Balletfanp

Olivia Cowley did something like that a year or so ago where she got her fellow dancers to donate and sign their used pointe shoes and in return for a donation to the Alzheimer’s Society you were sent a pair. It was luck of the draw as to whose you got - I think that’s how it worked, anyway. I thought it was a great idea.

Yes, I love both The Dream and M&A, but to have Symphonic Variation was the main reason I bought this DVD. I adore it, and with this cast..... 20 mins of pure heaven.

I have to say, I enjoyed the RB Don Quixote when I saw it a few years ago, but then I haven’t really seen any other full versions of the ballet to compare it with. I thought it was colourful and fun - not exactly a deep story, but it’s the kind of thing that if you take at face value as a bit of light-hearted froth with brilliant dancing (depending on who is dancing it, of course!), you can enjoy it for what it is. I saw Takada and Muntagirov in the main roles so dancing excellence and fireworks aplenty!

Yes, but with Nunez. He has danced it with Cutherbertson at galas before but probably the timing of this wouldn’t work - for him or for Nunez?

I was distracted by the light of a phone constantly being looked at right across the other side of the auditorium. Whatever they are doing with it - filming, tweeting - they can’t know how completely obvious and distracting it is 😡

Not the Teatro Real’s fault, but it was obvious once or twice that the stage must be slightly smaller than the ROH - the Corps ensembles looked a bit cramped on a couple of occasions, and I also noticed that some of the dancers were only just able to move out of the way of the main performers in the nick of time because they had less room. That said, none of this detracted from a magnificent performance from all the cast; and Nunez and Muntagirov coped with the Act 3 musical bloopers with style!

I think it was the Teatro Real Orchestra but if I’m wrong, someone please correct me!

The orchestra was a bit ropey in places too last night, especially in Act 3.

I agree - certainly at a very special performance where it is richly deserved, like last night.

I too was there, Jenny - and agree with every word. I don't think I have ever seen Marianela and Vadim better. I felt quite tearful at the end of Act 3. They absolutely brought the house down. Marianela’s technique was phenomenal - her control amazing throughout. Vadim absolutely nailed his variations, especially those double double tours - each lot bang on. And emotionally, as you say, they pulled out all the stops. A huge crowd waiting to see them outside. The whole company were on blistering form. The national dances really sparkled. I took the chance after Act 3 to ask the woman sitting next to me with whom I’d been chatting, what she thought of the Spanish dance, as a Spanish person. Her reply? “I’m so sorry, I’m actually French!” 🙄 But she thought it was fabulous, anyway!

Sad news, I like her very much as a dancer and have always thought it a shame she hasn’t progressed further. Loved her Clara. But possibly she will have more opportunity elsewhere.

It's official! Very happy about all of these 😀 http://www.roh.org.uk/news/the-royal-ballet-announces-promotions-for-2018-19-season?utm_source=social&utm_medium=twitter

I adored watching John Curry as a child and even took up ice skating for a couple of years (didn’t last - too scared of falling!). He was such a beautiful skater and artist and so talented - had he been allowed to follow his inclination he would probably have been a wonderful dancer with a real flair for choreography. I loved the L’Apres-midi d’un Faune too - but then I love the music. However, his take on it was beautiful. It was also unexpectedly moving and he was clearly a somewhat tortured soul. Found myself verging on tearful at times. Well worth watching and yes, it’s on iPlayer.

This is so sad. I have a family member with autism and there is too little understanding. Signed.

That’s great!

Yes, me too!

Swan Lake was pretty well attended at Vue Plymouth but I imagine that’s the pulling power of a well known ballet and quite a bit of hype in the press. Having said that, ticket prices have actually come down from almost £20, to just over £16 - I suspect the imminent opening of a brand new multiplex right in the city centre might have something to do with that! Healthy competition.

Yes, me too - the princesses’ looks showing various degrees of gloom or consternation during Act 3 was one of those details that make these things extra satisfying!

