, with dancers in dark clothing against a dark background, didn't come across well in this cinema

At the rehearsal this morning I struggled to see it at all. At the cinema this evening it was slightly better for being much closer in shot

Meaghan Grace Hinkis is injured (announced at the rehearsal this morning).  She was dancing La Fille with Luca Akri.  He performed on his own this morning, to rapturous applause. 

Vadim's success (he was amazing and performed way beyond my expectations) is an illustration of why it's so good to have new and different dancers take on the role of Rudolf.  How I would have loved to be anticipating the debuts of Will Bracewell and Reece Clarke (for example) in this most stretching challenge for male dancers.  It was also really refreshing to have so many other dancers making their debuts - so much to see, so much to relish.  

I'm still wondering why I didn't get the goose bump moments which I experienced when watching Matthew Ball and Laura Morera in the rehearsal. I wasn't expecting this reaction in a rehearsal but I was blown away by their chemistry.  Personally, I didn't feel that with Vadim and Yasmine this time round and can pinpoint this to the way Yasmine interpreted their first pdd.  I'm still surprised though, given the power of the entire performance. However, I have a ticket for the 11th, so can enjoy it all over again!   

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.  

11 minutes ago, Fonty said:

 

With regard to Don Juan, it also showed Nureyev's ability to work a particular garment.  I refer, of course, to the cloak. 🙂

 

 

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.   

17 minutes ago, alison said:

It finished about 10 pm, but that allowed for major overruns at intervals and a late start, I think.

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!

24 minutes ago, Rob S said:

 

The music for the first wedding?

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.   

21 minutes ago, Angela Essex said:

Really? If so I missed seeing her she’s my idol 😭😭😭😭

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.