northstar

I was at a performance of ENB Swan Lake last night as it starts its autumn tour of Swan Lake in Liverpool (Empire Theatre). The second evening after opening night. Fernanda Oliveira and Ken Saruhashi were the leads. It's the first return of ENB to theatres in North England since the pandemic and I think the last time they were here was Nutctracker in 2019. I've lost track over the pandemic but this might be their first touring location since the pandemic hit us? I've loved seeing ENB in Manchester and Liverpool over the years and was so good to see them again. I think the last time I saw them live was Swan Lake at the Liverpool Empire in late 2018. It was a really fine performance which was extremely satisfying. I had not seen Oliveira dance before and she embodied Odile/Odette so classically, brilliantly and convincingly. Such elegance in all her movement. I particularly enjoyed her Black Swan solo variation which she made simultaneously elegant and bravura. I am really glad to have seen her dance. And the elegance and grace of Saruhashi is so well matched to Oliveira. The Swan ensemble in this production has such exquisite quality and synchronisation, which I remembered striking me in 2018, and struck me again last night, they move with speed, grace, and accuracy, as one intense force of nature. One other highlight which struck me was the vivacity of Haruhi Otani in the Act I Pas De Trois. I'm starting to notch up quite a few Swan Lakes over the years and if I am honest it does get harder to recapture that first fresh impact/wonder/thrall that I first experienced. And also if I am honest when I saw both ENB and Birmingham Royal Ballet announcing Swan lake for their touring 2022/2023 to Manchester/Liverpool I was a little disappointed and a feeling of "not Swan Lake again". But I do know very well, especially since the pandemic, how luck we really are to have the chance to see it. I have to keep reminding myself of the joy/privilege of being able to go to a fabulous live ballet in an evening in a great city. It does feel like there's been a lot of complacent return to normality and a forgetting the long dark months of the pandemic, endlessly waiting for things to improve. And the masterpiece of Swan Lake and ENB's production which has such intense layers of spectacle to it from the gothic Act III, to the ethereal white acts, the glowing peasant scenes of Act I, and through it all the quality of dancing from ENB. I may well go and see another performance in Manchester next week. Look forward to hearing other peoples thoughts who have been to see this.

I went to the Friday performance of Don Quixote at the Lowry (Miki Mizutani and Mathais Dingman leading), which I guess turned out to be 'opening night' at the Lowry - unfortunately. Feeling sorry for those whose who had tickets for Wed and Thu. To me this felt like a finally a proper return to the ballet world/life I used to know before the pandemic. Although I've been to see a couple of live performances last year, in Birmingham, the Lowry is my 'home theatre', and I have so many fond memories of BRB being here year-on-year. I very much appreciate @Terpsichore's tweet this week about BRB's traditional visit to The Lowry heralding the end of winter, that's exactly what I feel. I missed them badly last year. And what a return it was. For me, BRB last night delivered a performance so symbolically perfect, and of the most splendid, spectacular quality. The joyful nature of the ballet Janet mentions above ('3 hours of joy', exactly!) is so apt for BRB's return to full touring, and so apt in reminding us of the beauty of the world - when recent and ongoing world events might make us forget that, or doubt it. This joy, combined with the absolute virtuosity of the dancing, the splendour of the production, and the captivating music, created a magical, transporting evening in the theatre. That indefinable rapture which makes me keep coming again and again to see ballet. This is first time I have seen Don Quixote, (I've not even seen recordings), and the impact of this masterpiece was probably helped by the fact it was completely fresh to me. I did a bit of internet research to see that Russian/European touring companies have brought it to Manchester/Liverpool in the past two decades (the Kirov, no less, danced it at the Lowry some ten years ago). I am grateful that Acosta has brought it into BRB's repertoire, it's an absolutely amazing ballet, that I'd go to see again and again. I don't think you'd find better quality of dancing anywhere else. The clarity, mastery, virtuosity, delivered with personality, character and spontaneity, particularly from Mizutani and Dingman simply blew me away. These two dancers I've begun to notice as they've risen in the company, and from last night's performances they now seem to me to shine like the brightest stars. Mizutani's characterisation as Kitri was so vivid, extrovert and flamboyant I barely recognised her, having seen her in more contained roles previously. Her poise and technique in the virtuoso sequences was breathtaking, she was absolutely convincing. Her final manege in the Dulcinea variation (two circuits I believe?) so thrilling, as were the flawless fouettes in the wedding coda. Dingman similarly convinced as Basilio with pure flair and expressiveness. The white and gold wedding pas de deux combined nobility and grandeur with such energy and playfulness - it was absolutely sensational, it amazed me. Apart from the leads dancing, all the other scenes of the ballet offered incomparable riches of sensation and spectacle and brilliant individual and ensemble performances. I found the magical garden and dryads particularly beautiful and affecting. A shame that wretched virus is still with us and threatening/limiting performances, but hopefully the tide has turned. To have one of the best companies in the world, back at the Lowry with such a stunning masterpiece, makes me feel quite emotional and does indeed give me hope. Great to see you too again face to face Janet in the foyer. Thanks for all the thoughts/reviews so far on the forum and look forward to reading others in the next weeks.

