Balletfanp

It’s lovely, and the photos on Instagram were adorable!

I was vaguely aware but it’s a long, long time since I gave them even passing attention!

I think the song is high up in the UK charts at the moment - or so I discovered on looking it up! I’m way behind the times these days....

If this doesn’t put a smile on your face you’re beyond help! Just what I needed at the end of a tough working week - thanks to Vadim! Hope the link works.....https://www.instagram.com/tv/CKoti3ypC3t/?igshid=ixn4qduso7oi

Ditto! Merry Christmas to you all!

Beautiful!

Yes, and they were well-deserved, she was a delight.

I think so - I made a point of thanking the front of house manager as I was leaving and trying to explain that I wasn’t usually that clueless (well, not most of the time!), and he did say that they couldn’t do so at the moment - I couldn’t question him further as I was blocking the exit and I didn’t want to blot my copybook any more than I had already! I think there is one more performance tonight.

It already feels rather poignant to be talking about Sunday’s performance given the developments today, but I feel extremely lucky and privileged to have seen it, having missed out on the previous galas because of lockdown - just got to see this in the nick of time. It felt wonderful just to be back in the building, not that I saw much of it. But the production itself didn’t really feel lacking in any way - the revamped battle scene was effective, the party scene felt more like an intimate family gathering rather than a big event, but no worse for that. The children who were there performed beautifully (I don’t know who the red haired lad is but he stood out for me as a lovely little dancer with a real presence and personality). Fewer snowflakes didn’t detract from the effect. And of course, the glorious music still sounded wonderful with a smaller orchestra. I have to say I spent most of Act 1 in tears (Gary Avis’s first chuck of glitter set me off!), the wonderful transformation scene (as impressive as ever), and that gorgeous Clara/Hans Peter pas de deux, followed by the snowflakes..... bliss, I had thought it would be much longer before I could watch a ballet in the ROH again and it was just wonderful to be there and immersed in it. Managed to pull myself together for Act 2, until Nunez and Muntagirov set me off again! Act 2 was just as lovely as ever although it was a shame the Spanish and Arabian danced were taken out, but what remained was superb. Actually, I very nearly missed Act 2 - I hadn’t realised that there was no warning announcement or bell when the interval was due to end, and was talking to a friend when the orchestra started retuning. I had to sprint back to the stalls but some doors were no entry so - panic! An usher showed me the way but by the time I got back to the stalls entrance the music had started! God bless the lovely front of house manager who took pity on my consternation and let me in! But I then had to run right down to the front only to find I couldn’t get into my row because two blind girls with guide dogs were at the end and I couldn’t in all conscience ask them to move. So I had to duck and sprint along the empty row behind and clamber over the people at the other end to reach my seat, with the whole audience glaring at me..... 😳. If you were there and I momentarily blocked your view, I can only apologise....Yes, I became the sort of person I normally tut at - I will be more tolerant in future! Finally slunk in shame into my seat at the exact moment the curtains opened! Embarrassment aside (I’m still squirming!), the performances were all fantastic. Standouts for me were of course Anna Rose O’Sullivan and James Hay (he makes a lovely Hans Peter). I’ve seen a good few Rose Fairies now but I think so far Claire Calvert is my favourite. She may have missed out on the Sugar Plum Fairy role this year but she really made her Rose Fairy count. Giacomo Rovero danced the Russian and I found him a very engaging performer. And of course Nuñez and Muntagirov were just sublime. A reviewer recently suggested that they are always so good that there is almost no point saying any more about them. I disagree - if a performer is as good as they invariably are, then they deserve the praise as much as anyone else. We are privileged to have two such consummate artists here in the UK to enjoy and we shouldn’t begin to take them for granted. I think the look on James Hay’s face as he watched them from the edge of the stage said it all! It looked like love! Now back down to earth earth with a considerable bump, and wondering when another visit is likely to be possible....🙁

Red scarf and bobble hat definitely Anthony Dowell.

I haven’t got Zoom open at the moment so stating this from memory, but if she logs into her Zoom account and clicks on the recording, there are different download options that give different views, e.g. speaker view only, speaker plus gallery (which is everyone else on the screen so perhaps that is the one she needs to download).

I think that’s just the group tickets. It still says 100+ tickets left in singles and pairs.

