bridiem

That's true about Hilarion's death. Moyna and Zulme used to basically manhandle him to his end and then come back as if to say 'good riddance; job done'. Now he goes off on his own. I think the former was more effective.

If you sit in the Amphi, you do nowadays see Giselle coming on from the wings. I don't remember that happening in the dim distant past - her appearance from the grave even to those of us who sit upstairs was the revelation it is supposed to be. Not sure if it's done differently now and less attempt is made to disguise the entrance? Which is a shame if so. (I try and look away so that I don't see her come on. Which is a bit pointless really if I know it's happening!). And it's much better when she appears to sink back into the grave (as far as is possible for the dancer).

That's a big shame. Though personally I'd happily sacrifice height for depth (so to speak).

Zenaida Yanowsky.

I was at the performance itself tonight. It was unlike any Giselle I have seen before. At first I wasn't sure if it was working; in spite of wonderful dancing, Giselle seemed too stable and down-to-earth to fall apart so completely, and too much in control to be so much in thrall to Albrecht. But then came Act II, and it all fell into place. Nunez was the least wraith-like Giselle I've seen; she still seemed almost to be alive. But that was what made it all work - her life couldn't be extinguished, even by physical death, and her love was so strong and so boundless that it drew out the essential goodness in Albrecht which had previously been buried by immaturity and selfishness. So as she (still) danced and loved with such passion, he matched her. He became the person he was intended to be, and his terrible grief at the end was a reflection of the completeness of his redemption. Her death in Act I was against character, but fundamentally necessary in some way. And they both danced like angels; in Act II they moved as one. Nunez's expansiveness, spirit and generosity were matched by Muntagirov's now blazing love and understanding. And the most incredible entrechats I have ever seen! I found Mendizabal's Myrthe too one-dimensional to be really moving. For me, there has to be pathos there, not just evil. Wonderful pas de six, as others have said. And excellent performances from Gartside, McGorian, Avis and Arestis, with the most beautiful Moyna/Zulme pairing (Cowley/Stix-Brunell). I am seeing an encore showing of this performance on 17th April at my local Odeon, so it will be very interesting to see it then from a different perspective. In the meantime, I feel privileged to have been there tonight.

Yes, lots to look forward to, but I'm also a bit disappointed because apart from the new works (obviously!) there's little that we haven't seen regularly in recent years. I would also not choose to revive the full-length Anastasia - the last act is powerful but I personally find the other acts weak choreographically, though they look good. (I think it also loses a lot of its power now we know that Anna Anderson was either deluded or deceiving and not in fact the tormented Anastasia. But maybe that's me being too literal.) But I will still go to it - sometimes works that I haven't enjoyed in the past suddenly come alive for me years later. Very pleased about Beauty (though it's stretching a point to describe it as being by 'Ashton' as the press release does). I'm not celebrating McGregor's 10th anniversary myself, though I will happily go to Woolf Works again. Can't wait to see the castings for all these works!

And translated: https://translate.google.co.uk/translate?hl=en&sl=ro&u=http://www.agerpres.ro/comunicate/2016/04/06/comunicat-de-presa-opera-nationala-bucuresti-10-19-48&prev=search Bizarre.

I put the headline into google and got this - not very good translation but better than nothing: https://translate.google.co.uk/translate?hl=en&sl=ro&u=http://www.europafm.ro/scandal-la-opera-nationala-dupa-numirea-lui-tiberiu-soare-in-functia-de-director/&prev=search

Interesting. Makes me think of La Sylphide and the feckless James. It would be interesting if Bathilde were portrayed in a more sympathetic light. She never does seem to me to be sufficiently upset/shocked/angry when she realises what Albrecht has been up to. Perhaps she just doesn't take it sufficiently seriously; until Giselle dies.

I am!! And I've booked for the Friday evening so am very happy.

Fiona Chadwick was a chillingly cold Myrtha.

I noticed that too. I loved Bussell in Song of the Earth, both as a young dancer and before she retired. It suited her combination of strength and innocence and the boldness of her dancing. But although she had a lovely quality about her I didn't generally find her especially involving or dramatically interesting, and I didn't think one role warranted a place on a 'favourites' list.

Delighted by this evening's performance! I had been very disappointed that Laura Morera was injured, and to be honest I had no great expectations of Akane Takada. And at first I did find her a little too bland, but her dancing was wonderful - light and fast and amazing jumps. But then came her mad scene, and it was really affecting - such bewilderment and anguish. And in Act II she really danced so beautifully and graciously that I was completely won over. Similarly Nehemiah Kish, who I thought was an interesting and unusual Albrecht. Very reserved and quite haughty in Act I - just wanted to have a bit of fun with Giselle but didn't realise what he was getting into. And then in Act II, shame and sorrow all the more moving for being expressed by someone normally so reticent. Excellent dancing and acting that was touching without being histrionic. Seeing him sprawled in agony at Giselle's grave at the end, all dignity lost but his humanity saved, was incredibly emotional. I also really liked Hikaru Kobayashi's Myrthe. Implacable yes, but also shrouded by such intense sadness. Another quiet but highly effective performance, and superbly danced. An interesting bit of last-minute casting: because of illness, Sian Murphy performed both Bathilde and Zulme. I don't think I've ever seen that doubling up before, and it gave a fascinating resonance to Act II. I can't say I've ever felt much sympathy for Bathilde in the past; but in fact on reflection, she was very betrayed too. Even if it wasn't a love match (which we don't really know), she was humiliated and deceived too. So there she was (sort of!) in Act II, a jilted Wili refusing to spare Albrecht... And absolutely brilliant dancing by the corps. Total belief, commitment, unity, purpose. All made for an unexpectedly powerful performance.

