nevsky

It is in the ROH magazine that the Swan Lakes which originally listed Lauren Cuthbertson are shown as TBC. The website has given her name all along.

Elena Glurdjidze has not been seen often enough on an ENB stage in the last two years, which has been a great pity for all ballet lovers since she has the capacity to dance from the heart. She can live whatever role she is dancing, becoming the character and feeling all the joys or sorrows that are part of it. Look back to her Juliet at the Albert Hall and her Swanilda yesterday in Oxford. She has this rare quality that brings the audience into the world that she is experiencing. The fact that she is a terrific dancer as well goes without saying. After Swanilda in Bristol there is just one Swan Lake in Liverpool and one at the Coliseum in January (along with quite a few Nutcrackers, of course) and then she bids farewell to ENB. She will be missed as she is a great example to younger dancers as well as a big favourite with us, her fans.

People who are unhappy about the comments on Osipova, which I did not find either insulting or offensive, are free to make positive counter claims to redress the balance.

I thought this forum was for us to discuss issues of interest not for an individual to take against another contributor and criticise him/her in a somewhat unpleasant manner (see above). Incidentally, looking at the many nom de plumes adopted across the forum it seems inappropriate for Bruce Wall to take against one individual who uses such a means of identification.

I hadn't noticed that restriction because I went straight to the magazine and did not read the letter. Why would they want to prevent Friends coming to see a variety of casts. I am a Friend and feel I may be disadvantaged as I always come with someone and am buying two tickets for each show, so I am limited to three shows per production now. Some people are paying a lot more than I am to be Premium Friends. They must be even more outraged as they have got the same letter I presume. Why would they bother to renew a membership at that level?

At a recent Insight Evening on Manon Anthony Dowell explained that De Grieux was young, shy and inexperienced with women. Last Sunday afternoon Vadim Muntargirov captured that naiviety and hesitation exactly. He feels awkward with the girls who try to take his books and carefully moves his chair away from another group so that he can sit alone and not interact socially. Of course this is how Kenneth Macmillan conceived the character. Someone implied that he did make a big impression initially but he was simply being De Grieux. His first solo exhibited his strong technique, powerful and expressive upper body and beautiful leg extensions, his whole frame demonstrating the thrill that was surging through him as he sees this girl and dares to tell her how he feels. As the ballet proceeds his character emerges strongly, both in his acting and his dancing. This was a quality performance. In fact it was compulsive viewing for me. I was almost loathe to look away in case I missed the many nuances that he packed into his character. He is a dancer whose technique is strong and sure. He immerses himself totally in the character to such an extent that he becomes the character. He moves through the exhilaration of first love to the bewilderment of having been deserted. His solo at Madame's is full of despair and then renewed hope. The audience felt his heartbreak. Then his defence of his love when they arrive in Louisiana as he protects her from a new 'GM' and the injustice and anger he feels when sees it happening AGAIN. This produced the most powerful scene potrayal of the killing of the Gaoler that I have seen in many years watching this ballet. In Vadim Muntargirov we have a splendid dancer, able to fine tune all aspects of his craft to produce a fully rounded performance. What a joy he was to behold. Someone wondered what he would be like in Romeo. If you had been at the Albert Hall last June you would have discovered that he can be superlative in that role as well. Equally he can handle the many facets required in contrasting roles like Conrad and Apollo. Welcome to the Royal Ballet Vadim, we are pleased that you are here. Watch out to see how he handles Ashton in the coming mixed bill.

I have seen quite a few performances of LeCorsaire in the last few weeks. Capybara has expressed his/her thoughts so eloquently that I am not sure I could match them. The thing that sticks in my mind is that the dancers are really inhabiting their roles and not just dancing their steps. I have seen them develop as characters as the performances click by and, on a crowded stage, as it is in Act 1, reacting to one another, whether it be as merchant, pirate or assistant to Lankedem, in a naturally responsive manner, nothing choreographed here. Other contributors have highlighted individual dancers. I have been impressed with them all. This is a slick production with a lot of fast moving action but above all it has very good classical dancing which is the real basis of its success.

I am sorry about this. I am a relative newcomer to writing on this site and took my cue from other people. The dancers who were not credited on the cast sheet and whom I referred to by their given names only in post #121 above were: (as Toreadors) Eric Underwood, Fernando Montano, Valentino Zuchetti and Dawid Trzensimiech (as Urchins): Kenta Kura, Paul Kay, Michael Stojko and Luca Acri

I do like to be close enough to the stage to be able to identify all the dancers. I saw the General from the back of the Stalls Circle and was glad that I was just behind the cameraman as I could glance across at his monitor when he was in 'close up' but, apart from named dancers, I was not sure who I was seeing. Now that I have seen both the McRae cast and the Acosta cast, I feel that I am better able to manage some comments. The cast list that RB publishes is one of the briefest that I have seen. What about those dancers who were occupying significant though not major roles, and 'dancing their socks off'? They were ignored. Two toreadors are listed but there are four others: Dawid, Valentino, Fernando and Eric. I think that most of them appear as gypsies as well, though it is hard to tell. Also, the 'urchins' dance really well. Some people have felt them inappropriate but they have been given a number of opportunities to shine and that is what they have done. Paul, Michael, Kenta and Luca - well done. Also it was really pleasing to see Ben Ella. His injury at the time of the Ballet School performance has meant that he has had to be absent from dancing roles for too long. As to the two performances, overall the Carlos/ Marianela cast proved to be the stronger for me. Rio was excellent as Espada, not only dancing with panache and great vigour, but adopting the right somewhat arrogant pose of the great bullfighter. Bennet was really good as Gamache. His characterisation meant that it was easy to empathise with him, whilst Tom Whitehead seemed to be much more at home as the Gypsy Chief. As Gamache his wig seemed to be too much to see his face properly and much of his acting disappeared into his curls. Of course Marianela WAS Kitri. She really burst onto the scene and danced with great verve. Carlos has an easy manner on stage. His presence commands attention. However, the final pas de deux stretched him somewhat, and he does not look good in the cream costume. I can only assume that the choreography for the man here was left to the dancers to interpret as they wished, hence Steven was by far the superior dancer with spins, jumps and turns that left the audience breathless. After seeing three performances I think I must be coming to terms with the moving sets, unnecessary and probably expensive, the somewhat washed out costumes for the corps in Act 1 and the music - more brillo please. Also, I have decided that the fandango is really rather boring. I am not sure why the Gypsy Chief and his girl have to scrub up and change costume to dance this. Perhaps an opportunity for others to shine here would be good. However, by 10.30pm I had to admit that I had enjoyed myself. I am not drawn to any of the other casts. Well done to Carlos for all his efforts. It is a welcome addition to the repertory and does not deserve to sink without trace like earlier RB efforts have done.

I too was at the rehearsal. I agree that Steven produced stunning solos. Anna Rose was certainly the star of the dream scene. 'Lavish' does describe the sets. Almost unnecessarily lavish I would say. Prepare yourself for the buildings in the Square being on the move, frequently. Gamache's house moves into place enabling him to enter and is then whisked away. Other houses come and go. In the gypsy scene the windmill comes and goes, at each entry it gets larger. This all happens whilst the guitar group is playing and so diverts attention. The set for the Queen of the Dryads scene is a spectacular arrangement of huge flowers. Great to look at but they do somewhat dwarf the dancers. Be prepared for spontaneous outbreaks of shouting from those on stage. Listen out for music from La Bayerdere. Above all enjoy a new experience. I am reserving my judgement until I have seen another performance.