bridiem

I do wonder if the audience starting to clap during a difficult solo sometimes causes a dancer to lose concentration which can lead to a fall (possibly what happened on Tuesday evening). I know it's very difficult not to join in if others start clapping when something brilliant is happening on stage - I've found myself doing it a few times - but I think it's both better and safer to wait until it's finished. A huge burst of applause at the end is more appropriate and adds to the drama, whereas clapping as it happens reduces it to a kind of spectacle in which the dancer is doing tricks. 

Just as an aside: after the State Opening of Parliament and Don Q yesterday, I assumed that King Charles (who is nearly 75) would take things easy today. In fact, I see that he visited the Korean community in New Malden this morning, then held an investiture at Buckingham Palace (including knighting Terry Waite), and (with the Queen) is hosting a reception for humanitarians at the Palace this evening. Me? After watching Don Q at a cinema in Wimbledon last night, I (who am 63) was rather tired because of the late night and so today I just pottered around at home... I have to say: rather me than him. (AND I get to read all the posts on this forum, which I don't suppose he's had time to do yet.)

10 minutes ago, Dawnstar said:

He fell over too? Oh dear, it sounds like they would have been better broadcasting the performance on 28th, when I don't recall anyone falling over, than last night's! I hope he wasn't injured, given his Espada debut is due shortly.

I didn't see exactly what happened and I didn't realise it was him, but there was just a trip/stumble  - he didn't actually fall over so I'm sure (and hope) that he wasn't injured.

3 minutes ago, Odyssey said:

I am going to have to don my hard hat because I didn’t feel wowed by last night. I have to preface this with a long-standing coolness towards DQ and a general preference for the production which Carlos has since produced  for BRB - far less cluttering of the stage ( also less busyness) and a wonderful  windmill scene.

It’s not a ballet which has much light and shade, but I was hoping for a more interesting interaction between Kitri and Basilo, but even though our two principals danced their hearts out of their various variations - in particular the  grand pas de deux, I didn’t find myself responding to them as a couple in the way I hoped I might. I also found Leticia Dias as Mercedes, though technically very secure, lacking any real characterisation. For me, the stand out performances were James Hay, Gary Avis and Leo Dixon, who were totally convincing. Having said that, I think the Company is dancing with an attack and energy that is great to see. 

Don Q is very far from being my favourite ballet, in any production, and I do find that some of this one is a bit repetitive and choreographically uninspired. (I can only take so much olé-ing, skirt swirling and bare-chesting...). And I'm afraid I completely agree about Leticia Dias. But for me, the sheer energy, commitment and brilliance of the dancers make it work.

1 minute ago, Jan McNulty said:

I think you must be right about the clever editing Silke - I didn't notice any clap-happiness, whooping or screaming in the cinema - or did I just edit it out of my brain?

I didn't notice any of that either - I suppose it just didn't carry through to the broadcast. And the only other on-stage mishap I saw was a matador having a bit of a challenging time at one point... 

2 hours ago, Fonty said:

So, what was the official reason for the attendance by King Charles?  And who were the specially invited guests?

See an item in today's Links: the guests were 'hundreds of NHS workers who had been invited to the show in recognition of their work and service, as well as teachers the Royal Opera House works with, and members of the Songs for Ukraine chorus – which invites displaced Ukrainians to come and sing at the Royal Opera House'. So, deemed to be a special performance worthy of a royal visit. 

5 minutes ago, Ondine said:

Upcoming Insight to be streamed

 

The Royal Ballet in Rehearsal

 

Nov 23rd 7.30

 

 

21st November, not 23rd in fact. But thanks for the reminder, Ondine. (It's a Nutcracker rehearsal.)

14 minutes ago, Jan McNulty said:

IIRC and most definitely paraphrasing did not Mr Balanchine say if someone fell it showed they were giving it their all and taking risks?

