nickwellings

I took a friend to see Jewels yesterday, for a double bill. After the afternoon session he declared Rubies his favourite.

After seeing evening Emeralds he was speechless. The 25 mins or so time flew by for him, as for me. Mainly this was due to Ms Naghdi.

I am at heart though, a Diamonds type of a guy. What a thrill to see the company in good form. As above, Muntagirov magisterial, Cuthbertson lovely too.

Rubies was still my friend's favourite of the day, and i shan't forget Sambé's gasp-inducing exit after his 'running around a bit" solo there, prompting spontaneous applause and disbelief!

Thanks Quintus, Dream. In which case I may have to miss Rite ????

(I'm going tomorrow. I just wondered, as it's Sadlers, what time it ended please? I'm on a very very tight timeline due to engineering works.

The site says approx 21.45, but Sadler's always start late at least 5-10 mins.

Thank you...)

Ah phoey! I'm on the mailing list but didn't get a link. I think my spam filter obliterated it! ????

Even so, good to know that casting is still up, for what it's worth!

Thanks for that, DQF! I enjoyed his Giselle with ENB.

I really love her too, in everything I've seen her in so far. I also enjoyed watching her in the classes on World Ballet Days.

(Her Twootly Fairy was on top form again last night! Best fluttery hands I've seen I think!   ) 

I refer to "Finger Fairy" as "Pointy Fairy", myself! (However, that does make her seem, well, pointy as in angular, a pointy shape!)

Whilst I'm here, I was at tonight's show. I just want to mention Sambé's beautiful Bluebird. Truly gave the impression of floating and fluttering through the air at times. Beautiful work, and doubtless the fruit of intense application. Bravo!

(and that should be 'markers of love'! Silly autocorrect.

Kobayashi was as BangorBB has said elsewhere (paraphrasing) very secure in the Rose Adagio, and elsewhere. Lovely phrasing.

I have a soft spot for Bonelli. He gave us a traditional variation in the Grand Pas which contrasts with McRae's in my mind. Notable was the ardency and investment he tried to bring to the Princely role. He does those markets of love and ardour so well (mimed sighs, arms outstretched in desperate loneliness, with an expressive mein) a lovely bearing all in all.

But I just want to comment how continually impressed as was at Meaghan Grace Hinkis. Her Florine was almost Bluebird rather than princess, inasmuch as it was vital, airy and beautiful. I wrote on Twitter how impressed I was at her attack, precision and poised. The same with her 'twootly Fairy's too. Just fantastic dancing!

Add some Avis and McNally too, a bit of Magri in the background to breathe life into it all just by herself: a great night!

Ticket found, but I now fancy trying tomorrow too...!

I'll take it!

Please PM me to arrange?

Hi, is this still available please?

Has anyone a standing place, or seat for this please? My budget would be approx £24 or below.

(I am holding out for that coveted SCS place!)

I agree, Kessels did a wonderful job with the score. I too felt he helped breathe life into the entire production by that virtue.

So tonight McRae was tremendous, and his variation in the grand pas full of his

trademark moves which he so enjoys, which rightly earned cheers.Salenko was poised, lyrical and phrased everything beautifully. Couple that with a gorgeous Bluebird from Sambé, and superlative acting from Mayara Magri (her relief at Lilac's Fairy's 'manumission' of Aurora brought a tear to my eye...) and what can I say...it was wonderful.

I think some tourists talk also, Bruce! We (loosely defined as the offenders detailed in previous posts) are not alone in talking during these 'music is playing' moments I'm sure.

Vigilant ushers can only do so much. At the first SB I watched in this run, an usher dashed down the stalls aisle three times to tell the same person to stop photographing or filming the show. Often the culprits don't care and carry on!

In China I read that they shine lasers on those talking, but it'd be like Woolf Works all over again if they did it in Sleeping Beauty! ????

I am selling D53, stalls circle right.

Ticket is an eticket which I will email.

Is 7 March ticket still available please?

I meant transition to act 2-3 btw

The sneezing guy was next to me...Poor guy...It was so so loud. I am not surprised you heard!

Sleeping Beauty was beautiful last night...My experience last night in stalls circle standing, was however, not.

I believe the offenders were likely not regulars, as they decided not to stand in their ticketed places and stand in a cluster together. I think they were a family, which was nice, but they talked and whispered, which was not. The male of the family had horrible sniffles, cue a horrible hunt for a tissue, loud whispering, noisy blowing. He sneezed during Vadim's act 2 solo, then during Marianela's Vision scene, then twice during Muntagirov's solo in Grand Pas. (I conclude he was allergic to Vadim).

At times he sat in the usher/At John Ambulance seat, then rapidly got up to see some action, leaving the seat to catapult closed horribly loudly. At this stage I shook my head in despair, only for him to do the same 5 minutes later.

In the transition from act 3-4 when ever other talker realised that everyone else had grown silent, they began to talk and get out their phones. At this stage I lost it and admonished the family matriarch, who didn't understand me, being non English. I feel quite bad now, I think she got the message. I may be rather intolerant but I found it very disruptive and not a bit disrespectful.

As I wrote on Twitter, if anyone heard someone go "SHHHHHH!!!" during the opening minutes last night, that was me telling the guy to be quiet. They didn't seem to care.

This ticket is still available!

I liked for instance, the lined up little troubadours, the more demure lifts, Lilac fairy on a stool, and the spectacle of the Garland dance. Fullington and Ratmanskys used the Stepanov notation as much as possible but as they admit, they had to guess at certain details. Even so it is more of a flavour of 'how it was' than many other productions are. Some enjoy that and some may not. I have not seen the mammoth Kirov version which seemed to have vanished from their rep, which also mined the Sergeyev collection.

I find myself thinking back (and not too far!) To Ratmansky's attempt at a more 'authentic' (a very fraught term...) SB. I like it for costumes, narrative and its choreographic experiments. Whether in its attempt at reclamation of imagined ballet past is accurate, who knows, but I liked it each time I saw it.

I favour the circle myself, the same as for any ballet anywhere. Should you have been lucky enough to get a 7 pound seat right at the back you would have done well,though the view is obviously distant. I've had a good view from all seats, usually going for the 'yellow' or green ones. Red will of course be good.

I like being above the action the better to see patterns. However I don't know the production so can't advise on specifics.

I do not need this ticket anymore, which I had purchased off a balletcoforum member.

Selling for £9.

Ticket is an e-ticket which I will email to the purchaser. I cannot hand over in person. Payment via Paypal, or pingit or similar would be best for me. 

NB ticket will come with D-45 attached to it. Please be aware that purchase is only for D44.

Thank you.