Thank so much for the review Janet. I've also been to the Hippodrome for this run and was at the evening performance yesterday on Thurs 9th Dec. (Rachele Pizzillo as Clara, Max Maslen as the Prince and Karla Doorbar as Sugar Plum). My first time back since the pandemic! I was intrigued by this production and wondered what people would make of it, I kind of suspected there may be some reservations, since the 'normal' production is so highly regarded - and why try to improve on perfection? I had not known it would be a new production, and came as a complete surprise when it started. And to be honest, for me, it felt an appropriate change, after such a strange and extreme couple of years, for that somehow to be symbolised in a different production. And with my own ambiguous feelings towards any Nutcracker ballet, I liked that I was seeing something different. Of course I must say when I saw the original BRB Nutcracker production, I thought it was the best I had ever seen. I liked the gilded neo-classical grandeur of the first act, and although I agree that I don't approve of the narration, I think it did add a slight touch of European 'Tales of Hoffman' atmosphere which I liked. And I actually quite liked, for the most part, the graphics and projections, and found the transformation scene effective, although I acknowledge Janet's points that it is probably is more suited to the Albert Hall. I liked the busyness of the party scenes, they seemed to have an energy and atmosphere which I don't normal notice in other productions. I was not sure about the second act setting - metallic, spare, fluorescent-lit, but since the dancing was so good it didn't really matter. Some of the graphics were not great (the huge flapping bird - swan? goose? just looked naff I thought). I didn't like the orchestra above the stage, and I am not sure - but was the music being amplified over microphone/speakers, where the narration/other sound effects were played? I couldn't hear the orchestra tuning up, and there seemed to be a different/synthetic quality to the sound. The dancing was really superb and that's what I expect of BRB of course. I thought Rachele Pizzillo was luminous, commanding, quite exceptional actually. Maslen and Doorbar delivered the splendour of the grand pas de deux to my satisfaction, wonderful. But I find myself once more intrigued the sugar plum fairy, it's such a strange role that is probably one of the hardest in the repertoire to make convincing. I've seen great star ballerinas dance it, and felt it strange and oddly unsatisfying. Doorbar really looks the part and technically sound and had a lovely softness of her movements, and then sharpness when needed. But once more I find myself wondering about this role, what do I want from it? Highlight for me was probably Sofia Liñares as the Rose Fairy, it's a fabulous role and she absolutely nailed it IMO. So good to be back at the Hippodrome, full audience cheering, orchestra in the same room, not over video (though I'd prefer them in the pit). Thanks again BRB for another wonderful evening.

Thank Janet. Willis has a special place in my memories and one of my all time favourite dancers. Very interesting article and good to hear what she is up to now, and that she is successful despite the difficulties of the theatre world during lockdown.

I haven't watched the Bolshoi broadcast but I am rather ashamed to say your description does rather act like 'bait' for me to click on it. As you say very interesting to observe the differences in culture of coaching between different companies/countries.

Very late but wanted to write and say I also saw BRB Cinderella live at the Birmingham Rep with Miki Mizutani and Yasuo Atsuji leading. My first live in-person, in-theatre ballet since the 'time that shall not be named' (head a musician on BBC Radio 3 call the pandemic period this!). It's too late but just wanted to say that - like the BRB broadcast Nutcracker in Dec 2020 - this was so much more than just a ballet for me. Despite the remote and distanced orchestra relayed by video, and the abridged version - to see that exquisite and powerful quality of classical ballet performed by the artists of BRB, alive in a theatre with an audience, was momentous for me. I love the respect Bintley has for classical ballet in his choreography, the fabulous set design, the marvel of the music making of RB Sinfonia, and the grace and skill that all the dancers and particularly the leads demonstrated. I can't wait until BRB are back in Salford with - OMG! - Don Q!

