northstar

Just back from Sunderland, having seen BRB Cinderella at the Friday Matinee with Maureya Lebowitz and Mathias Dingman as the leads. My first visit to the Sunderland Empire and I specifically went to see Lebowitz in a lead role who I have admired since seeing her Bluebird in the Sleeping Beauty some years ago. Another fabulous performance, BRB never fail to deliver I don't think I've ever seen a duff performance from them. Lebowitz convinced me and I am so pleased to have seen now three different brilliant interpretations of the title role in this run, including Lebowitz, Delia Mathews, and Jenna Roberts (my 'reviews' are above). Lebowitz I would describe as radiant in the second act, combining effervescence with nobility and technical mastery. Each woman I have seen as the lead has interpreted the contrast between the kitchen-slave role and the princess role with such impact. Lebowitz in the kitchen she seemed to have a subtly defiant mischievousness or inner strength which was all her own. Dingman I also don't think I have seen before in a lead role and he matched Lebowitz in mastery of the role, and I sat back and enjoyed the classical purity and verve of the the leads' solos and pdds. On the third viewing, I think I would have to admit that if I were to see more performances soon, the comedic scenes might become slightly tiresome to my tastes. But I really wouldn't mind seeing the ensembles in Act II again quite soon, since they are so rich and complex. A few further thoughts in addition to my previous posts. The star waltz at the end of act I (night time) really is a thrilling piece of complex and dazzling beauty, as is the companion ensemble at sunrise in Act III. The extravagant frock coats of wine and indigo of the men in the ballroom scene are as full and flowing as the women's skirts! Some of the elements of choreography that I could watch again and again; the fast jumps backward into hold (with pirouette) that Cinderella makes with the Prince in act II; the glorious spiralling lift in arabesque in the final act III pdd. Overall, magical choreography of exquisite taste that makes me take my hat off to Bintley. And the recent news of financial troubles at BRB makes me even more appreciative of their existence, and even more conscious of taking them for granted. I was looking down at the orchestra today thinking how magnificently they played the Prokofiev score, and wondering at the exceptional quality involved in the whole enterprise (every artist is right at the top of their profession) and how fortunate we are to have this company touring throughout the UK.

Thanks for this news Janet. Once again my mind boggles at the difficulty of putting a season together with the limited resources at ENB's disposal. Following on from Don Q Fan's post, I'm concerned about how La Sylphide and Song of the Earth will sell in Manchester. Personally I'm thrilled at the chance to see in particular La Sylphide up here, when was the last time any company performed it in the north west? I think, from my memory of being in two audiences, Khan's Giselle sold quite well in Manchester but it was the world premiere there. I'd really like to see a different production of the Nutcracker from ENB. I'm quite glad it's not running near me, since I'd be tempted to see it again anyway for the chance of seeing ENB's fantastic dancers (and I can listen to the music forever).

Thanks Janet for your thoughts on the many performances you saw, I found particularly interesting your comments on Yaoqian Shang and Yasuo Atsuji who I have not seen in any leading roles. I find the kitchen scenes not exactly magical but nonetheless weave a spell, a mood, just as effective as the more dazzling scenes. I still can't get the experience of this production out of my head, and reading that Maureya Lebowitz is cast to dance the lead in Sunderland, I plan to go there to see it again.