Yes, an exciting foretaste (I hope!). The other dancers were terrific too (Olivia Cowley, Paul Kay and Matthew Ball). Interesting seeing new ideas and movements to music and for characters that are so extremely familiar. And Joshua Beamish (Canadian choreographer I hadn't heard of before) had some valid ideas about the plot/characters. But I personally would prefer not to take the spiritual out of Giselle.

Funny that - I barely noticed the fish.

Do you mean Nicholas Johnson? I thought he was a wonderful dancer/actor.

An interesting discussion. In relation to ENB's name, I think it does have significance given that it was a new name chosen as being more appropriate than the former London Festival Ballet. But yes, I presume the reduced touring within England has been because of financial considerations. Big shame.

Anthony Dowell - I saw him dance on the documentary All the Superlatives, and fell in love with him and ballet before I ever saw a performance. The sheer beauty of his dancing opened my eyes and my heart, and I have never looked back! Also David Wall and Stephen Jefferies - great dance/actors. Nureyev for his sheer blazing stage presence. Baryshnikov for technique, charm, charisma, etc. Peter Schaufuss. Joseph Cipolla - terrific actor/dancer. Mukhamedov. Polunin. I suspect Muntagirov is coming onto the list too. And in a different sphere: Akram Khan. And on reflection, in a completely different sphere: John Curry.

Floss's comments about first impressions are so true. The first ballerina I loved was Lesley Collier, and I realised recently that in spite of all the other wonderful dancers I have seen she is still my ideal. Her clarity, sincerity, musicality and harmony set the standard for me. Others I loved in my early years of ballet-going included especially Bryony Brind, Fiona Chadwick, Alessandra Ferri and Eva Evdokimova. And I'm so grateful that I caught the last years of Fonteyn and Sibley, and some of Seymour's great performances. I have only seen Maximova perform once live, but it was seeing her feet in The Nutcracker on television that awoke my fascination with ballet before I had ever even seen a performance. I adored Suzanne Farrell - such grace and dignity. I thought Makarova was amazing in her technique and dramatic power. Two great dance actresses would be on my list too: Marion Tait and Sandra Madgwick. Maria Almeida had a quality all of her own, and I was so sad when she stopped dancing. More recent ballerinas I've loved: Benjamin, Cojocaru, Rojo, Yanowsky, Osipova. Many others have enriched my life too and I'm so grateful to all of them.

I think that with the best will in the world (so to speak), nudity is almost always just a distraction, no matter how sophisticated we all like to think we are now. Hofesh Shechter's recent 'barbarians' was an exception in this respect, though - I was a bit apprehensive (since he's not the most reticent choreographer), but it was absolutely beautiful. The lighting was kept very low, and the dancers stood in a row just dancing very slowly and gently. Wonderful.

I still love Enigma, but it does depend how it's produced/danced. I think it's difficult for dancers now because it's not (mainly) technical, so it all depends on characterisation, nuance etc. And it's treated with great reverence, which doesn't help it.

Yes, that's the most wonderful solo! The Pie Jesu. I especially remember it danced by Lesley Collier and Leanne Benjamin. The whole ballet is like a prayer, with that solo at its heart. If I had ever been a dancer that would have been my ideal. Closely followed by Song of the Earth, Aurora and Odette.

So many to choose from! Lucky us. Swan Lake - still, the ultimate ballet for me Giselle The Sleeping Beauty The Nutcracker (both the RB and BRB versions) MacMillan: Requiem, Song of the Earth, Gloria, Mayerling, Romeo and Juliet, Concerto, The Rite of Spring Ashton: La fille mal gardée, The Dream, Symphonic Variations, Scènes de Ballet, Cinderella, Rhapsody, Birthday Offering, La Valse Balanchine: Symphony in C, Serenade, Agon, Theme and Variations, Jewels, Concerto Barocco, Apollo, Mozartiana Bintley: Galanteries, Sons of Horus, Still Life at the Penguin Café, Tombeaux, Consort Lessons Robbins: Dances at a Gathering, In the Night Morris: L'Allegro, il Penseroso ed il Moderato (don't suppose that counts as ballet, but is as sublimely beautiful as the most beautiful ballet) Shechter: Political Mother (definitely not ballet, but thrilling) Khan: DESH (ditto), Dust Nijinska: Les Noces Fokine: The Firebird Tetley: Pierrot Lunaire, Dances of Albion Pina Bausch: Masurca Fogo (not ballet, but so unexpectedly full of joy) And many others nudging to get in!

Off the top of my head (since I don't want to dwell here too long): Rosalinda (London Festival Ballet as was) - frivolous and tedious The Judas Tree - sordid and obscure Different Drummer - just sordid Mark Morris's Romeo and Juliet (to my surprise and dismay) Matthew Bourne's The Nutcracker - no poetry (with that music!) Raven Girl And I LOVE Sleeping Beauty. It has an austere beauty all of its own.

Heretic!!