Just wanted to second the praise and expression of pleasure in seeing RB's Giselle rehearsal, both Mason's coaching of Nunez and the coaching of the Willis. The famous crossing hops! Also very intrigued and somewhat excited by ENB's Raymonda film for World Ballet Day. It was originally due to open in 2020 in my neck of the woods, (Manchester) but alas the you-know-what put paid to that. (Off topic but JNC I totally agree about Cojocaru as Manon at ENB, can't remember many more affecting ballet experiences than seeing her perform this at Manch Opera House)

Rather belatedly wanted to put some words here about the pleasure and sustenance the 2nd BRB Nutrcacker online perfomance gave me (with Samara Downs and Tyrone Singleton as the sugar plum fairy and the prince). It's hard for many of us I expect, we would be going to see BRB's late winter/early spring tour at this time normally. This time last year, I was watching Downs for the first time as Odette/Odile at the Lowry, Salford, a remarkable performance which I remember with great pleasure. I am so grateful to be able to see Downs for the first time as the Sugar Plum Fairy, gratitude mixed with sadness that it cannot be in a theatre. I am so intrigued by this remarkable dancer's progress to Principal and seeing what she makes of the classic roles. And to see the other dancers I love and have watched many times before; Tyrone Singleton, Lachlan Monaghan, Yijing Zhang to name a few, and new performances I had not seen before like Laura Day as Clara. The company and it's heavily restricted performance setting does indeed still provide something of the old magic. I pray, with reasonable hope, that their work can return to live theatre settings within this year. And my heart goes out to all in the company suffering such dreadful restrictions and uncertainty.

Thanks Janet for notifying us of this interview. In this dreadful time for ballet, it is fantastic to have Acosta in this country providing inspiration and leadership. (And so grateful to all other directors of ballet companies for their service to the cultural life of this country).

Thank you Janet. Worth watching alone for the glorious rose silk shirt and baroque furnishings! Will watch this again more closely and other interviews from the Dance Europe YouTube channel.

Just got an email about this, and it's on the BRB website https://www.brb.org.uk/whats-on/event/the-nutcracker-at-the-rep-online CASTING Clara Laura Day The Sugar Plum Fairy Samara Downs The Prince Tyrone Singleton Drosselmeyer Rory Mackay This is a different cast to the one we saw in December 2020. Thank you BRB for making this possible.

That pretty much captures what I feel. And that glorious first moment when the curtain goes up and Mrs Stahlbaum in her xmas red dress putting final decorations on the tree is really iconic for me and was preserved in this this BRB 'covid' version. I actually didn't miss the waltz of the flowers too much, except that meant also that the wonderful Rose Fairy didn't appear. I remember seeing Celine Gittens for the first time in this role and being instantly astonished by her. In the RB version I do like the soldier and vivandiere doll section.

Thank you Jan, I was looking through my previous programs to check but couldn't find any photos of the winds.

Was there the new addition of male snowflakes in this production? I seem to remember an all female ensemble in the performances I'd seen at the Hippodrome. I noticed a few differences some have mentioned, particularly the curtailment of the codas in the grand Pas de Deux. But I most admit most other abridgements barely registered, so delighted and entranced was I by seeing BRB perform this classic. I would love to see another cast, particularly Samara Downs as the SPF, whom I last saw as Odette/Odile in March, just before you know what ...

She certainly was, I watched Ballet Hoo on Facebook for first time last week.

This was so much more than a Nutcracker performance for me. It symbolised something so hopeful after this year which has been so dreadful in many ways. To see the BRB dancers I have come to know well - over the years of seeing them dance around the country - dance this spectacular work of the ballet canon, and hear Tchaikovsky's marvellous score played by the superb RB sinfonia, was truly joyous. And to know that this is happening NOW - just made it seem certain that some things can never be destroyed. Emotional.

I'm in. It is so wonderful that BRB are doing this. I've loved them for many years and miss seeing them perform live terribly. 10 minutes to go! 5 min to go! ... 1 min ! ... Working so far ... ooh there's a live chat option.

Just caught this, another sublime offering from ENB's recent generous programme of broadcasting. As with the recent 3-4 streamings of ENB performances recorded in the north of England, I was at this performance live. I remember it was the first time I had the privilege to see Dronina dance live after she joined ENB. As with the other recordings, the filming is beautiful and it was a wonderful experience to see this ballet again. How lucky we were (especially in the 'provinces') to be treated to this exquisite Bournonville style dancing by such beautiful performers. As with the previous MacMillan ballets which were shown, ENB has brought such splendid jewels across the breadth of the ballet canon to people all round the UK. I distinctly remember the impression Jane Haworth's Madge made when I saw it live, and this was again a particular highlight. And the close ups of the filming really emphasised the delicacy and skill in the dancing style, which I probably appreciated more than when I was in theatre.