Strawberyy I was there too and had the same thought as you about the number of very young children, especially considering the ballet didn't end until 10 pm. I've not seen so many children even at Nutcrackers. I imagine the title 'Cinderella' has connotations of Disney/Panto and might attract family audiences who don't quite know the ballet, and if that is the case, and some of them did not quite get what they expected, they may yet have enjoyed the brilliant performance. I must admit it was good to see the Lowry so full, and although I am naturally a disapproving grump, I did not see directly any bad behaviour from the children. Late arrivals in my section were dealt with discreetly by the Lowry volunteers and were not allowed to disturb full rows, sorry to hear this was not the case for you. Indulging a bit more in my disapproval, the lack of rules and discipline, especially for children I must admit irritates me. Since the dawn of 24 hour supermarkets I often shop late (avoiding the hell of family rush hour with children running around the aisles) but nonetheless see adults with very young children there after 10 pm. I must confess this irritates me, it seems to be to show a casual disregard for discipline and a kind of selfish laziness. I try to remind myself that society is now very different to even 20 years ago, including economic pressures on parents leading to odd and difficult working patterns and knock on effects on childrens' upbringing. But then you see a child being allowed to play a loud harmonica as they are wheeled round the supermarket, with the adult seeming to have no concept that this might be annoying to other people .... I'd better not get started ... And yes Don Q Fan I was slightly aware of the rustling sweet wrappers but to be honest the ballet was so enthralling it hardly bothered me. And it's probably a case of confirmation bias, but why do the people who have seats in the middle of long rows always turn up last and make everyone stand up for them ?

I attended the Sat eve performance of BRB Cinderella at the Lowry Salford with Delia Matthews and Tyrone Singleton as the leads. I also went to opening night, and with the motifs of the score and the images from the performance dancing in my head since then, the urge to see this ballet again became stronger and stronger. I am so glad I did. Once more I was treated to an outstanding performance of the highest quality, transported to another realm, and enthralled throughout. Wonderful moments I was gladly reminded of tonight: the violins on stage when the dancing master arrives at Cinderella's house; the opening of the stage mouth at the end of act I to reveal the wide night sky; followed quickly by the wondrous complexity and energy of the star waltz ensemble; the gorgeous rich costumery in the act II ball of deep red and indigo, and a stage full of dancers finishing a number with synchronised chainee turns, against which Cinderella and the Prince sparkle like silver ornaments; the floating tails of the prince's coat enhancing the beauty of (particular impressive in Singleton's case) his leaping. I had not seen Matthews dance a lead role and she fulfilled, nay exceeded my expectations. The regal poise she displayed in the ball scenes was truly astonishing and a wonderful comparison to the other performance I saw; where Jenna Roberts, to my eyes, portrayed an incandescent (to use Janet's description) delicacy. The grandeur of Matthews' interpretation was a most interesting thing, underlining the oppression of her natural beauty in the downtrodden kitchen scenes. Her solo at the ball I found so thrilling it really quickened my pulse. With Singleton you know you are in safe hands and the cat-like height on the leaps and silent landings you might almost take for granted. And of course, the spectacular lifts in the pdds (which elicited spontaneous applause on opening nights) completely secure and tremendously effective. I conclude that this production of Cinderella is a most masterly, sophisticated (even in the comedy), work of art. I had wondered whether on opening night that I had praised it too much but my second viewing rather increased my admiration. I hesitate to say I'd put this production on a level with the Sir Peter Wright ballets I've seen (through BRB performances mainly at the Lowry). The design (elements of story-book illustration amongst backdrops and costumes of great splendour), the dancing (perfectly pitched verve and classical poise never crossing into acrobatics, amongst the best ensemble pieces I've ever seen, and most memorable pas de deuxs), the music (infectious and mysterious, exciting rhythms and sweeping majesty, slipping in and out of discord but never jarring). I did note there was no Spanish dance, which I enjoy when listening to the score, and think I remember seeing in the only other live Cinderella I've seen (ENB). Glad to see seats about 90 percent full tonight, and I left the Lowry tonight seeing the trucks already packing up signalling the departure of the company after once more spinning magic and wonder on the stage of the Lyric theatre and I am grateful for all the times I've seen them deliver the most brilliant performances here.

