northstar

Thanks everyone for the continued comments on this production as it tours, it is wonderful to hear the praise, and the obvious enjoyment and pleasure it has given people. For me it is paricularly interesting to hear of Cojocaru/Caley's continued performances since this was the one cast I saw. But also the details of the other casts cause me some regret I did not attend at least one other performance. On the 'bombed' comment, as Janet McNulty has already commented I only meant poor ticket sales in the last ENB Manon in the north. It was no comment on the quality of production or on Eagling's directorship. In fact I was referring in part to a Telegraphs interview with Eagling himself (easily findable via google search and with no paywall) from 2010 when he described the thin audience for Manon in Manchester as as small as "a dog and a cat, ", but that the people who did come gave a standing ovation. Likewise on the Manchester Manon I saw, there were great cheers, someone crying next to me, and it's a night I will never forget. I am so grateful for ENB bringing this and other masterpieces (Song of the Earth, La Sylphide, Le Corsaire ..) with their fabulous company and dancers I never thought I would see live, to theatres near my home.

Beeing thinking the first Fille performance I saw this week and my enjoyment and intrigue of the work was enough to make me book another performance tonight, Momoka Hirata and Mathais Dingman leading. I came out so satisfied and happy - I was right in thinking there was too much in the ballet for just one viewing. Tonight deepened my admiration for the exquisite qualities of Fille. I was sitting nearer the stage with a more intimate view of all the action. As well as the gorgeous duo and solo work by Hirata and Dingman, the complexity and inventiveness of the ensemble pieces I had the opportunity to appreciate better. I noticed little things like the clog-pointe-work, the use of the sticks by the farmhands, but the density and richness of the action as a whole was the main thing. It had an energy, complexity and variety which I find hard to remember the like of from other ballets I've seen. While I've expressed reservations about the overall humourous mood in my first post - I can see the gentle humour throughout sets off the other aspects with such tasteful balance. As my friend who I brought on opening night said - 'it's genuinely funny - even the chickens!'. Hirata and Dingman were just superb, as well as very different to Mizutani and Monahagn. Hirata's delicacy, precision and speed just seemed what Lise could naturally be like. And Dingman's embodiment of Colas I really loved - I thought Monahagn would be hard to match, but Dingmam's happy-go-lucky, effortless virtuosity made, to my mind, an equally brilliant characterisation and performance. Another splendid night at the Lowry and a great pleasure to meet Janet McNulty in the foyer. Look forward to hearing impressions from other casts/performances I didn't have the chance to see.

I was at the opening night at the Lowry Salford where the leads were Lachlan Monahagn and Miki Mizutani. It was my first Fille Mal Gardee, and feel very lucky to have the opportunity to see it up here in provinces, especially with the sublime quality of the BRB and it's sinfonia. The multitude of sensations from such a splendid creation can hardly be summarised, or even appreciated properly fully in one sitting. I know many forum members know this ballet well, so I will briefly mention my main impressions - the gorgeous pas de deuxs and the dazzling and spectacular ribbon work - it really is something special that I'd never seen before in a ballet (or anywhere else). And an overall feeling of wonderful balance of dancing performance, humour, theatre, music, atmosphere, setting. Shades of Coppelia in that wholeness of charm. Since others have already commented on Mitzutani's and Monahagn's brilliant qualities from the Birmingham performances I won't say much more except that they seem so well suited to these roles, and that after seeing Monahagn as Prince Florimund in Sleeping Beauty last year, I am finding the impression he makes growing stronger and stronger. I hope it is not too sacrilegious to say that while I can rationally see the perfection of the combination of elements of this ballet, it's probably just slightly too much on the humourous side for my tastes, and that somehow the perfection of the bucolic aspects in Coppelia (the BRB version anyway) hits the spot with me more. And while I read of the evocation of idyllic English setting in this ballet, I must say it I didn't completely feel that (not on this night anyway), it felt more French in atmosphere to me. I'm somewhat disappointed not to be caught up in the 'pure joy' that others feel in this ballet. For me it was more pure contentment, and admiration. Minor reservations. I'm still musing on seeing another performance. A brief search indicates it last came to the Lowry in 2007, and the ballet seems too good to wait another 11 years to see again, and it's a ballet I may not travel to see. But more than anything, it felt so good on this night to be back in the Lowry again where BRB continues to educate and entertain and delight me as it has done for many years in this very theatre. A particular feeling of being 'at home' here (may well have been an influence of Fille) - with the little sadness of dancers who have retired, or will retire soon, I was thinking how I miss Elisha Willis and how I think how well she too would have been suited to Lise (as well as all the other famous main roles!). Driving away, saw the Shetland pony grazing on the road verges in Salford Quays.

