Balletfanp

No bag check (I came in via the Covent Garden entrance), and not a single ticket check at any point.

Merry Christmas to everyone too!

I know I described Les Patineurs as lightweight, with “sweet choreography” but that wasn’t in any way meant to put it down, and was perhaps the wrong word to use. I love Ashton ballets, I adore the way his deceptively simple steps are a perfect reflection of the music and the situation, and Les Patineurs was no exception to that. I think I meant it say that it was lighter in tone than the other two ballets. i still feel that Winter Dreams feels a bit disjointed. When the farewell pas de deux between Masha and Vershinin began, it took me by surprise because I was expecting a bit more of a lead up - but there was nothing to indicate that the soldiers were leaving. However, with performances like last night’s, who cares? 🙂

Apologies in advance - I may ramble on a bit...! It’s unusual for me to enjoy all the ballets in a triple bill, but that was the case tonight, for different reasons. Les Patineurs felt quite lightweight compared with the other two, but it is what it is - a fun and whimsical ballet, with sweet choreography and very pretty to look at. Meaghan Grace Hinkis’s fouettes were indeed wonderful, as mentioned by a couple of other posters, and Acri really shone as the Blue Boy. With Winter Dreams, I took the precaution of having a good read of the synopsis first, although I more or less knew the story, and managed to follow it fairly easily. It’s a peculiarly disjointed piece, but the central performances were really its saving grace. Gary Avis touchingly awkward as Kulygin - the black humour of the red nose after Vershinin has left Masha nearly finished me off - and Lamb and Muntagirov were simply magnificent, just blew me away. I think Muntagirov’s performance in particular will stay with me all my life. Such beautiful and passionate dancing, with incredible leaps that expressed that perfectly - that sequence of leaps leading up to him rushing despairingly off the stage at the end of their final pas de deux almost made my heart stop - that whole pas de deux, indeed, was danced and acted with such intensity. Lamb was no slouch either, plus she looks so lovely, like a little doll - they had amazing chemistry in this. Naghdi also wonderful as Irina. I also loved the balalaikas. And The Concert...a child somewhere behind me was laughing fit to burst - I think I was more discreet but I knew how he felt! So many good performances I don’t know who to pick out, but Kish was a real surprise - who knew he had that in him? Of course, I can’t stop without a word about Robert Clark, not only a wonderful pianist but an actor too! He certainly earned his pay tonight!

I can’t wait until Thursday now!

I would say it seems a bit rough on Campbell to let him go all the way to Australia just for a few shows and then to expect him to come rushing back the moment they are over. I would imagine he has been given leave of absence to stay and spend some well-earned time with his family, whom he can’t get to see very often, before returning 🙂

Or me!!

It sounds fantastic, Capybara, and I wish I’d been there! However, here in Plymouth it was packed, for once, and there was spontaneous applause, especially for the Sugar Plum Fairy and her Prince! But they were superb, as were O’Sullivan and Sambe. I think everyone left in festive mood!

It’s OK - I enjoyed reading it. And I don’t think mine was much shorter!

Yes, it’s a trolley, but we have to queue for the trolley. It’s why I don’t bother....!

When I went to the cinema relay of Mayerling, a row of old ladies behind me were busted for smuggling in alcohol by an usher who looked about 16 🤣. They made the situation worse by trying to hide some of it, only to be told by the usher to “hand it all over,” and it was duly confiscated until the end of the performance. They were all giggling like schoolgirls - it was very funny! But the staff would have been fine if they had bought their mini bottles of wine from the trolley at ludicrously inflated prices....🙄

Managed to see this last night. I wasn’t sure what to expect as I hadn’t seen any of the ballets but was particularly looking forward to seeing Symphony in C (henceforth abbreviated to SinC as I’m typing on my phone on the train!). I found the Unknown Soldier pretty moving, especially the part with Harry Patch - I had rather an odd experience after my father died which chimed a little with his words and I confess made me a bit sniffly for a minute or two. I thought that Bracewell and O’Sullivan rang completely true as the young lovers and danced and acted it beautifully. Sissens a fabulous telegram boy. The half scrim worked well, I thought, but I would imagine that if you were sitting up high it would be a serious issue, and I’m surprised no one staging it seems to have thought of that. I liked the combination of the interviews and the footage - I thought it helped to bring the story home. My main criticism is that it somehow seemed a bit lightweight - possibly it needs more than half an hour? It seemed rushed, somehow, and I thought more could have been made of the women’s situation. I’m probably one of the few people who has never seen Infra and I’m not a McGregor fan. However, I did like it, for the most part. I enjoyed the music, even the discordance (but I’m a child of the darker side of 80s music!), and I think it got across the intended message. Beautifully performed by all the dancers, particularly Takada and Magri, but as usual with McGregor, about halfway through my mind began to wander. I think (for me) the problem is that his vocabulary of moves that he gives to the dancers seems somewhat limited, and after a few minutes you are simply seeing more of the same and it becomes repetitive. But that’s just my opinion. SinC was everything I had hoped it would be, and I fully concurred with the appreciative “Oooh!” from the audience when the curtain went up on the white tutus. So bright, so simple, but with the “bling” catching the lights so wonderfully. Just gorgeous. Fantastic dancing from everyone and wonderful to see so many Principals onstage together for once - the sequence near the end with Cuthbertson, Nunez, Takada and Naghdi all dancing in unison was something to remember. A shame really that there wasn’t more for the men to do, especially Muntagirov, whose lightness and soft landings were something to behold, along with his sheer exuberance at performing something that is simply pure dance. Nunez was as regal as one has come to expect from her, with perfect command and technique. And....well, they were all amazing and I’ve run of words (and I’m getting cramp from typing in an uncomfortable position!).