I was at opening night at the Lowry, Salford with Jenna Roberts as Cinderella and William Bracewell as the Prince. My first live viewing, I saw the filmed version on BBC some years ago. (I did see ENB's version live in 1998 I think) I found both the work of art, and its performance utterly brilliant and captivating, everything working in harmony to produce a special experience. (I must say this is typical of BRB performances I have seen in the past and the standard I would say is consistently the best of the companies I have seen perform). The sets and costumes, the choreography, the music, all mutually enhancing each other and giving me that special joy and satisfaction which is the reason I love ballet. I did not know John Macfarlane was the designer, I had experienced his work in the BRB Nutcracker. The same genius displayed there was evident in Cinderella, with the pallor of the opening act, the cold dazzling beauty of the stars, the richness of the ball scenes, the dramatic prologues in the acts like the opening grave scene and the search for woman who fits the slipper - the chair on the mountain of shoes. As I have described in another topic 'what's all the fuss' I greatly enjoy Prokofiev's music in Cinderella (whereas Romeo and Juliet I admire rather than enjoy) it seems to have some mysterious, magical quality which matches perfectly with the tone of fantasy and magic of a fairy tale. I found no dull spots in any of the choreography. Rather, the layering of ensemble and individual pieces provided spectacle after spectacle after spectacle joined fluidly and deftly, using the music perfectly - a mastery of dramatic and theatrical dance narrative. The humour I appreciated and found grotesque rather than pantomime. I am sorry I will not see Elisha Willis dance this live, since she retired last year (I've seen her live in nearly all the Sir Peter Wright productions). But Roberts convinced me both in her individual scenes and her partnership with Bracewell. Actually, Bracewell was a significant reason why I booked opening night having seen him before and been very impressed. He did not disappoint - his stature and grace absolutely princely. (I like the fact that in Cinderella, the prince's arrival at the ball is as dramatic and affecting as Cinderella's) I was sorry that Lebowitz was not cast to dance the lead role in Salford (I noticed her several years ago and have wanted to see her in a lead role), and if she had I would probably have booked to see her primarily. At least I saw her as Autumn fairy tonight. But I have to say Celine Gittens' Summer fairy shone out the brightest to me. Right up my street in every department. Splendid night of ballet. I would strongly recommend it to anyone.

I also hadn't realised about the minor keys in Cinderella, and like bridiem I think that must be part of the appeal to my tastes. In R&J too there is melancholy and mysteriousness in places, but something about the main motifs really grate with me - to my ears they sound kind of 'slushy' and too cinematic, despite the undeniable fact of their richness and originality.

Enjoyed reading all these views. Yes everything is subjective, and in some sense opinions are arbitrary, but that's what's fascinating about them and makes for lively discussion. In the question of 'what's all the fuss?', I am going to echo the couple of views already expressed about Romeo and Juliet. In dancer biographies in English National Ballet programmes, which details dancers' favourite roles, Juliet seems to come up very often, more than other roles, in my impression. I'm not 100% sure about the statistics but R&J seems to come up regularly in companies schedules, and anecdotally I remember hearing people rave about the music, more so than other ballets. And I confess I don't see what all the fuss is about. I have seen both Nureyev and MacMillian's R&J and probably wouldn't go a long way to see them again. For me there wasn't much memorable or exciting about Juliet's choreography (maybe the fault lies with me). I can guess that the acting part of the role might be the appeal to ballerinas. The music and drama of Tybalt's death was fantastic in both and the most impressive point of the ballet for me. Other moments of interest such as Mercutio's dance of distraction, but I found parts with large ensemble and fight scenes tended to drag on. The music is a marvel indeed, but not necessarily marvellous, if you see what I mean. So I haven't come to love R&J in the way that many seem to, yet. Oddly though, I love the music of Prokofiev's Cinderella, and the choreography in the versions I've seen.