It's been great to hear about the Manchester Manon performances. Just wanted to share that I'm still feeling the effects from my first Manon last week in Manchester, I really didn't expect it to be such a revelation. Especially since I had seen MacMillian's Romeo and Juliet (also for the first time a couple of years ago), which didn't have anything like the same impact on me. Although Cojocaru and Caley were so exceptional in the performance I saw, I think it was not only their fabulous performances which made that impact, but something fundamental in the ballet itself. I never thought I could love a neoclassical romance-ballet (even seeing Cojocaru in Nureyev's R&J a couple of years ago couldn't convince me otherwise). I've even had a few doubtful thoughts about how going back to Swan Lake etc will seem after this. So wonderful to be able to experience this new discovery; so often when I go to the ballet I feel I'm trying to recreate that first time I went and was blown away. Sometimes I think that gets harder as I get more familiar with the ballets but if anything came close Manon certainly did. On the issue of audience attendance, my impression wasn't too bad, especially since I read that the last time it came to Manchester (with ENB directed by Eagling) it really bombed and the planned performances in Liverpool were cancelled. Not that I don't share everyone's concerns though. So often when I book ballet tickets very late and find loads left, I am both pleased at the convenience, and deeply worried at what this will mean for the future of touring ballet in the UK.

ENB's national tour of Manon started in Manchester (Opera House) this evening. I attended opening night where Alina Cojocaru (lead principal at ENB since 2013) and Joseph Caley (lead principal since 2017) danced the leads. Both noted as debuts in the roles with ENB on the cast sheet. I cannot find the words to say how good it was. To roll out the cliches - it was simply out of this world, and it was a privilege to be there. The rapturous response of the audience indicated that most people there agreed with me. I speak as someone who hasn't always loved neo-classical ballets or MacMillan (my first experience being Romeo and Juliet with Birmingham Royal Ballet a couple of years ago). It was my first Manon (I've only clips of that final scene on YouTube). I am asking myself since leaving the theatre - why was it so good? Was it Cojocaru and Caley? was it MacMillan? was it Massenet? It was one of those nights where one is transported, convinced to the level beyond admiration. Every scene with Cojocaru or Caley in it had that extra authentic intensity that made me fascinated, entranced. I got the tingles alright - and the tears! Naive fool that I am, I couldn't imagine Cojocaru as Manon, having lapped up her crystalline classical Petipa performances with ENB. But how seductive, how womanly, how human she was as Manon on her journey through this tragedy. How could I doubt this complete artist? Similarly Caley's embodiment of Des Grieux matched Cojocaru's genuine portrayal, and I found myself so touched by his performance. What a partnership. The last (and only) time I saw them dance before was in that half-empty Coliseum on June matinee this year where they filled the theatre with their brilliance in Sleeping Beauty, that several forum members praised. I was completely unprepared to be so blown away by them again in this 20th century ballet. It's very late now, so regrettably I must omit to mention the many other aspects of this which made tonight complete theatrical magic, and a memory to treasure. Thrilled to have discovered this masterpiece, and so grateful to ENB for bringing it to a theatre near my home. It was staged at Manchester's smaller venue the Opera House (compared to the Palace theatre) but I was in the Circle which was quite full, the balcony was not full but the cheers when the curtain came down made it sound like a full house. Look forward to hearing others' thoughts on this run.

Thanks Ballet Forum members for your thoughts on this BRB double bill. I went to the Saturday 6th Oct performances. I nearly let it pass me by, but when watching the UK World Ballet Day YouTube video I saw the BRB section with Tyrone Singleton and Max Maslen rehearsing the King Dances and was so impressed I was so glad to see the performances in Birmingham this week and booked my tickets for Sat. In The King Dances, the matinee was lead by Lachlan Monahagn and Yasuo Atsuji and the evening by Max Maslen and Tyrone Singleton, as Le Roi and La Nuit/Le Diable. In Ignite the same cast was River/Fire/Sky in both performances which was Dela Mathews/Celine Gittens+Brandon Lawrence/Mathais Dingman. First of all I must commend, as always, the exquisite quality/artistry of the BRB dance and the Sinfonia. I remind myself never to take it for granted! The audiences were not by any means full houses, (expected but nevertheless disappointing) but once could tell the enjoyment and appreciation by the loud response. The King Dances was right up my street and I must say I particularly enjoyed the Maslen/Singleton performance, which seemed to get better and better and towards the third/fourth 'watch' I found the atmosphere humming in that special way when the magic of ballet is spun, it is all completely convincing, and one stops thinking and just experiences the art emotionally. I was further up in the circle in the evening and as Bruce says the benefit of the viewing angle might have had something to do with it - the effect of the mirrored black floor more stunning, the ensemble quality more obvious. But also, Maslen's interpretation was so regal, so noble, even in the night shirt scenes; and Singleton's powerful presence and partnering utterly convincing. From both performances, the joy of the focus on male dancing (the fast turning, the arabeseuque and less reliance on huge leaping) was a total revelation to me and I've not felt anything like that, except seeing Song of The Earth by English National Ballet last year. I also sensed the influences of the great Petipa ballets - Swan Lake/Nutcracker in the fantasy drama elements. So much to admire enjoy in both performances, I hope to see it again, but I must say Maslen seemed to elevate it by his interpretation into the magical. Photographs of that final scene with the Roi Soleil cannot do justice to the stunning theatre of it, when seeen live. What a literally brilliant piece of ballet-theatre. Ignite is the sort of ballet which challenges my rather stubborn prejudices. The only thing I have seen similar is Khan's Giselle, the memory of which came back as I saw large number of dancers flowing across the stage like animals or elements. After viewing the opening scenes cautiously, I really did admire the river section with it's stillness and Mathews communication. Celine Gittens I did not recognise until the curtain call. And this is a compliment, as I have been so used to her long-limbed majesty in classical roles to see her compact and dynamic and sympathetic performance as Fire with Lawrence is yet another surprise from this wonderful dancer. I saw Bintley sitting in the evening audience. How grateful to him I am for his direction of this wonderful company, and sad that I have only recently come to appreciate the quality of his own choreography/productions.