I do think he is a lovely actor too - he isn’t as “out there” as some but personally I prefer that as it comes across as more natural.

At the risk of being pilloried 🙂, whilst not thinking that any of the Principals you mention are weak - they most certainly aren’t - I do think that Muntagirov is currently pretty much matchless technically. There’s a reason the other dancers have nicknamed him Vadream! The fact that no other Siegfried has attempted those double double tours in Act 3 speaks volumes.

I love the live performances, of course, but always try to get to the cinema broadcasts as well because I like the "extras" and the different perspective one gets. I really enjoyed last night's screening and the people I was with thought it was the best one they had seen. More people there than usual (behaving badly - see my post in Audience Behaviour!), but there was applause and they seemed blown away. Great performances all round, but standouts for me were Takada and Heap. Campbell is an excellent dancer and also seems a very nice chap, but unfortunately he just doesn't do it for me onstage - I wish he did! Takada seemed to fly through the pas de trois, and Heap's Spanish dance was full of passion and sensuality. Of course, the icing on the cake was Nunez and Muntagirov - what a partnership they are forming (although, I would, occasionally, like to see Muntagirov with one of the younger principals like Nagdhi). But they are so technically secure they bounce off and complement each other perfectly. The Act 3 pas de deux once again sparkled (but I thought the tempo was too slow). I love Nunez's Odette/Odile (but wish I had seen Naghdi's). Muntagirov's gorgeous lines never fail to make me hold my breath and along with his virtuosic yet sensitive performance make up a wonderful whole. What I love about him as well is the way one can see every thought and emotion pass across his face, and that every gesture, however small, is considered and beautiful. I agree about the darkness, especially in Act 4, where Siegfried and Von Rothbart seemed largely to merge into the gloom, however, since it wasn't a problem when I saw it live I can only conclude it is a problem related to the screening - unfortunate, but possibly not something that could be easily resolved.

You’re welcome - just thought it might be a bit much for daily wear....

I know cinema audiences are different but.... last night at the Swan Lake screening – it was busier than your normal ballet showing (a good thing in itself) but with the rudest, most inconsiderate audience I have experienced in a long time. Mostly older people, but showing up late, through the introductory video, well into Act 1 – and not just a couple, lots of them! Then sauntering across the front of the screen and blocking the view, and using the light from their phones to find their seats….people talking, rustling sweets through the really quiet bits, two people either side of us making audible (if appreciative) comments all the way through, and worse, singing along!! Then, at the end of Act 2 and the interval, they put the lights up straightaway and brought in the ice cream cart and plonked it right in the middle in front of the screen whilst Ore and Darcey were talking, and of course everyone got up and started queuing and talking so that you couldn’t see the screen or hear what they were saying!! We were so cross. I actually got up and told the usher that I expected him to move the cart the moment the broadcast started again as I was sick of having people traipsing about in front of me and blocking the view…. He moved it…. It annoys me because I go to the cinema screenings as much for the “extra” bits and the interviews and comments as for the performance itself, and a lot of people seem to think it’s fine to talk through them or get up and go out and block the screen. They also put the lights up at the end as soon as the last notes died away – I love to watch the well-deserved applause and curtain calls and last night there was a stampede of people wanting to leave and – again - completely blocking the screen. We moved forward into the front section at that point and had a nice conversation with some like-minded ballet lovers who appreciated the whole thing as it deserved! Next time I will book seats further up, I think, so that at least if people behave as badly they won’t block the screen – but I may also have a word with the Vue staff and point out that putting the lights up whilst there is still activity on the screen is just not on as it encourages the more thoughtless people to start getting up and disturbing those who want to see everything right to the end!

I did spot the missing lift but assumed there was a good reason for it as there didn’t appear to be any issues with timing it badly or anything. It was glossed over so smoothly (well done Vadim!) that anyone who didn’t know there should have been a lift wouldn’t have known. Certainly the people I was with noticed nothing.

ALL the Act 3 Princesses' costumes in the new Swan Lake - except maybe the Neopolitan one - too many ribbons!