northstar

Well then I am even more ashamed that I did not take the more plentiful past opportunities to see them dance in the NW, as I've been living here for getting on for 20 years. I have really got excited about ENB since Rojo took over and brought Cojocaru with her, but ENB was my first ballet in the 1990s (Derek Deane Nutcracker) which blew me away and I now wish I'd seen more of their productions. I did see ENB Rite of Spring in Manchester in the early 2000s, but somehow I ended up having a closer relationship with BRB, until Rojo took the ENB helm. So it would seem that the reduced Liverpool/Manchester appearances that you outline Janet are not linked to the recently increased foreign touring that started in 2015. I wonder what made ENB reduce it's NW England touring in the last decade ? I can imagine the global financial crisis of ~2008 didn't help its funding from government. SwissBalletFan I also am not keen on the Lead Principal rank. Not that I'm an expert but I don't know of any other companies that have it. But yes, that's probably going off-topic, that might have been discussed on the forum before, not done exhaustive search but here is one topic that touches on it.

Thank you Janet for that info from direct experience, my statements were based on what I could find from the internet. As I said, I hadn't done the research carefully enough it seems. I stand corrected. When you say Liverpool then Manchester were dropped in Spring, when did this happen ? - since Rojo took over, or earlier ? (Rather shamefully I've only really taken interest in ENB and its NW touring since Rojo took over, my relationship with BRB at the Lowry Salford goes back much further - I too love that theatre) Interesting comments from SwissBalletFan and I think some valid points but I'll just remark that the new (January this year) female principal is Lauretta Summerscales who is as English as they come. I too have a 'non expert' sense that the company has a strong latin component to it, but dancers like Fernanda Oliveria, Yonah Acosta, Junor Souza were there before Rojo became artistic director. I'd agree with Janet that I don't really care what the company is called. American Ballet Theatre might be considered to be similarly mis-named, perhaps.

In reply to the original post by cavycapers, isn't this part of the ENB strategy since 2014 to increase their touring abroad, as discussed in an older forum topic where the company first announced its plans to go abroad in summer 2015 ? Same strategy this year ? I am in NW England so don't really take detailed note of the frequency of their dancing in London or elsewhere in UK. Up here in the NW 'provinces', there doesn't seem to be much difference in the amount of time ENB is spending here, this year and next, compared to previous years. I have recently tried to make a list of ENB's NW performances over the past 10-15 years and it seems there's usually a couple of weeks/productions in Liverpool/Manchester-combined in Autumn, and rarely something in Spring. And this is indeed the case for next year again. I haven't done the research and maths explicitly, but the older forum topic and cavycapers' question seem indeed to suggest that ENB's increased foreign touring comes at the expense of UK performances outside the NW. Since I'd rarely go to London or elsewhere in the UK to see ballet, this personally doesn't affect me too much, but indeed I sympathise with those who wish to see more of ENB in the UK.

Good fun topic. First the ballerinas I've seen live (I've not seen any of the current Royal Ballet or Russian prima ballerinas) ... Elisha Willis of BRB, I have seen her lead nearly all the Sir Peter Wright productions (Swan Lake, Sleeping Beauty, Coppelia, Nutcracker) and her artistry and pristine classical brilliance I think is up there with any of the 'superstars'. I have found her completely convincing in everything I have seen her in. Tamara Rojo and Alina Cojocaru of ENB have been tremendously exciting for me to see live, I've known about them for years and never thought I would see them dance down the road from me in Liverpool and Manchester. I also thought Daria Klimentova was a great prima ballerina and I was lucky enough to see her live in the Nutcracker before she retired. Celine Gittens of BRB really stood out to me the first time I saw her, and continues to do so. Amongst the ballerinas I haven't seen live I would particularly like to see Marianela Nunez of the Royal Ballet, and Sofiane Sylve of San Francisco Ballet. I think there is something so exceptional about Sylve, and sadly I feel it is unlikely I will see her dance live since SFB don't come to UK very often.