I have just returned home to the north west from London where I saw Thursday's ENB Sleeping Beauty performances lead by Cojocaru and Dronina in the matinee and evening. Thanks to those who have already made comments about Cojocaru's final performance in this run saying how special it was. I have not much more to say than has already been said, in fact Capybara took the words right out of my mouth in describing it as 'out of this world'. I felt the power of it most strongly in the vision scene, where lime-lit and alone on the stage, her tiny presence seemed to encompass the entire space of the Coliseum. She just seemed to be so freely and unconsciously dancing the steps as if they had just occured to her. Since 'out of this world' has been used, I'll use 'incandescent' ! Splendid regal technique blended with authentic characterisation and the added magical element - just what we always hope for when we go to the ballet. Sim made a point which chimed with me, that Cojocaru's most recent Giselle with ENB (2017) was not quite what some of us expected (I also saw this at the Colsieum, and a couple of other people on this forum raised minor questions about the quality of the performance, versus our impossibly high expectations), which lead us to worry/speculate. How glad I am to have my doubts dispelled so completely. Dronina I have long admired only through videos on YouTube, where some of her spectacular Aurora with Dutch National Ballet can be viewed. I had to pinch myself when reminding myself that I was seeing both her and Cojocaru in one day. I am delighted to have seen her seen her as Aurora live, to add to my memories. Once again (and perhaps it helped by the staging in this MacMillan production) in the vision scene her presence radiated powerfully. I should spend more time praising the rest of the dancers I saw, and the orchestra, and this production which I have not seen before (I have seen 3 Sir Peter Wright Sleeping Beauty performances with BRB this year), but I'll be here all day. I admired the taste of the design with it's relatively subtle (and sometimes luxuriously dark) backgrounds and costumes. Janet McNulty described the Wright design as 'autumnal' and I think the word is appropriate here too. Other performances which stood out - Alison McWhinney as Diamond, and I agree with Blossom about Francesca Velicu as Princess Florine. Very good fairies in both performances I saw, particularly Katja Khaniukova's Enchanted Garden Fairy. P.S. Alison I have a cast sheet for Thurs 14th June Matinee, let me know if you still require a scan - tried to send you a message but can't work out how to add attachments.

I went to see the Thurs eve (15th) performance in Cardiff with Celine Gittens and Tyrone Singleton leading. I had seen 2 performances at my 'local' the Lowry Salford, and Cardiff is a long trek, but I was intrigued to see Gittens in the role, and since the last BRB Sleeping Beauty was 2013 (unless I am mistaken), didn't want to wait another 5 years for the chance. What can I say about Gittens that is not trite and uninteresting? I think she's one of the finest ballerinas performing in this country, possessed of a unique and remarkable poise and sensational outstanding technique that is clear in her every step. Her Aurora was masterly, exquisitely, and convincingly performed, with pearly classicism. In particular I would praise both her and Singleton in the Act II awakening pas de deux which was touchingly communicated. There has been a lot of discussion on the forum about Delia Mathews debut as Aurora but not as much mention that it was Gittens' debut in the role too this season. I've seen 3 performances of BRB Sleeping Beauty in the last month with Aurora danced by Gittens, Maureya Lebowitz, and Delia Matthews and each viewing has been a privilege. As recommended by Tony Newcombe I did want to see Yvette Knight too but sadly it was not to be as I had a special family event the night she was dancing. The standard of performance in every case has been superlative, and the rich and fascinating contrasts in personality and portrayal of the lead ballerinas has been very rewarding to see. There is one performance I most enjoyed but I would keep that secret, because I think so many subtle and intangible factors add up to one's enjoyment it's just not fair to state it. Suffice to say I would eagerly see any of the casts again. In Cardiff Lachlan Monaghan as the Bluebird deserves a special mention, there was some impressive quality that stood out, and I felt the audience responding to his performance. I tried to drink in every moment of the staging and costumes this time, reminding myself what a magnificent spectacle they make. I like very much Janet's description of the 'autumnal' tone I think that's very accurate. As well as the final glittering gold confetti, the end of Act I tableau with the court and the fairies all standing on stage together it's just a magnificent piece of art in it's own right.

