bridiem

But it doesn't say 20% of the tickets for each performance. So there could be individual performances - or even productions? - where fewer - or no? - tickets are held back?

Yes, it was M&A. I also thought that casting sounded surprising/unlikely, but since I used to sit out M&A sometimes I couldn't be absolutely sure. After reading Alison's post, I've done some googling and I see that Vera Liber's 2013 review is actually referring to Choe and Campbell in Voices of Spring, when they replaced Cojocaru and McRae; Rojo and Polunin then danced M&A. That's rather embarrassing isn't it?! You'd think someone would at least quote themselves accurately! See https://www.britishtheatreguide.info/reviews/la-valse-med-royal-opera-hou-8542

Excellent and surprising (to me) review of The Cellist by Will Gompertz, the BBC Arts Editor, on the BBC website. He starts with the thought that the concept of beauty suffered under 'the relentless march of modernism with its frigid less-is-more dogma and strict no-frills dress code', and that classical ballet was one of the victims of this; he considers this 'a shame' (which is a rather milder verdict than I would pass, but never mind). I'm not sure how often he goes to ballet, or why The Cellist in particular should have brought produced this epiphany for him, but he does go to the heart of the matter when he says 'beauty should be cherished not banished. It is not uncool or naff, it is an ideal worth believing in and striving for and appreciating'. Amen to that! See https://www.bbc.co.uk/news/entertainment-arts-51591280

What a phenomenal performance tonight from Naghdi and Bonelli. Even more satisfying than the wonderful Nunez/Clarke performance I saw 2 weeks ago, because the chemistry between these two was evident and they matched each other in terms of their complete absorption in their roles and in each other and the incredible level of their artistry. Desperately moving at the end, and they were greeted by a huge roar from the audience at the curtain call. O'Sullivan was an excellent Olga and Sissens a promising Lensky. All the pas de deux in this ballet are so beautiful, interesting, intriguing, moving, fascinating, expressive, poetic. What a ballet, and what a performance.

On my phone downloaded documents go to My Files, Downloads (I think it's a Samsung folder) and they stay there until deleted.

I enjoyed the evening, with the highlight for me being Les Lutins, just before the interval - I hadn't seen it before, and it was great fun and brilliantly danced by Marcelino Sambé, Takahiro Tamagawa, and Cojocaru. Marguerite and Armand was its usual OTT self, but I do increasingly appreciate the quality of much of the choreography and both Cojocaru and Francesco Gabriele Frola were excellent in the title roles. The evening started with Handel's Passacaglia for Violin and Cello, played live on stage, and although it was beautiful it seemed a slightly unusual way to start the programme (i.e. no dance for quite a while!). I enjoyed the first piece (Reminiscence, by Tim Rushton - a pas de deux for Cojocaru and Kobborg) at first, but gradually found it a bit winsome; but lovely to see them dancing together again, and their chemistry is still palpable. There were 2 short films by Kim Brandstrup in the first half, which were very slow and solemn; it was sweet that in the second film Cojocaru was paying tribute to her teachers (I assume - I didn't get a programme, because even if I had it wouldn't have listed who was dancing each piece in the programme, so I just took a photo of the cast list up on the wall - no cast lists were available either in the programme or separately), but it was all rather funereal. I didn't much enjoy Journey, choreographed by Juliano Nunes and danced by Cojocaru, Nunes and Dominic Harrison. But even if this sort of evening is inevitably a bit of a mixed bag, it did showcase the (still evident) beauty of Cojocaru's dancing.

They might have tightened up the timings by Sunday - the first night of a season like this does sometimes overrun. Maybe you could check with SW tomorrow?

It finished c 9.40pm tonight.

I'm not seeing it until the live screening (and a live performance of the second cast thereafter), so I'm intrigued that the reviews have ranged from rave to pan and everywhere inbetween. My only thought so far is that the idea of 21 scenes in 65 minutes strikes me as rather an odd way of structuring a one-act work. But I'm looking forward to seeing it (and Dances at a Gathering - as an Alexander Campbell fan, I was delighted to see one reviewer describe him as 'drop-dead magnificent' in this!! Must be rather nice to get a comment like that!!).

Shouldn't the choreography categories include the word 'new' because the nominees comprise only new or recent works/works not seen here before? (I assume they don't think the nominations are all better than pre-existing great choreography that was on show during the year.) Either way, I'm glad the Shostakovich Trilogy was recognised; but SFB winning outstanding company seems a bit odd to me (though I thought they were excellent). I'm particularly pleased about Gary Avis and Marion Tait.

I watched the series of Strictly Come Dancing that was won by Caroline Flack. I have seen nothing else of her career, but I just wanted to record the fact that she was a really wonderful dancer. She was the real thing. Terribly sad. RIP

I don't think companies should apologise, on the basis that the casting of leading roles already announced should only be changed when it's absolutely necessary, which it obviously sometimes is. But I do think that a reason should be given, partly out of courtesy to those who have booked to see the original cast and partly because the implication otherwise is that dancers are simply interchangeable which is disrespectful to them as well as to audiences. And if the reason is injury or illness, that would normally be stated; if it's not stated, my assumption would be that those reasons don't apply.

Perhaps they didn't want to risk any Scarlett-related comments?

That Balanchine/Tchaikovsky bill makes my mouth water!

The ROH has announced a new Wayne McGregor work, to be premiered by the NBC in November 2020 and then be performed by the RB in 2022: 'In this major new international collaboration between The Royal Ballet and The National Ballet of Canada, Royal Ballet Resident Choreographer Wayne McGregor brings Margaret Atwood’s post-apocalyptic vision to the stage in a three–act ballet, MADDADDAM based on the writer’s acclaimed trilogy of novels: Oryx and Crake, The Year of the Flood and MaddAddam. Themes of extinction and invention, hubris and humanity are spliced together with aspects of Atwood’s non-fiction writings and political voice. Featuring a specially commissioned score from Max Richter, lighting by Lucy Carter, design by We Not I, film by Ravi Deepres, and dramaturgy by Uzma Hameed, this world premiere reunites the creative collaborators from McGregor’s Olivier Award-winning ballet Woolf Works. Kevin O’Hare, Director of The Royal Ballet comments ’Wayne’s genius in bringing together some of the most exciting creative forces in art today reveals itself again with this latest venture. Collaborating with Margaret Atwood, author of some of the most haunting and potent writing in contemporary literature, is a wonderful prospect for our next co-production with The National Ballet of Canada. It’s a dazzling opportunity for dancers from both of our companies to relish.’ Karen Kain, Artistic Director for The National Ballet of Canada adds ‘I am thrilled The National Ballet of Canada will premiere Wayne McGregor’s exciting new work, MADDADDAM, our third co-production with The Royal Ballet, in November 2020. I have long admired Wayne for his intelligent, visually stunning and highly physical work that continually pushes the boundaries of creativity. He has a perfect collaborator in Margaret Atwood. Together they are creating a work firmly rooted in the Canadian landscape exploring themes of extinction and invention, hubris and humanity and activism.’'