Great as always to read the many thoughts on this year's ENB Giselle at the Coliseum on the forum. I saw the performance on eve of Tues 17th Jan with Cojocaru and Hernandez as the leads and Michaela DePrince as Myrtha which others including Sim, bridiem, Tatiana, LinMM have already described. I'm a bit late adding my thoughts to the forum. It was a bit of a dream for me to see Cojocaru dance this role for the first time live. Her affinity to Giselle would make me compare any other dancer in the role to her. This affinity I have come to know only through internet clips I have seen of her performances years ago. The other forum users I mention above have already described the qualities of her performance that evening and I agree with all their praise. Cojocaru's natural dancing instinct and ability to act and express herself down to her fingertips was quite evident. Oddly, I found this quite hard to appreciate since I've had the image of her dancing Giselle in my mind for years, and so there was an element of surreal-ness in actually seeing her live. But the live performance, looking down from the upper circle, allowed me to appreciate how she used the whole stage, particularly in the Act I solo, compared to video clips I've seen. In Act II she's almost transparent with fragile grace. And yet I find myself almost exactly echoing the thoughts of Jamesrhblack who saw the same cast (possibly not performance), in that I was not in rapture and thrall in the way that I can be at a classical ballet performance at its best. I will regretfully and quickly say that some of the non-perfect technique Jamesrhblack mentioned also troubled me. I saw Cojocaru not long ago in Swan Lake in Liverpool (late 2014) and her technique was so sharp and brilliant - I was certainly in rapture then. Likewise, the physical presence of Hernandez cannot be denied (I've seen him live a few times now) but again I think Jamesrhblack is very astute in questioning the quality of characterisation. I would mention also that my emotions were in no way stirred as much as the cinema broadcast I saw of the RB Giselle last year with Nunez and Muntagirov, where I was fighting back tears. But I do not think it is comparing like with like - the closeups and camera shots of the cinema (which I generally do not approve of) certainly enhance the emotional effect. I have a theory that there is something about the Coliseum as well. In recent years I've seen the ENB Nutcracker, Corsaire and this Giselle in London and in all cases the experiences have lacked some of the electricity and magic than performances I've seen in Liverpool and Manchester. Perhaps this is northern prejudice. Anyway similarly to Jamesrhblack my reservations with the performance do seem like quibbles. The moment that gave the most electricity I would say was the first scene with Myrtha (Michaela De Prince) and the Willis. DePrince's assuredness, spectacular leaps, and chemistry with the ensemble all part of the magic. I'm not a Giselle expert (the last one I saw live was probably BRB about 10 years ago at the Lowry) but I certainly noticed the fugue section as something I had not heard before. It makes a startling musical contrast, and one that adds rather than detracts from the ballet. Finally I very much enjoyed the peasant pas de deux with Crystal Costa and Aitor Arrieta. Both superb but particularly Arrieta impressed me.

I went to the Saturday eve performance with Alina Cojocaru and Cesar Corrales as the leads. (Clara and Nephew in Act I and Sugar Plum Fairy and Prince in Act II) I very much agree with Janet's ambivalence about this production. Though to be honest, I feel I am starting to fall out of love with any Nutcracker ballet. Perhaps I am getting jaded in my old age. Last year I saw the Royal Ballet cinema live stream and my disinterest in Act I was not much different to the ENB Eagling Act I. In both I found the opening Act drags on in a twee, tiresome manner. I have seen the ENB Eagling version a handful of times and do not feel it is a triumph. To be honest the sole reason I booked a ticket in Liverpool was to see Cojocaru dance the Sugar Plum Fairy. She did not disappoint; the Act II central pas de deux with Corrales glittered with regal and passionate intensity, both dancers raising the level of the ballet into the magical and magisterial, and the packed audience responded appropriately. It was worth the ticket price alone. As for Act I, I think that the best thing about it is Tchaikovsky's score played wonderfully by a live orchestra. I think Eagling himself once said that the Nutcracker is a strange ballet and it's Tchaikovsky's music that has provided it with it's longevity. I am again in complete agreement with Janet about the Arabian dance but I noted that it has changed somewhat compared to the previous ENB performances I have seen (perhaps is what Aileen refers to in saying the 'worst excesses' have been removed?). Originally Clara's brother Freddie appeared in the Arabian, wearing pyjamas and manacled, if I remember rightly. It looks like this idea has been excised. Pretty much sold out tonight (I had also looked at the Sat Matinee with Tamara Rojo but it was completely sold out). I don't remember the Nutcracker being this popular the last time it was at the Liv Empire (2013 I think). Well that's 'one more Nutcracker nearer death', as Richard Buckle said. I'd still put the BRB version as my favourite.