Thanks to all for the comments on this BRB run of Sleeping Beauty so far. I went to two performance at the Lowry, Salford; opening night with Delia Mathews and Brandon Lawrence leading, and Sat matinee with Maureya Lebowitz and Lachlan Monaghan. For me, this production epitomises classical ballet, although I'll admit I've not seen dozens of performances like some forum users will have (although I watched plenty of YouTube videos). It's an outstanding masterpiece of art, and the times I have seen it (all in Salford) over the last 15-20 years are treasured memories for me. It was an utter privilege to see Mathews in her debut season in the role, and words cannot really do justice to the sparkling pristine classicism which she transmitted from the first moment she appeared. She handled the role with great intelligence and taste, and yet her dancing seemed instinctive and fresh; and I marvelled at how she got this balance (excuse the pun) so perfectly. I know several forum users dislike the fact that the Rose Adagio has turned into an olympic sport, but I must admit I do like the excitement the technical challenges brings (my heart is usually pounding when I watch it live). I agree that there is too much emphasis put on the arabesque-balances - but I must mention how Mathews handled them as an example of her brilliance in the role. The balances were held definitely but not overtly extended, and her hand returned delicately to each suitor in turn; thus maintaining the character and mood of the opening scene above all. She was immaculate, stunning, throughout the performance, everything I could wish for in an Aurora. and I will add this performance to my memories. Similarly I will remember Lebowitz's radiant Aurora on Saturday. Having noticed her some years ago, I have managed to catch a few of her performances last year in Cinderella and Coppelia, and I find her such an appealing and attractive dancer; I first 'noticed' her as the Enchanted Princess in BRB's previous Sleeping Beauty tour (2012 or 2013 I think). As SheliaC said, she was technically in command and after delivering an excellent Rose Adagio, just seemed to get even better in the following acts so that I was quite overwhelmed by her jubilance and panache in the Wedding PDD. I understand she has danced this role for some time and her dramatic treatment was superb, the way she commanded the stage simply with her posture, her arms, her smile, her eyes. One particular moment I noticed, in the Rose Adagio when she walked into the final balances she did it with such prompt and natural eagerness - on top of the world, confident, and keen to meet her Princes again - she seemed to perfectly illustrate the meaning of the Rose Adagio. In the Wedding PDD she seemed completely in her element and her final diagonal of turns in the coda was so fast and brilliant it was the perfect icing-on-the-cake of a marvellous performance. Not enough time at the moment to detail my many other thoughts on these performances, or detail my appreciation of the company as a whole in delivering such majestic artistry in this production, except to say that I am so grateful to have the chance to experience this level of art near my home. Just a couple of further points - I did notice Yvette Knight as the Countess in Act II, just a couple of simple arabesques and turns that shone out in quality. Finally, returning to the car park through the Lowry shopping centre, I'm fairly sure I saw Celine Gittens, looking effortless glamourous in fur coat and jeans, making her way to the theatre where she would be leading the Sat eve cast. I've not had my fill yet and now I'm looking at Wales and Plymouth and working out if I can find a way to attend again - particularly to see Gittens and/or Knight as Aurora.

I went to this annual event last night at Birmingham Symphony Hall. Main reason was to see Iain Mackay one last time since (this was his last performance in the city). I've not been to any 'gala' events like this before, and I found it sensational in the literal sense - so many different styles and moods in one evening. All of the sublime quality that I've come to appreciate from BRB artists over the years. The mixture of classic showstoppers, unfamiliar pieces, and new work made a beautiful and intelligent programme. The Sleeping Beauty wedding pas de deux with Tyrone Singleton and Celine GIttens made an immaculate and regal start to the evening, although I can't help feeling there's something 'wrong' seeing it out of context, however expertly danced. The finale of the Don Quixote pas de deux with Momoko Hirata and Mathias Dingman brought the house down; I've never seen this performed live (or heard of it performed in the northwest where I usually see ballet) and the stunning flair of the piece is a rare and special thing. I've seen endless versions on YouTube with the great stars of ballet, and Hirata and Dingman delivered a performance equal to anything I've seen there. Le Spectre de la rose (Weber/Berlioz/Fokine) danced by Arancha Baselga and César Morales was just extraordinary. The expressive and virtuosic male dancing in particular was superb. I was instantly transported to a magical dreamlike world (and I felt echoes of Ashton's Midsummer Night's Dream). It was an absolute privilege to see this piece, who knows when I will get another chance. Mackay danced two pieces with Jenna Roberts - After the Rain by Christopher Wheeldon with music by Arvo Part and a new pas de deux choreographed by David Bintley to Khachaturian's Spartacus. While both very different, the exquisite poetry of motion and sympathy/communication in the partnership, as well as their majestic presence as individuals, really was a wonderful thing to behold. Since seeing Bintley's Cinderella live for the first time last year I would say he's my favourite choreographer (of work I've seen live) next to Sir Peter Wright. Mackay got a standing ovation of course and I'm very sad I didn't see more of his performances in the past - it was Taming of the Shrew a couple of years ago where I 'discovered' him. It's a one off evening, but writing this I keep thinking how I'd love to see and savour it all again. Did anyone else attend?