I just caught the streaming of Manon with Cojocaru and Caley at the Manchester Opera House from Oct 2018 yesterday before it expired. I think I saw it noted that it was from 17th October (the opening night) and if so, I was at this performance too. I remember the profound impression this performance made on me and it was only confirmed by viewing this broadcast. After watching it, as when I originally saw it live, I was transported and (despite the tragedy of the story) uplifted and transported in that way that ballet, at its best, affects me. That special feeling is the core of for my passion for ballet. I felt so moved and inspired by the entire work, the steps, the music, the theatre, but particularly Cojocaru and Caley, both of whom I found incandescent in their lead roles. ENB have, more than any other company, revealed to me the genius of MacMillan with recent performances of Song of the Earth and Manon in Northern England, and I feel more gratitude than ever for their work and existence.

This was fabulous. I managed to see the recording before it expired today. I was at this performance live in 2017 in Manchester. With the recent streaming (Swan Lake, Song of the Earth, Manon) of ENB performances in the north of England it's an been an unbelievable, never-imagined chance to see performances again that I was actually at. I almost didn't want to watch them worrying if it would spoil the memory, but the quality has been ever better than I remembered. This time, the thing that stood out was Caley's presence and grace.

Treasured memories now of being at live ballet, and socialising and meeting ballet forum members at performances, Janet and Don Q Fan. I look forward to the day we can do so again. In the meantime, trying to look at the silver lining, I wonder if this Swan Lake recording would ever have been broadcast in other circumstances? The upcoming ENB scheduled streaming Song of Earth and Manon in Manchester are an astonishing surprise to me too - I was also at these performances as I suspect some others were - I don't think I met anyone at those performances though.

Fabulous surprise to see this performance from 2018, Liverpool Empire, streamed. I was at this performance (as were a handful of other BalletcoForum members) and had no idea it was being recorded. Unfortunately I didn't pay enough attention to the timing/availability of the streaming and only watched a little of it before it disappeared. But it brought back the feeling I hand at the time of being so thrilled to see Jurgita Dronina dance in my local theatre. And I must say the close-ups from the streaming that I saw allowed me to appreciate the wonderful expressiveness of her dancing, particularly the arms/hands as Jeanette mentions.

Thanks so much Ballet Forum for the information about Royal Danish Ballet's streaming. I watched the Raymonda start to end, into the wee small hours yesterday. I've never seen Raymonda (not even the whole of Act III), and I really appreciated the chance to see this fabulous work of art performed by a fine company. I've luckily been able to go to the Royal Theatre 'Old Stage' in Copenhagen and watching this brought back nice memories. J'aime Crandall as Raymonda was wonderful, as were all the dancers. Act III was a masterpiece, but I actually liked the Act II Raymonda variation (with the entrechats en pointe) and the national dances.

Just heard Kevin O'Hare interviewed on Radio 3 In Tune, interview starts at about 17:21 (or 21 minutes into the program), talking about how Royal Ballet is coping in lockdown. The programme should will be available on BBC sounds (for 1 month I think). Not a lot of really new/startling info from the interview. Sounds like some dancers have returned to their home countries, but they are doing their classes together over internet including guest coaches/teachers from abroad. Mentioned was the streaming of their performances, which I'm sure is covered elsewhere on this forum and in the 'upcoming events' bar (Winter's Tale is on this Friday).

Thanks to Ballet Forum for noting this DNB Sleeping Beauty performance It's really nice to see it commented on in this thread on the most recent BRB run of the 'same' production in the 2018. I went to 3 performances, and watching the DNB recording brought back lovely memories. I think there are some production differences, I didn't remember the 'obelisk' in the BRB performances, but looking at BRB production photos, it is there. It's probably not the right thread but I do know what Alison meant about the DNB being overblown, when I started watching I initially felt it's all a bit too formal and grandiose. But I have to say the central performance by Maia Makhateli really convinced me and blew me away, and the underlying brilliance and power of the familiar choreography won me over, and the wonderful glittery gold confetti at the apotheosis, is almost a bit of kitsch fun to wrap it up - I love it.