I agree Floss's questions about Sleeping Beauty are very pertinent and would be very interesting to hear peoples' answers to them. SB perhaps more than any other ballet raises the question of technique vs. artistry, and perhaps the modern exaggerated technique can really be a turn off for some. I find Rojo's attitude to this fascinating and still unclear to me. I too have heard the interview Floss recalls (or some similar interview), where she appears to give much weight to technique. But wasn't she also quoted in a Telegraph as saying 'Just a beautiful body? That bores me to death' ?. And I'm nearly sure in her BBC Radio 3 Private Passions interview (not available on demand at the moment) that she complained that ballet conductors slowed the tempo too much at the demand of the dancer, and she cited Swan Lake Act II as an example. However, I don't think even Rojo could deny being somewhat guilty of this in the Rose Adagio herself (i've never see her dance it live but internet clips of her performances seem to prove this). I don't actually mind the spectacle of technique too much, it's a musical problem I have; the final bars of the Rose Adagio I think sound awful and sort of dreary when they are slowed down so much.

What a riveting topic ! Thanks Lisa for opening it ! Rather a revelation to me to hear Sleeping Beauty receive so much scorn. I'd have chosen this ballet as my favourite if I was asked - I love bridiem's description of it's austerity, that's a very appropriate word. Very interested to hear Floss's thoughts on how the ballet's interpretation may be the issue (as to liberties with tempo, I'd the Swan Lakes we see nowadays are the worst culprits in that regard, although I agree the climax of the Rose Adagio is usually horribly, painfully slow). I would be very interested to hear of the people who chose SB as their least favourite - did they always dislike it, or grow to ? I'd have to chose as my least favourite (from my limited experiences of live ballet performances) the Romeo and Juliet's I've seen (Nureyev and MacMillan versions). I don't really understand the perpetual popularity of this ballet (yet), except perhaps as the eternal fascination with the drama and power of the story. Musically and choreographically, neither version I have seen have appealed to me as much as other ballets I have seen. But ask me again again in another few years, it may well become my favourite!

As always, fantastic to hear from other forum users and their extensive knowledge and experience of Romeo and Juliet going back decades. I've been attending ballet for 17-odd years and I thought I was building up a reasonably informed view, but I can see I'm only just beginning ! As Capybara states it really does help one to reflect on one's own experiences. I am loathe to criticise the BRB Romeo and Juliet too much because despite my issues with the piece described above, it was still a privilege to experience this part of the ballet canon, and an evening spent excellently. It was my first live MacMillan ballet so a valuable experience for me. But as Trog rightly inferred, I cannot deny it felt slow to me in places. Don Q Fan I think I know what you mean by 'twee'. Of course, in some ways, this tragic portentious tale it's the antithesis of twee-ness. But I think something about the endless recycling of the R&J story in various forms (including cinema) reduces the original power of the work leaving a sense of hackneyed sentimentality or melodrama, which is difficult for any interpretation to overcome. Two Pigeons and Capybara I too am indignant at the disinterest of the national critics to the performances outside London. I have become even more conscious of this during ENB's touring since Rojo's directorship. It seems extraordinary when international stars like Tamara Rojo or Alina Cojocaru open a production in Liverpool or Manchester, it is ignored by the national press. But in some ways, this makes the sense of privilege in seeing these performances in the provinces even sweeter. Anway to return closer to topic, I also wanted to express my admiration to the delicate perfection of HIrata's technique and physique in her performance as Juliet. Her port de bras was exceptional to my eyes, reminiscent of a quality I've only seen in Cojocaru. She now joins the list of names that I will look out for when booking performances in future.

I attended opening night at the Lowry with Momoka Hirata and Joseph Caley as the leads. Of course as Janet reported, the performance was exceptional quality, the production magnificent. I could clearly see this. I just couldn't feel it. Several reasons perhaps. I'm not sure how much the Romeo and Juliet story interests me these days, perhaps it's familiarity breeding contempt. I'm also not (yet) a great admirer of neoclassical narrative ballets. I was very far back in the theatre where perhaps the power of the emotion in the dancing doesn't transmit. I'm still getting to grips with the music which is quite new to me (saw the ENB-Nureyev version last year for the first time). Maybe I was just in a bad mood. The long processional and sword fighting scenes, and those with large ensembles are not to my taste and to be honest I don't foresee this changing. Some very interesting and entertaining small ensemble pieces and solos throughout the ballet (e.g Mercutio's dance of distraction). I will admit I loved the music and the drama of the aftermath of Tybalt's death at the end of Act I. I also enjoy the more lyrical style of dancing in MacMillian's creation than Nureyev's choreography; however, the ENB-Nureyev performance I saw did seem more successful dramatically. So a little disappointed (perhaps also in myself for failing to appreciate it). But I'd try it again. I remember when I saw Coppelia for the first time I wasn't too impressed, then last year I saw BRB perform it, it was my dance highlight of the year.