Great to see a bit more discussion on this Nutcracker, the different views from old and new forum members, exploring the positive and negative impressions. I've seen this Nutcracker more than any other - through circumstance rather than preference - and I'm afraid I tend to agree with the more negative views above. The mention of dull/empty staging particularly strikes chords with me, and i haven't heard these voiced before so thank you. Interesting to hear the Arabian dance denigrated again LinMM, that divertissment in this production has had quite a bit of stick on this forum, and elsewhere, I believe. I would agree CCL that there are good points and there are always great individual performances by the ENB dancers, and would be happy to recommend it to anyone who hasn't seen it, and I would probably go and see it again at some point. It's just that compared to the masterly, magical Birmingham Royal Ballet version it does suffer by comparison. I would also praise the ENB orchestra whose brilliance in playing that magnificent score I've loved on every occasion. Not sure I've got my facts right but the previous Nutcracker from ENB was choreographed by Christopher Hampson with set designs by Gerald Scarfe and ran from 2002-2009. I also wonder like the posts above if a new version is on the horizon.

Thanks Irmgard for this review and detailed observations, particularly interesting comments on technique. I have not seen Oliveiria in a leading role so very interesting to hear your praise of her too. I've seen this production a number of times and I'm afraid I don't really admire it's peculiarities, but am always interested to hear others' views on the forum, yours is the only one so far this season! And as you mention the individual performances can make it a worthwhile trip. Glad to hear the grand PDD delivered the magic for you.

Not sure if this is the right place to post it because it's not TV but there was a BBC Radio 3 programme on Sat 15th December 'The Sound of Dance' dedicated to the Nutcracker with music from the ballet and other readings and interviews about music which I found very high quality and gave me new insights into the ballet score. Very high quality contribution from conductor Paul Murphy (Birmingham Royal Ballet) giving his views on interesting points from the score and the virtuosic demands it puts on musicians. Particularly liked the information on solo use of certain instruments - piccolo (in the Mirlitons and Transformation scene) cor anglais in the party farewell, harps at the opening of Act II, the innovative celeste in the Sugar Plum Fairy, and the children's choir at end of Act I. As someone who finds often the live music as appealing as watching the ballet of the Nutcracker (if not more so) this was a wonderful programme. Haven't seen it mentioned on the forums so apologies if I am repeating someone else. It's available on BBC iplayer and downloadable as MP3 too I think.

Fascinating thread. I see Giselle mentioned a lot in the responses and the most immediate memory that springs to mind of being tearful at a ballet is the RB cinema broadcast of Giselle with Marianella Nunez and Vadim Muntagirov (2016 I think), I can still recall now the heartbreak, desperation and anguish and fatality of it all. Nunez astonished me, I'd always thought of her as a dancer of stunningly beautiful technique that I'd love to see dance live, but never imagined her ability to dramatically portray tragedy in her dancing. I'd never been so moved at a ballet and had to fight to keep myself from breaking down. I'd just like to concur with ToThePointe on the 'crossing' of the Wilis in Act II, with the music swelling, it's so powerful and again another strong memory in the RB performance I saw. Otherwise other time I remember was seeing Elisha Willis dance Aurora in the Sleeping Beauty at the Lowry, Salford in 2012 with BRB. In her solo and the coda of the Wedding Act III, her sheer brilliance and poetry of motion was just too much and I felt tears pricking my eyes. Hard to explain this sort of emotion, I suppose it's a bit like a real wedding or maybe even a great sporting achievement where despite the obvious happiness of the event, the perfection of it all is just too much.

Thanks for these posts and observations. Great as always on this forum to hear praise and excitement about dancers I'm not yet very familiar with. Yvette knight danced the arabian on the night I attended which was a highlight for me. 27 years of seeing brb nutcrackers is quite mind boggling Janet. I would love to hear of your standout memories from these years. Thanks also Two Pigeons for the tribute to Iain Mackay I fully agree. I have only come to really appreciate this glorious dancer recently - saw him in Taming of the shrew last year he was brilliant. Sad that I will not have chances to see him dance. I'm now looking at his final performances in jan and working out how I can see them.

