Vanartus

What an amazing letter you wrote, and at least you got a speedy reply which contained a grain of hope. Thank you for making the effort.

And so the “barre” gets lowered…

I actually find your use of “pathetic” a tad offensive…

Liked first part - particularly my first Qualia, and enjoyed the Robbins-eque Wheeldon piece. Second part was again good, all pieces had a place on the menu. I thought the Toonga would be definitely worth a second look, loved the Tamowitz with its mean spikiness and knock-out dancing, thought the Osipova piece a good gala serving, and Prima I liked for its vintage ode to the ballerina style in the manner of Ashton and Birthday Offering. And I liked the costumes! Sadly the siren call of South West Trains made me miss Diamonds, but I’ll catch it on an encore showing in Berlin when I’m back. I was just so glad to have been there in person. Just a pity that two pieces had to be danced to recordings - took the edge off the enjoyment.

46 years from Junior Associate/Young Friend in September 1976

I just want My Brother, My Sisters back.

I agree. (In response to John S) Think Hayward should have done Vetsera last time, and Corrales as Rudolf this run. Probs no MacRae or Hirano in next run, but that’ll be earliest 2025 unless they adjust the rota!

🤣👏🤗🥂

I’ve known him since 1977…

Oh sorry. I hadn’t actually got round to discussing the review. 😉

PS The Macauley review. Mean spirited, nasty and bitter.

I was deeply moved by it. Third time for the original “flight pattern”, and i got more out of it than I was expecting. The new sections I found wonderful. I didn’t find them trite,(Gramilano “ickle children” and like “The Snowman”), nor “sentimental” as (FT or Indy - forgive, no longer sure), but deeply moving. Some movements reminded me of MacMillan’s Requiem or Tetley’s Voluntaries, but somehow more grounded or approachable. I thought the choreography for the children was well crafted, and what a chance for children to dream of dancing! And the final section which dealt with ageing and death was stunning. Quiet, moving and heartfelt. And what generosity of spirit for the RB to have two elderly dancers (non-professional I believe) to guide the piece to its conclusion. The corps and the soloists were amazing. Award worthy! And the music, singing and orchestra divine. I personally could have seen it without break all the way through, but that’s my over-exposure to less intervals in Germany!

Seeing second cast tomorrow…

The best ever review I’ve read in such a long time! Wow - I’m on a high!

Wonderful to read the stunning reviews in the press today. I’ll be watching the encore screening on Sunday in Berlin, so I’ll be able to enjoy it then. (Also at a later date in person for Hayward/Sambe.) One quick comment - when I saw Hirano’s third performance of Rudolf in the last run, I was stunned by his performance- particularly when he disintegrates in the final act. I also noted his eloquence in the solos in Act 1. I’d rather have his subtlety than the melodrama of the previous recording with a different cast, but I guess it’s all a matter of taste and judgement - one person’s melodrama is depth of interpretation, another’s subtlety is not digging the depths. So there you go!

Mr Wall, I think Sabine is perfectly ok using Xander.

I’d be very surprised if Germany welcomed him back. Zelensky at BSB was his only ally, and he’s gone!

It’s a strange moment, I agree. The closure of both Dance Books and Dancing Times is sad. The sudden closure of such a key publication is also shocking. As someone who first went to Covent Garden in 1976 I’m just going to console myself that I saw some amazing dancers do some great works. And I agree, some of them should be seen far more often than they are now. But alongside campaigning for more frequent revivals - yes to more Ashton and also to some almost forgotten MacMillan works - I’m still going enjoy the best of the new. And for me that does include McGregor, Pite, and new ones still to come. I’m very happy to live in the present and look to the future…I just don’t want the best of the past to be neglected. It too deserves to be part of the present and the future.

…and he’s brilliant too!

I’d always recommend joining Friends if you’re living in the UK and go regularly to the ROH. Now I’ve settled in Berlin, I think I’ll let my membership slide after this season. Covid broke the rhythm of my trips back, and I really enjoy the live screenings here - the cinemas are great, there’s free Sekt on offer and the printed programs add a touch of “I’m almost there -ness”. So really for me Mayerling, Nutcracker and the Friends’ nights will be seen in Berlin, and the new Pite I’ll catch up with in Oslo. I’ll only make the London trips for Woolf Works, Cinderella and the new triple bill. I’ve been a friend since 1976 when I went to Goldsmiths. Thanks to the junior Friends’ vouchers and reductions I got the most wonderful grounding in ballet and opera…and I loved the glossy magazines too. I owe the organisation a lot. But I think 23/24 will see me join the equivalent group(s) in Berlin. Time to move on.

End of an era….

I’ve decided to see it in the spring in Oslo…

I’m down for July 6 - the final!

It was indeed - an incredible evening both in dance terms and the bigger picture.

Me too and forwarded to Facebook