I went to see Khan's Giselle on the opening night (the 'world premiere' with Cojocaru and Hernandez) and the following night (Rojo and Streeter). Great as always to read the reactions on the forum. I've only seen one work of Khan's before (Techne, danced by Sylvie Guillem in her final tour) and I'm not generally a great admirer of modern dance. It certainly was a spectacle, with a sombre, spare, brutal quality. I very much agree with Janet's comment about the level of commitment shown by the dancers. While I find the classical Giselle enrapturing I would call Khan's version mesmerising, but I tried (perhaps not always successfully) to see this an individual work in its own right and not to constantly compare. For the most part I admired rather than loved its qualities. I remember impressive dynamic ensemble scenes where the dancers moved like flocks of birds or herds of animals, intense dramatic moments of stillness involving the main characters. There was a natural expressiveness in it, for which the acting ability of the dancers must be highly applauded. None of it felt forced or melodramatic. But the spare, intense, minimal nature of some of the action (perfectly matched by the music) was quite oppressive sometimes. I once sat through Wagner's Valkyrie and felt similar sensations. Of the reviews I've read I like, and agree with, Terpsichore's most (thanks for the link Janet), I did find the bareness of the atmosphere, and post-industrial theme, became quite oppressive and grim. It seems completely intended, and is thus extremely successful, but it's not something I naturally embrace. The purpose and vitality of ENB seems so impressive under Rojo's direction and Khan's Giselle seems to represent perfectly the boldness and artistic ambition of the company. I would not say I would rush to see such a piece again, but Rojo's drive to generate this level of interest in her company I have nothing but admiration for. And her ability to maintain her own performance standards alongside her leadership role is mind boggling.

I attended the opening night of BRB Shakespeare Dream Bill last night at the Lowry Salford, which consisted of Ashton's The Dream, José Limón's The Moor's Pavane, and Jessica Lang's Wink. I don't think anyone has posted on this run at the Lowry yet (there will be another couple of dates in Plymouth in Oct). This is a slightly different triple bill to the one danced in Birmingham in June http://www.balletcoforum.com/index.php?/topic/12884-birmingham-royal-ballet-shakespeare-triple-bill-june-2016/ and I understand the BRB Midscale North Tour this year contained Pavane and Wink and the Pas de Deux from Dream which has been commented on earlier http://www.balletcoforum.com/index.php?/topic/12505-birmingham-royal-ballet-midscale-north-2016/ and the full Dream was danced as an Ashton double bill with Month in the Country in Birmingham this year http://www.balletcoforum.com/index.php?/topic/11753-birmingham-royal-ballet-the-dream-a-month-in-the-country-birmingham-february-2016/ So I've been reading and enjoying other forums users' recent views on these pieces while formulating my own. I had not seen any of these pieces before, and I don't think I've ever seen an Ashton ballet before. Rather appropriately it was a evening of mid-summer warmth in Salford (exceptionally warm for mid-September) and there was a full moon! I found The Dream quite charming, enchanting, and magical (though perhaps not dazzling). Momoko Hirata was Titania and Cesar Morales was Oberon. It had that essential theatrical magic that has always been the compelling part of classical ballet for me. The beautiful woodland set and costumes gave the feeling of transportation to another world, as did the choreography of the fairies and sprites and other characters in the play. The male dancing I found particularly virtuosic. The pace and drama of the story was maintained throughout and conveyed with great effect. And the fabulous music of Mendelssohn of course, enhanced by the dancing and vice-versa. I was surprised at the overall power and effect of this ballet - I thought I might find it twee and dull. By comparison I'm afraid I must be honest and say I found Pavane and Wink a bit thin by comparison. I'm prepared to admit I may be narrow minded but both pieces seemed to lack the essential theatre of ballet that I'm irredeemably addicted to. The classical dancing in Wink of course I could admire, it's a tremendous showcase for the beauty and technique of the BRB dancers, but I found it austere and dull, lacking in drama and magic. Pavane again I found austere despite the richness of the costumes, and while some of the dramatic miming and postures were momentarily effective, much of it to me felt quite mannered and contrived, an unconvincing melodrama. I often feel I need to broaden my tastes in dance, but I didn't quite manage to stretch them this evening. Just wanted to take another opportunity to say how much I will miss Elisha Willis, this is the first BRB performance I have seen since she retired, and I'm still coming to terms with the fact I won't see her dancing in the company any longer. Of course there are many exceptional dancers in BRB still to enjoy but I had a particular admiration for Willis.