No posts on this year's BRB Nutcracker yet? Can't find any on the forum unless I am missing them somehow. Would love to hear from those who have attended this year. Perhaps since this is such a familiar production people feel they have not much to add to reviews/posts from previous years - but surely they are always new sensations/insights to be discussed ? I attended yesterday eve (Tues 12th Dec 2017) where the leads Clara/Sugar Plum Fairy/Prince were Miki Mizutani/Delia Mathews/Edivaldo Souza da Silva. I thought maybe I'd give Nutcracker a rest this year since in the last 5 years seeing it nearly every year either from BRB, ENB (live) and RB (cinema). But maybe it's a bit like Christmas itself, often I think I'm going to opt out this year, but then I can't help being seduced by the beauty/excitement of it, despite the fact it's usually a disappointment and I'm sick of it before it's over. I must admit I've had this exact feeling in relation to the Nutcracker. But then, I started hearing the music on Radio 3 and with the frosty snowy weather I got seduced again. Then I saw Mathews was dancing the Sugar Plum Fairy (I was v impressed when I saw her as Bintley's Cinderella recently) and Celine Gittens was the Rose Fairy and I remembered fondly my first live experience of BRB Nutcracker in 2014 where I saw Gittens in the same role and thought she was already a Principal (the wonderful Elisha Willis was the SPFairy). I concluded a 3-year gap was a reasonable wait to see the best Nutcracker in the land and booked my ticket. I do think the Fanny-and-Alexander-inspired set design by John Macfarlane is superior to any other I have seen for this ballet, and I feasted my eyes upon it. The Act I party action I regret I can only tolerate nowadays rather than appreciate, instead I try to focus on the brilliant music played by live orchestra which some say is the key to the the ballet's enduring success through the centuries. The few points which really made this Nutcracker once more a magical experience for me was Gittens as the Rose Fairy, the genius of the Arabian dance in this production, and finally Mathews as the Sugar Plum Fairy. She really was a sight to behold in the pas de deux, solo, and coda; absolutely everything you could hope for in this role, utterly regal, other-worldly. I've not seen dozens of SPFairies, but have seen brilliant versions by Willis and recently Alina Cojocaru in ENB productions and am very happy to add the memory of Mathews to these memories. She and Souza Da Silva delivered the climax, the jewel in the crown, of the ballet so perfectly that any doubts I had had about attending it again were dispelled. There was snow cover in the streets around the Birmingham Hippodrome and an expectedly packed theatre (I understand the city was one of the worst affected and Sunday's performance was cancelled). Would be very interested to hear any other forum user's reflections on this run.

What size were the audiences in Manchester through the week? On opening night the grand tier was closed, which I must admit I expected, and to be honest I thought it could be much worse. Most other seats were well occupied, and the audience gave a great reaction which I hope the dancers enjoyed. I'm so grateful for the existence of ENB and it's bringing of Song and the Earth and Sylphide (with globally top rank dancers) to a theatre on my door stop. Who knows when these ballet will next be danced again in the northwest? I remember an interview with Wayne Eagling saying when ENB took Manon to Manchester the audience was something like 'two men and a dog' , and I was worried something similar might happen with this double bill. Great photos DQF, brings back memories of the romantic beauty with which Sylphide was presented and performed - I wish I could have gone to more than one performance last week.

I also attended the season premiere of this programme at Manchester Palace on Wed 11th like Janet. I found it a quite a profound and revealing evening of exceptional quality, which was a privilege to have a chance to see. I've not seen either ballet - does any balletco member know when the last time Song of the Earth or La Sylphide was performed in Manchester (or in the northwest England full stop for that matter) ? I was quite entranced by Song for the first moment. For me, the dramatic impact of the simple aesthetic, the wonderful music (I'm quite unfamiliar with Mahler) and the singers on stage (MAB, my cast sheet has the Contralto as Rhonda Browne and the Tenor as Samuel Sakker) had great impact and the first song (all male) somehow immediately spoke to me, instantly, I thought it very beautiful. I'm usually quite narrow in my ballet taste and limited to the classical canon, but if any ballet has encouraged me to explore 20th century choreographic movements, I think it would be this one (I've only seen one other MacMillan ballet - Romeo and Juliet, which didn't have the same effect, nor did - for example - the new Khan Giselle which many are raving about). For me a large part of the revelation was the mesmerising performance of Rojo as The Woman; perhaps it is the cult of personality, but her presence as a dancer and ability to express herself in motion is so absolutely convincing. The final tableau of the the trio slowly stepping forward on the stage as the curtain went down was just so perfect - shivers as Janet says. As ChrisG says, the representation of Mahler's music in dance in this ballet really seems a work of genius. If I'd heard the music alone I would have thought it nearly impossible to use in a ballet. La Sylphide I would normally expect to more be my cup of tea, a priori. And it was, except I found the Scottish party scenes rather dragged in the same way I find the party stuff in Nutcracker drags, but the denouement of Act I where James disappears from the wedding is a wonderful bit of theatre. The music is fabulous - stirring, dramatic and thrilling. Isaac Hernandez is a dancer of such presence and ability - a real danseur noble. I have seen him dance several times with ENB and am glad Janet praises his acting, this is the only area where I have the slightest doubts - perhaps it is just me. Speaking of acting - I found Jane Haworth absolutely superb as Madge, probably the best acting of the evening for me. However my overall highlight was the privilege of seeing Jurgita Dronina dance live. A while ago I 'discovered' her on YouTube and quickly devoured her recorded performances in the classics. I never dreamt I would see her dance in my local theatre and enjoyed every moment she was on stage. Rojo and Dronina in Manchester in one evening and nearly 3 hours of exquisite ballet make me feel the price of my ticket in the circle almost laughably cheap (ATG card and first night offer). I'd be going to see this double bill again if circumstances allowed.