Since Tamara Rojo became artistic director of ENB I have never been more interested and excited to see a ballet company's season announced. And in my new interest I suddenly appreciate the many artistic, logistic, and economic factors in putting a season together. It must be an immense 'challenge' - to use the fashionable euphemism. For me, a classic Giselle is the immediate appeal of the new season. I am in the NW but am likely to travel to London if there is a chance to see Cojocaru dance one of her most applauded and favourite roles. Local to me in the touring season is Eagling's Nutcracker in Liverpool and Khan's Giselle in Manchester. I am at the moment somewhat ambivalent to any Nutcracker so will reserve decision. I am attempting to broaden my dance tastes from pure classic ballet and Khan's Giselle certainly seems a chance to do that, as well as a theatrical event in its own right.

That's exciting and welcome news, congratulations to Laurretta on reaching the top rank, and I look forward to seeing her perform (hopefully in my neck of the woods in northern England) in future. It was a pleasure to see her dance Medora last week. Does anyone know if this makes her the youngest female principal, by a fair way, in the 3 major companies in the UK (ENB, RB, BRB) ? Not all dancers' ages are public knowledge, so I may well be wrong.

Thanks so much Janet for reposting that excellent review I had missed it. Great to hear reactions on this forum and in the press to Le Corsaire at the Coliseum. I also attended on Tuesday (having seen it in Liverpool last November), originally I had chosen this performance for Cojocaru who had not danced in Liverpool; Laurretta Summerscales replaced her with Osiel Gouneo as Conrad. It was most interesting and exciting to see Summerscales in a lead role (first time I have seen her lead a ballet), and her technical and artistic strength provided both a splendid performance and great promise for the future. I would be keen to see her in lead roles again. Ditto for Ovsyanick as Gulnare. I would echo Floss' appreciation of them - and also I must admit that like Floss I found the showjumping nature of the mens' roles somewhat less interesting this time. This may reflect a more general lack of electricity in the theatre, compared to Liverpool, where I was quite thrilled by the ballet and caught up in the atmosphere. Here, I felt the excitement in the audience was more subdued, and sometimes one can't help letting this affect one's own excitement. Objectively I must say the overall standard of the performance was at the superlative level I would expect. Sad not to see Cojocaru and even sadder to see the unfortunate state of her ankle that she has shared publicly. But very encouraged by the wonderful depth of talent in the company, and very appreciative of their tremendous skill and artistry.

I saw Bolshoi Babylonn at the cinema too (without live Q&A). Despite the fact I wasn't that interested in the exposé elements of the documentary, I enjoyed it, some captivating shots of rehearsal and performance, and interesting, frank interviews. The brief clips of the Swan Lake Spanish variation, with Meskova flying across the stage in her huge leaps, alone made the film worth seeing for me. I've never seen that particular choreography before on video or in the theatre. And it looked fantastic in the cinema on the big screen (last time I went to see ballet at the cinema, RB Nutcracker, I wasn't convinced by the experience) Alexandrova speaking of her injury and return was also revealing and interesting to me, as I was ignorant of that. I would say the film enhanced my interest in, and admiration for, the Bolshoi Ballet, depsite all the acid attack stuff.

Oh dear I must admit this news came as a blow, I had booked tickets and arranged to travel to London specifically to see Cojocaru as Medora and been looking forward to it for weeks. I have been nervous since hearing about her injury in December, but since the ENB tweet said 'minor injury' I had hoped she would be OK for Le Corsaire. But that's the risk you take of course; and putting aside my selfish disappointment, I hope her injury is indeed minor and she is recovering well. I agree with the comments above that Rojo is a wonderful replacement that should not disappoint anyone, and having seen her as Medora in Liverpool last year (twice!), I can advise that she's superb in the role. I tend to agree with the comments above expressing concern at her amount of performances recently, and remember she has another job as artistic director too! Likewise I think Lauretta Summerscales will be a worthy replacement. I saw her as Gulnare in Liverpool and was very impressed, and I wrote on the forum then how interesting it would be to see her as Medora.

Tabitha, I've only seen the BRB version once, last year, and I thought the swan ride was a charming and memorable touch but perhaps novelty played a part in the effect. munchkin16, I thought the closeups on the cinema did not do any favours in maintaining the dramatic illusion that is part of ballet (precisely like the example of the fighting you mention). Even in theatres, I prefer to sit in the upper, more distant seats where I feel these effects are much stronger.