Thanks emma-cann for posting this. Excited to see Gittens promoted to principal, I've been extremely impressed by her when I've seen her live (when I saw her first as a soloist as the Rose Fairy in Nutcracker a couple of years ago I thought by the quality of her dancing she already was a principal!) Sad to see Willis leave, she's irreplaceable. Two Pigeons I have also felt there is something exceptional about Bracewell and hope to see him advance in major roles in future.

Don Q Fan on Friday there was a pre-performance talk by the conductor Philip Eliss, artist Jade Heusen, and Johnny Eyre lighting director. They said they have not been to Bristol since 1999, I am afraid I cannot recall if specific reasons why were discussed. One of the audience members said she had been backstage and was quite disparaging about the facilities available for the company at Bristol, but Jade laughed it off saying they were used it. It was also mentioned that there was very little room in the wings which caused problems with the horse!

Thanks for your thoughts and comments nottsballetlover on Elisha's final performance. Like you I pushed the boat out to go and see her dance one last time in Bristol and was at the same performance as you. It was brilliant final performance to add to my memories of her dancing. People sitting next to me were asking what all the roses were for so I filled them in, getting quite emotional myself ! It does seem too early for her to go but a Birmingham Mail article reports she has been battling an ankle injury for four years which I cannot imagine the strain of mentally and physically. I keep trying to describe what it is I love about her dancing, there is such a clarity in her fundamental classical technique, such security that allows her to transcend technique, that is so appealing and I cannot think of another dancer who I see regularly who is in the same style. Maybe other ballet experts would disagree or laugh at me, but Fonteyn is the dancer I would compare with, although as all modern principals Willis' technique is 'stronger' in that she can perform more physically spectacular steps. I simply wish I had travelled to Birmingham more often to see her! But I thank her for all those magical evenings where I saw her dance at the Lowry, Salford.

I also attended Friday eve's Taming of the Shrew that nottsballetlover has reported on. The main reason for me was to see Elisha Willis dance one last time and it was a privilege - as it always has been to watch her. She looked clearly moved by the flowers and rapture at the end and it seems hard to believe this was her last professional performance because she looked, as always, in such good form. Like you nottsballetlover it was a trek to get to Bristol but I am so glad I did. Predictably not a huge audience (in fact they closed the balcony) but a great reception at the end, which I hope gave the dancers satisfaction. I had only seen Willis in the grand classics so quite a difference to see her in a role that demands acting, and some non-classical steps/postures. I simply enjoyed her every move on stage. But what a fascinating, entertaining, and splendid ballet TOTS is ! BRB as usual delivered exceptional quality and convinced me with their interpretation of this complex music, brisk plot narrative, light and shade with frenetic comedy and romantic pas de deux. Having not seen much narrative ballet (rather than 'fairy tale' ballet), the only thing I could compare with is either Nureyev's or MacMillan's Romeo & Juliet, and I thought the features of strong male choreography and sexuality in those ballets were equally strong here. Brandon Lawrence as Lucentio gave such a dazzling solo in Act II that I'd love to see again. Iain Mackay as Petruchio really commanded the stage and I'm still seeing in my mind his beautiful pirouettes in attitude. A real summer ballet treat that I am so glad I did not miss. By the way thanks to Don Q Fan for the cheap tickets tip.17 quid for a front row grand circle seat for a performance of this quality is beyond great value.