Thanks Janet for starting this thread on BRB's Aladdin. I saw the performance tonight at the Lowry with Aladdin danced by Lachlan Monaghan, the Princess Badr al-Budur by Yaoqian Shang, and The Djinn of the Lamp was Max Maslen. I'll echo Janet's praise. However I will admit that the advance billing as 'family entertainment' rather put me off - grumpy old so-and-so that I am. The Disney-like publicity posters and images also rather discouraged me, (along with the inescapable associations with panto) but the reviews I read seemed to gainsay this and, with confidence in how supremely excellent I know BRB to be, I went along. I'd seen another Bintley creation Cinderella last year and and admired his choreography very much. I had not seen the ballet before (or heard much about it) and for anyone else in that position I would tentatively suggest that 'family entertainment' is accurate in one sense but misleading in another. There is very little panto or slapstick. The dominant impression I come away with is a rich, splendid ballet with a style of dancing right up my street, traditional classical, with emphasis on technique and spectacle rather than deep characterisation or emotional communication. I began not immediately entranced, feeling it was all a bit pastiche - competent and attractive but not riveting; but by the end my spirits were quite elevated by some wonderfully conceived and performed scenes, and splendid individual performances. Particular aspects which appealed to me were the general ensemble pieces (which I also thought superb in Cinderella), and the spectacular first big number the Djinn leads in Act II, which has tremendous impact. I admired the style of the Djinn's choerography, which I thought may have fallen into Corsaire-pastiche but actually had a rapid delicacy and originality in the steps - very fast turns rather than great big jetes. In the precious stones variations the Sapphires stood out to me, with a wonderful leading performance by Samara Downs - this was the moment the ballet really started to come alive to me. As Janet saw and described on Wed, Sakuma and Singleton performed Rubies so brilliantly. Aladdin and the Princess danced several pas de deux of great beauty (again, a feature I remembered from Cinderella) - it was the first time I have seen Yaoqian Shang in a lead role, and the images of her promenades in attitude/arabesque in those pas de deux are a very strong lasting impression. Again comparing to Cinderella, I though there was an exquisite taste in Bintley's choreography - never overdone or forcefully showy, some beautiful subtle detailing to the steps. The oriental style and features worked brilliantly to create fantasy and romance, I have not seen this in any other ballet (I wouldn't really count the Chinese dance in Nutcracker), and lastly seeing Marion Tait performing as Aladdin's mother was the cherry on top, she has a presence on stage that is always remarkable. An extremely enjoyable evening, I'd see this ballet again given the opportunity..

That's what I remember thinking when I saw Bracewell perform this role at the Lowry in 2015. Thanks all for the descriptions of the Bristol BRB Coppelia perfomances, I have to say I feel quite envious of those that saw this final Sat eve performance with Gittens, Singleton and Bracewell especially since it was WB's last BRB performance. Nevertheless I'm delighted with the two performances I did see and I don't think I could ever tire of this Coppelia.

I was also at Thurs matinee with Lebowitz and Monaghan which Janet has described, I also saw the evening performance with Arantxa Baselga and Max Maslen as the leads. I'll not add much to what Janet has said about the matinee (I was a bit flustered and tired after an early start and delays travelling and don't think I was in the best mood to appreciate). The main reason for travelling was to see Lebowitz, who I am on a bit of a quest to see more of, having noticed the quality of her dancing as the Bluebird in Sleeping Beauty some years ago (this year I have also travelled to Sunderland to see her lead Cinderella and thought she was great in that). I have seen this Coppellia once in 2015 at the Lowry, Salford, with the wonderful Elisha Willis as Swanhilda, and loved it. With Willis - a favourite of mine - now retired, I am on the lookout for other dancers to 'follow', and there is something so appealing about Lebowitz's style. Despite my grumpy mood I could see she delivered a fairly faultless performance and really suits the role - I will just mention her final manege of pique turns in the galop final I admired very much, full of energy and speed, almost making the turns into jetes. The other highlight for me was the slow pas de deux just before galop final, very beautiful and moving and both Lebowitz and Monaghan to be equally admired in it. Should also mention the upper circle where I had booked a ticket was closed and I was reallocated ('upgraded') to the rear of the grand circle, but I'm not sure the seat was better, in my opinion. After a nap in my hotel I was much better placed to enjoy the evening performance with Baselga and Maslen. This time I was in my chosen seat, front row, upper circle, and despite the crampedness I think it's a great seat in the Bristol Hippodrome, as others have mentioned on the forum the Bristol pit is not really a pit and the view and sound of the orchestra is wonderful from there. You seemed to be placed right about the music and the dancing and I feel get a much more intimate view of the whole proceedings unlike the rear grand circle. I appreciated fully all the aspects of this masterpiece Coppelia that first struck me when I saw it in 2015, and I must say the level of technical and dramatic assurance of Baselga and Maslen was top notch as far as I am concerned. Baselga performed all the technical steps with aplomb including the unsupported 'looking glass' promenade in arabesque in Act II with particularly deep forward penchee to finish. The slow Act III pas de deux was again a thing of breathtaking beauty, and the following solos/codas all delivered with flair and joy by Maslen/Baselga. What a splendid, thrilling, charming creation Act III is with the wonderful ensembles of the Hours and the Call to Arms (these elicited spontaneous applause Thurs eve) and the Dawn and Prayer variations, danced with typical majesty and finesse by the great Celine Gittens, and serenity and grace by Yiging Zhang. Joyous I think is exactly the right word, I very much agree with Janet and nottsballetlover. It would be so interesting to see Gittens as Swanhilda - at the moment I have a such a strong image of seeing her and Tyrone Singleton as Odette/Odile and Siegfried, it's difficult to imagine them in such different roles (though I did see Gittens as Skinny in Cinderella) - I would be very interested to hear of your thoughts on their performance on Sat nottsballetlover.