I was another one who saw the live cinema broadcast on the 16th. Fascinating to hear all these different points of view of this production and the performances, particularly those who have seen many Nutcrackers going back decades. I decided I wouldn't travel to see a Nutcracker this year and so I thought I'd give the cinema a go since I'd never tried it before. I think judgements are harder to make seeing it on screen, and I spent a lot of the performance frustrated and disappointed in the cinema experience, which did not help appreciation of the dancing or the production. For me, it killed much of the magic of a live ballet. Continual cutting from camera to camera and lots of closeups I feel gave the whole thing a synthetic feel which I couldn't get over. I was most interested in Janet's comments comparing RB and BRB's current productions of the Nutcracker, I too was surprised at how different they were. No stunning red dress for Mrs Stahlbaum, no swan ride at the end of the first act. One thing I do really love about the RB version is the soldier doll and vivandiere section. However this experience overall in no way came close to seeing BRB perform their Nutcracker at the Birmingham Hippodrome, although it's hard to say whether that's due to the cinema effect or the production differences (I've never seen the RB Nutcracker in the theatre). I'm glad I'm not the only one who finds the party scenes drag on, and the mice and soldiers battle similarly uninteresting. Not that that is unique to this production of course. Can't quite return to childhood and appreciate these aspects as I might once have, I'm afraid. I'd heap more praise on the already much-praised Hayward as Clara. All I've read about her bringing natural vital expression to her acting I fully agree with. The sense of Clara growing up as she goes on her journey, becoming more daring and adventurous, for the first time I really understood through Haywards expressive dancing, which was a bit of a revelation for me. It was worth going for that alone. Cuthbertson made an expectedly regal and exquisite Sugar Plum Fairy. But I agree with the posts above about the emptiness of the palace, the lack of a court, it made the atmosphere a bit sterile, heartless, somehow. I'd probably go back to the BRB Nutcracker next time, unless I got the urge to see a specific dancer in a particular role only available at RB.

Thanks Jamesrhblack and Don Q Fan for your reviews of the first night of ENB R&J in Manchester, which I also attended (also sat front row Grand Tier, I'm familiar with the vertiginousness!). Wonderful to hear from someone who saw Ruanne dance the role created on her - ballet history! I've never seen a R&J before, and feel I should see this one again before coming to any firm conclusions. But although it was another superb performance and production from ENB I wouldn't say it was love at first sight for me. My impressions from this performance very much matched those of Jamesrhblack and Don Q Fan, and even some of those of Irmgard earlier in the thread. The 'busy' and 'fussy' dancing is a prominent memory for me, and although I appreciate the technical difficulty and stamina required, perhaps the complexity makes it lack dramatic intensity and effect. Of course it's a completely different kettle of fish to the Petipa I love, and I wasn't expecting tutus, but the contrast with the thrilling Corsaire at Liverpool last week (which was pure classical ballet entertainment) I feel didn't help me appreciate this work to its fullest. The drama of certain moments was superb, and I found the aftermath of Tybalt's death, the finale of Act II particularly successful, although I think this involved more acting than dancing and I saw Alina Cojocaru in a way I hadn't before (she's the main reason I went to see this). I liked the earthy peasants' dancing and Mercutio's dance of distraction (I thought it was effective because of the 'embarrassing' chorerography rather than in spite of it). Both Cojocaru's and Herndandez's quality of movement is of course special. I always love watching Alina dance, and I am quite taken too by Hernandez having seen him for the first time last week in Le Corsaire. I'd reserve judgement on their chemistry, I feel it would be unfair to pass comment given that my own perception of partnering isn't highly tuned. But it was most interesting to hear from Jameshrbalck and Irmgard who have seen other performances in the past and how certain dancers have brought something extra-special to the steps. So despite some reservations, as a whole work of art I nonetheless found it compelling. The opening scene with the cartload of black death victims made such an impact, and set the sinister, tragic and portentious mood extremely effectively. The Renaissance style and the sets I also thought created a wonderful atmosphere. And as usual it was all delivered with the supreme quality I expect of ENB and its philharmonic, I am very grateful for the opportunity to see such art here in the northwest.

I agree with the votes for Raymonda (full ballet). I would add Le Papillon, although I don't think it was ever part of RB's repertoire; Wikipedia says Sadler's Wells Royal Ballet did in in 1980.