Oh dear this news comes as rather an shock to me, but thanks as always to Janet and BalletcoForum for the information. Willis is a special dancer to me, I've seen her dance most of the classical ballet canon, mainly at The Lowry Salford. There is always something exceptionally pleasing and masterly about her style and technique, that makes her pretty much my favourite dancer I've seen live, as I commented on in the recent 'favourite ballerinas' thread . Comparison of dancers is often silly I think, but I have also seen Cojocaru and Rojo live, and I would look forward to booking to see Willis as eagerly as them. I remember clearly her performance as Aurora in the Sleeping Beauty at the Lowry 2013 - the artistry, panache, and total command of the role that cemented in my mind her as a truly special dancer. I also remember her as Odette/Odile again at the Lowry, with vivid red hair! Most recently Coppelia, my favourite dance performance of 2015, of which her brilliance as Swanhilda was the highlight. I have seen the news late, but think I must try my hardest to see her in Bristol before she retires from the stage.

I also went to the Giselle 'Encore' cinema broadcast today with Nunez (Giselle) Mutagirov (Albrecht) Mendizabel (Myrtha). Wonderful as always to read everyone elses' views, here are mine: At the risk of being complimentary to a banal level, I thought it was marvellous. Full justice done to this masterpiece of the ballet canon and the genius of Sir Peter Wright's production. I want to separate my reaction to the ballet from my reaction to the cinema experience (difficult). Technically excellent standard throughout (expected of course!). Some rather brilliant moments like Nunez's en-pointe balance and Muntagirov's entrechats, and I thought these skills were dramatically effective rather than pointlessly ostentatious - Nunez's ethereal qualities as a Willi was made more convincing by holding a graceful other-worldly balance en-pointe. Although I've admired Nunez for a long time (although never seen her live), I wasn't sure she would suit Giselle. Her appeal to me is her regal presence - I think she's much more naturally a Gamzatti than a Giselle. But I have to say that to my eyes she made a convincing, top-rate performance dramatically and technically, even if other ballerinas may be more naturally suited to the character. I wasn't totally sure of some of the things she did with the Act I solo, the variations she made to the hopping on pointe and grand manege, but I have complete sympathy for the interpretive efforts, it must be such a challenge trying to bring freshness to a character and solo that has been seen thousands of times before. I would echo the same level of praise for Muntagirov's technical/dramatic performance. I'm not a great judge of chemistry but I certainly did not notice anything amiss technically in the lifts etc, and the acting of the relationship actually moved me (rare!). Mendizabel was I thought a brilliant Myrtha and I can still see her thrilling grand jetes - flying onto and across the stage at one of her entrances; I think a 'wobble' has been noted here and elsewhere but I just wonder how obvious it was to non-cinema viewers? It could hardly be considered a significant problem in my eyes. I must say the ballet was quite an emotional experience for me which is rare. I think the cinema close-ups no doubt enhanced this effect, as they clearly showed the extremely fine acting abilities of Nunez/Muntagirov. The combination of this with the music became quite overwhelming to me and I must admit I found myself close to tears more than once. It's been so long since I've sat down and heard the score properly, and the rising, swelling drama and tragedy of certain moments is powerful stuff indeed. I could waffle on for a lot longer on the cinema issues, but I think I've probably written too much already! I have only seen one cinema broadcast of ballet before (RB Nutcracker last Christmas), which I found frustrating and said so on this forum. I really don't like the switching shots, angles, closeups - I'd prefer if they just kept it on a single shot representing someone's view from the circle, for the whole performance! Of course, the emotional aspects of the acting were much greater I felt because of these close-ups, but in a way I would have preferred the emotional effect to be a little less ! My personal interest and thrill in ballet is aesthetic and dramatic rather than emotional. It's hard to describe but I do like a certain level of detachment/disbelief. This detachment was rather shattered by the brilliant acting of the dancers which I saw in perfect detail because of the closeups ! Lastly I just want to say thank you to alison who told me about this possibility to see RB Giselle at the cinema on the recent 'Favourite Ballerinas' thread when I posted my admiration of Nunez. Last time I saw Giselle live was about 10 years ago (Birm Royal Ballet at Lowry Salford), and it was fantastic to see such a brilliant performance of this great masterpiece again - hope it's not another 10 years before I see another one.

