Balletfanp

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.

Oh, absolutely - but it still baffles me! 🙂

Exactly. There is more than one type of charisma.

I’m not sure that some critics entirely understand the concept of charisma. You don’t have to strut and over-project to have it in spades. For me, Muntagirov does.

I think they are very happy to see the same cast! But also, where we were sitting we missed a lot going on in the back left corner and didn’t get the full effect of the Shades. So it will be good to get the cinema perspective.

Thanks Alison - I wasn’t sure! 🙂

OK, having finally made it home and had a much needed cup of tea, I now feel fortified enough to write a proper review! To be honest, I didn’t expect to love it so much. It’s years since I saw it - it was the Royal Ballet, but in Plymouth, so they must have still been touring the provinces then, and I assume it wasn’t the Makarova version. I really couldn’t remember much about it except that Fiona Chadwick danced Nikiya (I particularly wanted to see her as she went to the same ballet school as me). No idea who danced Solor or Gamzatti but I remember not being blown away with it as a ballet. So, I was delighted last night to be completely charmed by it. Yes, it’s a daft plot, yes, it’s very Victorian melodrama, but if you just go with it and accept if for what it is, it’s great fun, moving and colourful with plenty of opportunity for the Principals to shine. And shine they did. Nunez was just beautiful - her technique and control are second to none, but she also put in an intensely vulnerable and moving performance. The pas de deuxs with Muntagirov sparkled with chemistry, and her solos were miraculously fluid. What can I say about Muntagirov.... he was sublime. He was a noble, commanding, yet gentle Solor, which made his weakness when pressed to marry Gamzatti very believable. And his dancing....others can put in virtuoso performances but I have never seen anyone else with his mix of virtuosity and sheer beauty of movement and line and with so much natural grace, elegance and musicality. His solos were amazing (that sequence of double tours around the stage in Act 2 - eight in all, finishing in one of his heartbreaking arabesques - wow!). And his partnering of both his leading ladies was, of course, exemplary. I’m not one of Osipova’s greatest fans generally but her performance of Gamzatti was spot on - arrogant, selfish, yet also needy and slightly desperate in her love for Solor. And of course a fantastic dance performance. She and Nunez were a heady mix when interacting onstage together. And the corps de ballet were in absolutely top form especially in Act 2. That Shades entrance and the following sequence are real endurance tests for the dancers and must be exhausting to perform (especially for the first dancer on having to do all the arabesques - hats off to Romany Pajdak! 🙂), but they made it look so easy and it was captivating. The three main Shades were as wonderful as you would expect from three such dancers (Takada, Naghdi and Choe). I’m surprised the ROH couldn’t find a slightly more realistic looking tiger to sling from the pole at the beginning, though....😂 A rapturous audience reception, especially when Muntagirov went to the side of the stage to pull on Makarova, and it was thrilling to see her (and still very much the Prima Ballerina!). I do hope the conductor was OK - he appeared to fall backwards over Marianela’s hedge of bouquets and took rather a hard tumble, much to everyone’s consternation.... he looked rather shaken but I’m hoping he suffered nothing worse than embarrassment! The audience gave him a rousing reception when he took his solo bow, anyway! I took along my mother-in-law and two friends - none of them new to ballet but certainly not frequent attenders - so I feel I have done my bit towards bringing in a new audience whilst stubbornly remaining a regular! 🙂 They absolutely loved it and want to see it again at the cinema.

Agree with Mary. Muntagirov and Nunez just sublime. I’m not a great fan of Osipova but she was good in this. Will write more tomorrow but too tired and elated to think straight now!