Thank you for your report Bruce, very interesting to hear from someone else at the Saturday matinee. Glad to hear you enjoyed the performances in Liverpool, despite the late cast change. I too rather cringed at the sparseness of the upper level seating (as I often do at ballet in Manchester and Liverpool), with the sides of the rear circle just about empty. I was also at the opening night (Wed) like Janet and Don Q Fan, and to my memory it was fairly thin then too in the rear circle. But on both opening night and Sat matinee, I thought at least the audience gave a rapturous reaction (particularly on Wed) to the dancers and the orchestra, which of course was fully deserved. As you say Bruce, I'm amazed that with this quality of performance on show, it isn't packed out night after night. But as Alison implies - is it really so different at the Coliseum for the lesser known ballets? I remember going to see ENB's Cinderella (about 1998 I think) in London and sitting with very few others in the balcony. I did notice some of the partnering issues you mentioned, but I was so enthralled with nearly everything I saw that it hardly mattered to me. Also given that it's first week of the tour I expected some wobbles (I remember last year the opening week of ENB's Swan Lake in Manchester and seeing similar little flaws, a month later in Liverpool it seemed more polished and brilliant). Hernandez I would personally look out for in future because I saw a quality of movement there that I thought rather special. I am indeed planning to come to London as you advise (last time I got the urge to do this was to see Klimentova in the Nutcracker before she retired), but with respect to Gouneo (who has been praised by others in this thread), my main aim is to see Cojocaru who I would love to see as Medora.

Today I attended the Saturday matinee of Le Corsaire in Liverpool (attended the opening night too which I have already posted about). The leads were Tamara Rojo (Medora) Isaac Hernandez (Conrad) Shiori Kase (Gulnare) Jinhao Zhang (Ali) Fernando Bufala (Lankendem) Yonah Acosta (Birbanto). A similar cast to opening night, with a notable difference that Zhang replaced Cezar Corrales at short notice due to injury. Corrales made a big impact on opening night as has already been discussed in this thread. Once again it is simply a delight to watch Rojo's dancing. I find it amazing that she manages to maintain her dancing practice with directing the company and every time I see her dance or hear her in an interview, I am filled with admiration. She is an inspiring person. She was combining her dancing in Liverpool with a panel discussion yesterday eve at the Tate on art, and I cannot imagine how she balances her public, adminstrative, managerial, artistic occupations. In the dancing alone, the touring and galas she undertakes must be demanding enough, and the standard she maintains is exceptional even among principals. And what a showcase Medora is for her - I've mentioned in my previous post the technical details (I forgot to mention Italian fouettes among everything else!), but it's the individual quality she brings to everything that is special. Although others have already mentioned the exciting talent of Corrales, but I thought Zhang did a sterling job, and his soaring jetes at the entrance of the Act II pas d'action started off another brilliantly delivered showpiece. It's really Hernandez that I particularly admired most among the male dancers today and on opening night, clearly a great acquisition by ENB; once more, an obviously exceptional quality of movement. I could probably write many more paragraphs on this ENB Corsaire. The highlight of the dancing for me, apart from the Act II pas d'action, was the opening section of the Act III jardin anime scene, which combines the serene beauty of the ensemble with the central intensity of Medora performing stunning balances, and with Rojo in the role these balances were particularly emphatic. And of course all the virtuosic solo work throughout keeps one enthralled, it almost seems that more than half the ballet is 'coda', a wonderful vehicle for the ENB dancers' technical skills. Just to balance this gushing praise a little, I must say that with a more trained eye this time, I spotted a couple of mistakes and hairy moments today and opening night which I won't describe in detail because it would be mean spirited. They were of little importance to me. Full marks in every category ENB for your brilliant Corsaire, and I'm so grateful you come to the 'provinces'. I am quite intent on going to London in January to see Cojocaru in this, who I would have loved to have seen in Liverpool again.