Thank you very much John for this alert, I very much doubt I would ever have seen this interview if I had not seen your post on this forum. Great interview, so fascinating to hear Zenaida describe how different a dancer's counting of steps is to the musician's counting of the time based on the time signature. And her descriptions and physical illustrations of certain steps in the Rite of Spring are wonderful. Extremely illuminating and fascinating.

From reading the 'least favourite ballet' topic I sense this is unfashionable, but my favourite ballet is Sleeping Beauty (based on seeing Peter Wright's BRB production and several productions which are not drastically dissimilar). I think Sleeping Beauty is the epitome of what enraptured me when I first saw a classical ballet. The pinnacle of romantic classicism in music and motion. Likewise I love all the 'Petipa' ballets, Giselle, Nutcracker, Swan Lake, Corsaire, Coppelia ... Some individual favourite dances that pop into my mind at this moment are the Violente Fairy's variation from Sleeping Beauty, Raymonda's Act III variation (led by piano), the Soldier and Viviandiere doll variation in the Nutcracker (Peter Wright's Royal Ballet production I think).

I'd also like to thank all involved in BalletcoForum. I particularly like and agree with Lisa's comment that it makes life a bit richer, and I too am looking at the forum nearly every day. The discussions I have participated in I have found extremely valuable, it is wonderful to hear thoughts from people who have such extensive experience of performances often going back decades. It was great to talk about recent performances of BRB's (Peter Wright) Swan Lake and ENB's (Nureyev) Romeo and Juliet with people who have seen live performances of Galina Samsova dancing Odette/Odile or Patricia Ruanne dancing Juliet in the 1980s. And I suppose that we must give thanks to, in part, the internet. So often I bemoan its intrusion into every aspect of our lives in the last ~20 years, but BalletcoForum I don't think I would be able to substitute with anything else. I am actually usually able to find people to go to ballet with, but no one with the appreciation and knowledge of forum users here. Long may it continue!

Yes thanks Janet for the correction, Diana The Princess performed in Manchester was NOT by ENB. I'm not obsessive enough, obviously. Academic, but I forgot to mention the date it was shown in Manchester, March 2005.

The ones I've seen live that come immediately to mind are Isaac Hernandez (ENB) and William Bracewell (BRB). Edited to add a mention of Cesar Corrales who made the biggest impact I've felt of any male dancer in ENB Corsaire in Liverpool last year as Ali. It's such a bravura part that I must reserve judgement until I've seen him dance a broader range of parts.

Following this discussion I went back to my research into ENB performances in Liverpool/Manchester, as I can get bit obsessive about things like this. If anyone is interested .... The last Spring performance of ENB in Liverpool/Manchester that I can find record of was Peter Schaufuss' Diana (Princess of Wales) which I think was a 'test' which went no further. Before that there was a Spring Swan Lake in Liverpool AND Manchester in 2004, and in Autumn 2003 Cinderella (Manchester Palace), and Nutcracker (Liverpool Empire, Scarfe/Hampson) So I can't find a Spring ENB performance in Liverpool or Manchester in the last 10 years. I've tracked down an interesting article in the Times (February 5, 2004, Jack Malvern) which details the financial difficulties the company faced when the Coliseum was closed for refurbishment at that time. Their cash cow of the Nutcracker was performed at the Hammersmith Apollo and resulted in significantly lower income. Is it a coincidence that they (perhaps) stopped Springtime performances in the North after this time ?

Really glad someone else mentioned Sylve ! I really missed the boat by not going to Sadlers Wells when she was dancing there. Who knows if she will dance in the UK again before she retires? An extremely good perspective here, that I find difficult to achieve in practice. I must admit my view of Fonteyn's style is clouded by the modern style that I can't 'unsee'. That quote about getting on and off a bus I remember too, and I always think why doesn't anyone try to do that nowadays with the Rose Adagio? Likewise I'd love to see some attempts to dance the Swan Lake Act II with zest, like Fonteyn or Moira Shearer (I've only seen video recordings).