Thanks toursenlair for relaying this news. A change/move in a dancer's career seems always a case of good news for some fans, bad news for others - and I can certainly empathise with the disappointment. And with this news I think I am one of the lucky ones as you say. I was excited when Dronina joined ENB for Giselle this year and I did wonder idly whether it would lead to more guest appearances but never imagined it would lead to a more formal contract like this. With Cojocaru's happy personal news (but professional hiatus), it seems a brilliant, shrewd coup for Rojo to engage Dronina. Having admired her dancing only on video, I very nearly took the opportunity to see her live in Giselle (but with time constraints felt I had to plump for the chance to see Cojocaru dance instead). Thus the news of future chances to see Dronina dance in the UK is just wonderful. It would be even more wonderful for me if Dronina dances in the ENB touring performances in northern English cities close to me - Liverpool and Manchester.

Just attended Jewels in Copenhagen performed by Royal Danish Ballet, having been in the city coincidentally. I must say I am thrilled at the performance I saw. I dont think I have seen any Balanchine before and delighted that my first experience was such a high quality one. I won't from laziness detail all the dancers names and just say every piece I saw was exquisitely performed and communicated but I will mention in particular Holly Jean Roger and Gregory Dean in Diamonds who displayed the sort of flawless brilliant ecstacy that made the hair stand up. I still cant quite the words to describe the style except it was quite new and stunning to me. Extreme elegance, almost austere, blended with joy, cheekiness, glamour. The smallish (1600 seat) packed theatre was indeed like a jewel box and the effect of the illuminated dancers against pure black or blue so impressive, breathtaking. I must thank balletforum yet agaim for great advice and information. Last week it seemed sold out but I found an old thread where a forum user advised checking each day the Royal Danish Ballet web for tickets to appear. I did this and got a ticket, I am very glad I did.

As on of those BRB fans I'm selfishly very disappointed for myself, but I very much wish Bracewell all the best on joining the Royal Ballet, and thank him for the splendid performances in which I saw him live at the Lowry in Salford in Swan Lake, Cinderella, and Coppelia. I only saw him in one lead role in Cinderella but his artistry was always particularly impressive and memorable to me. I hope to see him dance again although it is much less likely now.

I have just seen this documentary after being away. As so often, it was the Balletco forum that brought it to my attention or I may well have missed it alltogther, and once again I am very grateful for this. I am also very grateful that the BBC would chose this as a subject for a documentary - how rare are documentaries on mainstream media on a specific ballet, exploring in such depth the different themes? Admittedly, there is usually on BBC a ballet at xmas with a little documentary attached to it, but documentaries of this kind? Once in a blue moon surely? The only ones I can remember really in recent years are the Nutcracker doc this xmas (with Francesca Hayward) and the Good Swan Bad Swan again with Rojo. For that reason alone I will praise this documentary to the skies - this is exactly the sort of thing the BBC must do in my opinion. The footage and interviews with Cojocaru and other dancers in closeup, again, incredibly rare stuff, precious. Rojo's explanation and demonstration with Isaac Hernandez superb. The only issue is that people who are likely to watch this are likely to be very discerning critics indeed. I found myself 'nitpicking', I do agree with the comments about that there was a lot of material to cover, a lot of voices to include, I did feel a bit bombarded my the information overlaid with fast cutting imagery from rehearsal to performance to interviews to narrative section to street/city shots ... And I can't let a chance pass to whinge about the BBC 'formula' for all documentaries, the travelogue style with the compulsory walking towards camera of the presenter in some dramatic location, with dramatic music swelling, the candid 'photo-montage' shots of buildings/street life overlaid on a piece of narrative loosely connected to the theme being discussed. But I admit that's biting the hand that feeds me. Rojo is a powerful presenter in she exudes authenticity and demands to be taken seriously. And the closeups of Cojocaru really made me relish my memory of seeing her in Giselle at the coliseum in January. To be able to see the expressions so clearly surely alters one's experience of the performance and it would be wonderful to see a complete performance her Skeaping Giselle on screen.