Yes, I did enjoy the show and will be sharing my thoughts in the appropriate thread 🙂 Seamless and easy, yes - and the staff were all extremely welcoming and friendly - but I was surprised that it seemed that just anyone could wander in if they wanted to chance it. And it seemed inconsistent as I spoke to others there who had had to produce their tickets.

Attended tonight. A large bouncer type gentleman (never seen one of those at the ROH before!) was on the Bow Street door when I entered. He smiled, and said good evening, but nothing else. Did he want to see my ticket? Search my bag?... I asked? No, he replied, it was quite all right. I suppose I’m glad I don’t look suspicious in any way.... Went to enter the auditorium. Surely they would ask to see a ticket? But no. Again, l even offered to show it but they were perfectly happy to let me in without sight of it.....

What a lovely article, Jan. Another face from my youth very sadly gone 🙁

Not a silly question, I wondered that myself! Perhaps the Bronze Idol is gold-plated! 🙂

I’m afraid the unfortunate tiger did provoke much unscheduled mirth in the cinema audience where I was - not quite the intention, I don’t think, but it did look like something you’d win at a fairground....

I’m uneasy about the use of the word “outdanced” as it is almost suggestive of a competition - and in any case this is subject to different opinions. I haven’t seen McRae in this although I have in other things, and from my own observations and some comments on here, he often chooses to up the stakes and add his own pyrotechnics to his solos, which can be very impressive. However, for me this sometimes seems to be at the sacrifice of artistry or the requirements of the role, and tends to become (again, for me), McRae dancing McRae rather than being Solor or whatever role it might happen to be. Sometimes less is more. Speaking for myself, I far prefer to see a solo beautifully danced, with gorgeous lines and unflashy virtuosity, and artistry at the service of the role rather than the other way round. That, combined with Muntagirov’s beautifully expressive face (for me, he acts convincingly and sincerely) and inimitable elegance, constitutes classical ballet heaven - my own opinion, I realise not all will share it! I will add that I far prefer McRae in more “acting” type roles - like Rudolf, or the Creature in Frankenstein, where he can focus on the acting rather than how much he can impress with his dancing.

I sat in our living room for over an hour a few weeks ago before finally noticing a large magpie perched on the curtain rail.... could my cats have possibly been involved...? Hmm, I wonder! 😂

Probably because it says at the top of the page that comments cannot currently be added due to problems with the website..... Edited to say that I have just noticed Bridiem's reply.

The place a remember seeing it was on a dancer’s Instagram account, in response to a direct question (not from me!).

I can’t for the life of me remember where I may have seen it, but I will rack my brains!

I’m pretty sure I have seen somewhere that the Lamb/Muntagirov Manon is to be released - when, who knows.

On this occasion, I’m more than happy to see either 🙂. But usually, given that I have to travel a long distance and can only afford to see one cast of any ballet, I do prioritise seeing my “favourites.” That’s not to say I don’t appreciate or like other dancers - I would love to be able to see multiple casts (and thank god for cinema screenings in that respect) - but if I have to choose just one cast to see I become irritated, to say the least, if the casting gets messed about with little warning. Of course, it’s different if dancers are ill or injured, and that’s a risk that I think we all agree is par for the course, but just incorrect or sloppy information - or lack of it - is another thing entirely.

I would say Muntagirov is definitely more of a “Dowell” than a “Nureyev.” Two completely different types of dancer, but both superlative - and charismatic - in their own way. i don’t think you necessarily have to have that Nureyev flamboyance to have charisma. If a dancer grabs and holds your attention when they step onstage that’s a good start.