I don't know, but if so he was right! Unfortunately, however, a fall breaks the spell of the performance - you're suddenly reminded that this is a human being doing something that is in fact immensely difficult, and not the character and world that they and everyone else have been busy creating through both acting and technique. So sadly I think it does matter, and risk-taking does have to be tempered with good judgement about when to rein back to avoid disaster. But these are split-second decisions made under huge pressure, a pressure that would have been much higher even than usual last night because of the occasion. (And, in my experience the audience is always immensely sympathetic when someone falls, and they get even more applause than if they'd stayed upright!! Which is I think a very heart-warming tribute to human nature at its best.)

I'm so sorry for those who missed this because of technical problems - that must have been so disappointing and frustrating. At Wimbledon Odeon there were a few momentary losses of sound but nothing too intrusive so we were lucky. I thought it was a terrific performance and I'm very glad the King and Queen were there. So many highlights, as mentioned by others above - especially Gary Avis's monumental performance as Don Q, James Hay's magnificently funny Gamache (the timing! the eyes!), Calvin Richardson's elegant, sultry Espada, Annette Buvoli's strength and beauty as Queen of the Dryads, Isabella Gasparini flitting joyfully as Amour, and in Magri and Ball a leading couple who gave everything in a brilliant technical and expressive display. I felt so dismayed when she fell because she'd been superb and it was just so sad that that should have happened. But the company were in top form - amazing. And the horse!! I just love that horse. And I loved hearing from the props man in one of the intervals. A reminder of the people who perform such crucial roles behind the scenes but who are rarely lauded as they should be. Thanks and congratulations to them and everyone else for putting on such a great show.

4 hours ago, LinMM said:

It’s definitely not the King tomorrow! 
It’s invited audiences who are celebrating anniversaries for example the NHS celebrating being 75 years old and even the RBS I believe? 
I phoned the box office because I wanted to know if there was any likelihood of tickets being released tomorrow or not and the young lady is finding out for me. 
I think as there’s now no big security issues involved there just might be a few last minute returned tickets. If they get back to me I will post here. 
As the encore cinema broadcast isn’t until next Tuesday ( not on Sunday as it usually is) I can’t get to see it so am hoping for a ticket instead. Have only seen one Don Q so far. 

When the performance was taken off sale (months ago), the ROH told ticket-holders that 'we have taken all remaining seats off sale for reasons we are excited to announce in the coming weeks'. So have they announced the reasons, but only to those going to the performance who have (for some reason) been sworn to secrecy? Or have they not announced the reasons, for some reason...? Call me unreasonable, but the reasons given above don't seem to me to be reason enough to make it a big secret anyway. Unless there are additional reasons not yet announced.

There are other very talented dancers who didn't join the RB on graduation from the RBS, for whatever reason/s, but did so subsequently. Darcey Bussell, obviously (as mentioned above); also Leanne Benjamin, Alexander Campbell and Miyako Yoshida spring to mind. I'm sure there are others. As has been said, all sorts of things come into play in determining who is or isn't offered a contract (and/or where a student chooses to go, when they have a choice). And yes, no doubt, sometimes there's regret later on (on one side or the other) about choices made or opportunities missed. Of course, that may also apply to dancers who do join the RB and then don't flourish as hoped/anticipated (or who leave prematurely). It's not an exact science. 

Has anyone seen any other work by Natália Horečná?

1 minute ago, Fonty said:

Why is Campbell used so little?  I know he isn't as tall as some of the other males, but he isn't a midget.  I don't get the impression that all the ladies are very tall these days, surely there are one or two who are on the petite side?  

Quite. Unsurprising that he's now producing dance/theatre in the Linbury, presenting World Ballet Day, teaching, etc. His actual performances are very (very) few and far between. It must be very difficult to maintain both fitness and motivation in such a situation.

5 minutes ago, PeterS said:

Perhaps it’s an event that means something to those invited but that isn’t of huge importance or interest to the public.