I also saw the opening night of Le Corsaire at Liverpool Empire which Janet and Don Q Fan have already commented on in this thread. Never seen a Corsaire and I can only agree with them how impressive a spectacle it was. I agree with the ENB promotional description on their web page - 'the most thrilling of all classical ballets' - I've seen many of the classics and always been thrilled, but not dazzled in the same way as during the performance I saw last night. I chose opening night mainly to see Rojo (Medora), conscious there may not be very many more opportunities to see her dance live. Her performance met my expectations, of a dancer with a fully formed individual command of her art. She met her technical challenges of balances en pointe, 32 fouettes (with triple pirouettes of course), diagonals and maneges, with such confidence, speed and ecstasy. I think the cheers she took were nearly as loud as those for Corrales (Ali) which have already been mentioned. It was a brilliant, masterly performance. The praise which has already been given for the male dancers by Don Q Fan I would echo, the sheer exciting athletic power of Corrales complemented by the wonderful finesse of Hernandez (Conrad) - I have not seen either of them dance before (Hernandez only joined ENB this summer). And I have not seen Summerscales (Gulnare) in such a prominent role, and once more I found her precise elegance a perfect complement to Rojo's dazzling virtuosity - it would be so interesting to see Summerscales as Medora (Friday eve)! With such a concentrated series of spectacles in the ballet, and the relatively large number of leading characters that appear and reappear, and the multiple stunning sets, I struggle to recall all the wonderful scenes in the ballet. Of course, as Janet recalled, the Act II pdd stands out the most, and electrified the audience, how could it not? I think it's a ballet that demands to be seen several times (already planning to go again before it leaves Liverpool). A privilege to enjoy this level of performance, I cannot recommend it highly enough to those who have not already seen it.

Swanprincess, although my memory of the performance is already getting a little foggy, I'm pretty sure that as well as the Glazunov music PdQ mentioned, some sections of the peasant pas de trois used Bartok's Romanian Folk Dances as well. I remember thinking that it was an effective and appropriate choice to use folk dances for this scene. I found this section one of the most memorable parts of the ballet, and I can still see in my head the part when one peasant girl was promenaded in attitude by the other two, with the other peasant girl bourree-ing on the outside of the circle. Thanks for posting your review.

Thanks again Pas de Quatre! I remember thinking there were several quite well known waltzes used in the ensembles, but I wouldn't have been able to name them without a good deal more research so thanks so much. I've never seen a ballet that has a pastiche score of different composers, and it worked fairly well I thought. I gather from online newspaper reviews the ENB Snow Queen adapted Prokofiev's Stone Flower for it's score - which would give entirely a different musical sense to the Ballet Theatre UK production. Visually, the ENB production looks (from the few clips and photos available online) very similar to the Ballet Theatre UK staging.

Much obliged to you Pas de Quatre for that information, I've checked and checked the programme and can't find any information on the music other than a credit to Simon Paterson who I can only assume is the arranger.

Thanks to ballet forum members for flagging this event which I would not have heard about otherwise. I remember English National Ballet prduced a Snow Queen a few years ago which toured but I missed. I went last night to the performance in Runcorn. Ines Ferreira was the Snow Queen, Grace Carr was Gerda, and David Brewer was Kay. I had not heard of Ballet Theatre UK, and given that this was a tour of small local theatres I lowered my expectations. But I was impressed by the level of dancing, the interesting and exciting classical choreography. A very classical dramatic feeling to the ballet despite it's smaller scale, and some exciting powerful climax moments, danced with flair, in the style of the great classical ballets. Although there was light and shade, I came away with the impression of fast-paced choreography and a tighly packed, colourful production with a high entertainment value, so it exceeded my expectations in that regard. I did think it lacked solo work, the only pieces I can recall were part of the peasant pas de trois in Act I. I found the brochure a bit thin on details about the production and the score. The music was, again, classical, dramatic and exciting - seemed to be a pastiche of 19th-century/early-20th-century orchestral music. I recognised Bartok's Romanian Folk Dances and other bits were very familiar. If anyone else has seen this production and can provide any more details I would love to hear them because I can't find any information on the internet. All in all, a rich entertaining ballet which is certainly good value for money, and as a lover of the great classical ballets I'd recommend this one.

Very interested to see this production, and as I write still only the Liverpool casting has been published. I intend to see it at Liverpool, it's probably a very rare chance to see this part of the ballet canon performed in the NW England. Disappointed that Cojocaru will not be dancing the lead role (or other role) in Liverpool. I understand this was her debut ballet with ENB in 2013, and she received much praise for her performances. I've been privileged to see Cojocaru dance the Nutcracker and Swan Lake in Liverpool and was really hoping to see her again in this production. On the other hand, very glad to see Rojo will be Medora in Liverpool. Last year when Rojo and Cojocaru were dancing Odette/Odile in Liverpool I had to pinch myself. Will be interesting to see if Cojocaru dances the lead in the other tour locations; if she does in London, I'd be tempted to travel there to see it.