I was getting very irritated by the camera angles - why would we want to see a view from the side, for heaven’s sake?? And the sound was completely out of synch with the dancers in the pas de Deux part of the the Tchaikovsky Pas de Deux. Thankfully they had sorted it by the time they did their solos and coda. But Muntagirov had to cut off the end of his manage because there was no room on the stage for him to finish it. All that said, I’ll take what I can get at the moment!

Darn, if I’d known I’d have been tempted to back it! 😂

My late father was a pianist and hated Scott Joplin! He said it was simplistic, overrated and all sounded the same. Having seen Elite twice now, I’m inclined to agree with him....

Forgot to say - Monotones I found rather tedious (and I’m usually an Ashton fan!) on first viewing but it grew on me slightly second time around - I just think it goes on for too long. No criticism of the performances, though - Melissa Hamilton was perfect for this (and what beautiful feet). And Yasmine Naghdi is perfect for that Concerto movement. I must also say a word about Nicol Edmonds’ excellent partnering in both Concerto and Monotones - unobtrusive, but solid, secure and sensitive. I’m sure his partners appreciated it. Clarke too.

I rewatched the livestream last night as these days I feel I need a bit more time to digest performances to crystallise my thoughts before writing about it. Things fell into place in my mind a bit more on a second viewing! My thoughts in no particular order.... I really liked Scherzo and I think Valentino Zucchetti should feel justly proud of his creation. It was lovely to see dancers who rarely get much of a showcase dancing so beautifully and I loved the fact that all the dancers involved had a chance to shine. A stayer in the repertoire, I hope. I won’t write at length, but other highlights for me were Takada’s delicacy and musicality in Rhapsody (and that music slays me every time, anyway!), Morera and Bonelli’s accomplished and moving Manon, Pajdak brittle and emotional with Calvin Richardson (I agree that she would make a wonderful Juliet - too much to hope that she may get her chance when things eventually go back to normal?), Bracewell’s grace in Dance of the Blessed Spirits, and of course, Nunez and Muntagirov - how lucky we are to have two such brilliant and world class international stars here in the UK. Muntagirov’s stage presence seems to grow with every performance and he seemed to garner the biggest cheer of the evening for his variation, which says a lot considering it came from his fellow dancers and colleagues. I’m going to make myself unpopular now by saying that I found the Tchaikovsky Pas de Deux slightly disappointing! I had looked forward to seeing O’Sullivan and Sambe, and it was danced well - but somehow lacked that full-on sparkle and exuberance that this piece demands and I didn’t think the fish dives gelled (in fact I felt a bit worried by them!). I think it suits Anna-Rose O’Sullivan, but I’m not convinced that it’s Sambe’s role.... Given that I had tickets for that night 😩 this wasn’t what I had wanted but I’m so glad they streamed it - at least I didn’t miss out entirely! Well worth a tenner.

This is all over the internet now and rightly so. Brought me to tears.

I have a single ticket for the 10th Nov (a Tuesday) and now cannot attend on that date. Not a fantastic seat (Upper Amphi, R77) but £10! And seeing as single tickets are like gold dust.... I’ve cross-posted in the Tickets for Sale section. Please message me if interested.

I have a single ticket for the 10th Nov (a Tuesday) and now cannot attend on that date. Not a fantastic seat (Upper Amphi, R77) but £10! Please message me if interested.

I thought I had seen something somewhere to the effect that there would be no promotions this year?

Also Leticia Stock is expecting a baby and Gemma Pitchley-Gale had one a little while ago (all public on their Instagram accounts).

I do know what you mean, Fiona, because I thought the same myself. He was nothing less than Majestic (the capital M is intentional!). And Marianela just looked so thrilled to be back on stage. A wonderful performance that showed clearly why they are at the top of their game. The other highlight for me was Anna Rose O’Sullivan and Marcelino Sambe in Fille. I love that pas de Deux anyway and it was just such a mood lifter that they performed delightfully. But I wish they could have found someone better than Anita Rani to present it. The inane comments and ill-judged jokes fell flatter than a pancake....

I had booked Giselle at Cineworld last week... *sigh*. The refund has just been sent. At least it was quick. it is listed on Vue as TBC and no booking option. But then, the information was supposed to be up on the ROH website on the 25th and it isn’t there either.

Was there tonight, a wonderful evening which was very well-organised and received a standing ovation. So lovely to see them all on stage! I will write more fully in due course.....