I meant the fact of the King's presence (if it is a fact!). But yes, maybe any other reason is not of wider interest. Who knows?! (Well, some people do, clearly!). Anyway I'm going to the live screening so no doubt all will become clear at some point.

3 minutes ago, PeterS said:

I dont know if Patrons through to Friends who purchased tickets before the evening was taken off-sale have been updated on the nature of the evening and, though maybe thought unnecessary, that is poor communication if it’s the case. 
However, the invited audience do know why they were invited. It’s no secret to them. 

Yes, that must be the case. But why not announce it, perhaps thereby encouraging ticket sales for the live screenings since it will make it an extra-special evening?

23 hours ago, Jan McNulty said:

Please don't start me on "added extras" on the ticket price!!!

When I booked a ticket at Sadler's Wells yesterday, there were two add-ons (the usual processing fee or whatever they call it, and a 'building fund' fee or some such) and then they ask if you want to add a donation too!! For goodness sake.

23 minutes ago, capybara said:

But those have been private visits, not official ones by the Monarch.

It seems that a few people who originally bought tickets in the Grand Tier have been asked to move so …….!?!?!

There have been quite a lot of royal Galas/performances attended by the monarch and announced in advance. I've even been to some of them. Maybe it's just because it will be this monarch's first attendance as monarch? Still not sure why his presence on its own would require such secrecy.

4 minutes ago, capybara said:

Now looking forward to the cinema relay and to seeing those of you with tickets having your “night out with The King”.

I'm also assuming that that's what's happening on Tuesday evening; but royalty have regularly come to performances without all this secrecy, so I'm also assuming that there's more to it than just that.

8 minutes ago, bangorballetboy said:

To some people… Personally, I prefer “first night cast”.

Me too, though for new creations I think 'first cast' is right.

10 minutes ago, OnePigeon said:

That’s interesting, I know it used to be the case where there was a hierarchy - hence the shock and disrespect Lynn Seymour felt at being bumped down the Juliet cast from first to fifth (or thereabouts).  Am I correct in thinking that it’s generally Nunez/Muntagirov who dance the opening night, with Osipova/Clarke often dancing towards the end of the run?  It seems they start and close with their most senior/popular principals, which makes sense, but I’m not sure how it works in between as they seem to vary partnerships and their placing within the different programs.

 

Is it me, or does anyone else feel that Mayara Magri is being given a lot more opportunities lately?  If the casting hierarchy theory is correct, she’s now second cast for Swan Lake (no judgement on it, just an observation.)

I think the first night cast does have some significance (and the live screening cast), but after that I really don't see a hierarchy in the order of most castings nowadays (or in the order of the SL castings above). But yes, Magri is getting lots of opportunities.

8 hours ago, Linnzi5 said:

PS. I wasn't being rude tonight -  I didn't realise anyone was going to be at ROH or I would have popped in the intervals to say hello. Sorry  

I wasn't sure if there'd be people there either, but also I can't talk easily in noisy places at the moment because of a breathing condition. So sorry for not coming down.

I really only have one comment about tonight's performance, which is that I don't think it was Fumi Kaneko performing down there in Act 3 - it was some sort of AI-generated entity, programmed to do fouettes of a quality and speed that would be impossible for a real human being. A word of advice for the RB: if they want this sort of thing to be plausible, they should tone it down a bit next time. I mean you couldn't even see 'her' by the end - 'she' was just a blur, spinning faster and faster and still in perfect time to the music. Really - do they think we were born yesterday?!

I would love to see Annette Buvoli as O/O.

38 minutes ago, LinMM said:

I still can’t find these reviews!! I’ve just looked through Oct 31st and November 1st and there’s nothing I can see 🤔

I should have said 'today's' Links! Anyway, glad you've found them (and that they're so good!).

23 minutes ago, LinMM said:

Two nights of the Northern Programme at the Linbury and no reviews! 

? There were 4 press reviews in yesterday's Links and there are some reviews above.