bridiem

I'm going to book as normal tomorrow, since the ROH (and I assume most other venues, though I don't know) would refund if the performances were cancelled.

And what about sponsors who donate towards particular programmes/performances/roles that don't then materialise? And associated income the theatres/companies would have budgeted for whilst performing? All very difficult.

There was a nice item on the Today programme on Radio about NB's anniversary and Geisha - started c 8.45am and presumably available on iplayer. They interviewed David Nixon and Kenneth Tindall.

It's 'Looking for Margot' again (1.15am Monday).

Me too - I thought she was terrific, with a really strong and delightful stage personality and lovely dancing.

Yes, I was surprised by that. I only remember Frankenstein being mentioned originally.

But some of Mark Monahan's reservations were about the production, which would equally apply if he'd seen this afternoon's performance. And I agree with him in that respect - ultimately this production doesn't move my heart, even though the dancers do (profoundly). I think for Monaghan to say that Nunez and Muntagirov don't display 'mutual, unbridled passion' is probably right - this isn't Mayerling. I would say that they display mutual, everlasting love. But for Monahan to say that at times they lack chemistry seems very strange to me. At least he acknowledges the quality of their dancing, I suppose!

I do agree about the tempi at times, JohnS. In particular, when Odette came on to protect her swans from Siegfried in Act II and started to plead with him, I thought for a moment that the conductor and/or orchestra had actually gone home since there was complete silence when the music normally starts. But in general I found that just when I was getting dubious about the tempi, they either picked up sufficiently or were used so luxuriously by Nunez that I no longer cared. I also thought the Neapolitan was both somewhat slower than usual and less sparkling. And I did get frustrated by Siegfried lying there in a comatose state in Act IV for so long (or indeed at all).

Thanks very much Odyssey!

I wish that the documentary made at the time of the creation of Mayerling would also be re-shown - I think it was a South Bank Show?

Just when you think Nunez couldn't possibly get better, she does. Just when you think Muntagirov couldn't possibly get better, he does. AND Sambé, Magri, Kaneko - scintillating. Gartside a sleazy, pale, sordid Rothbart - embodying Evil, and finally eclipsed not with a bang but with a whimper. McGorian such a beautiful, imperious Queen. The four princesses (Mendizabal, Hamilton, Choe and O'Sullivan) giving full value to their roles and watching Odile capture their prince with a mixture of awe and hatred. Terrific swans and perfect cygnets. The ending - sadly anti-climactic. The sets and costumes - gorgeous. The performers - unbelievable.

Email just received from ROH: Our records show that you are due to attend a performance of Swan Lake on Wednesday 11 March 2020 at 7.30pm. We are contacting you to let you know that Principal Guest Artist David Hallberg is replaced by Reece Clarke as Prince Siegfried. This is due to commitments related to his recent appointment as Artistic Director of The Australian Ballet.

Thanks Alison - I'd noted the time, but then failed to register it when arranging to meet my friend beforehand! So thanks very much for the reminder.

Francesca Hayward has posted on her Instagram that she and Corrales were doing a stage call of Swan Lake today. It is rather confusing. And no, I see that tomorrow is the last performance of The Cellist.

So Corrales doesn't get to dance the role at all? That's such a shame.

Clearly I don't get out enough...

Spot on, JNC. I almost wonder if at some level Cathy Marston lacks confidence in her actual choreographic skill (as opposed to her ideas and her thoughts on staging etc, about which she is very clear and articulate and interesting). The dancers often only move or intertwine very briefly before stopping or transitioning to another lift or scene change or whatever, so it's all very stop and start, or even static, a lot of the time. I know this is deemed to be her 'style'; but I find it strange and frustrating. I wish she would give herself free rein!

So sorry to read this, penelopesimpson - I was hoping you (and others!) would really enjoy it. And I'm not an opera person at all, but my sister has invited me to go to the live screening with her and I was keen to see it because of all the hype so I said yes. I will still look forward to the music/singing (and I hope Kaufmann revives), but the production does sound grim. (I see the Telegraph calls it 'silly'. How can a major opera house mount a production that is considered 'silly'?!).

Thanks JennyTaylor - I just had to try and express my feelings about the performance. I SO wish now that I had booked more often for Soares. More fool me!

Thank you for posting these very poignant photos, MJW and Rob S. They are a reminder of a performance I will never forget. I found Soares' Onegin absolutely heartbreaking. Very different to the other Onegins I've seen, and revelatory. In Act I, he isn't cold or arrogant or contemptuous; he's immediately sympathetic towards and attracted to Tatiana, he encourages her to dance with him, and he sees her worth. Only then does he realise that if he allows himself to acknowledge this, he will have to drop his façade, his armour of indifference and boredom that protects him from others and from living a proper life. And that terrifies him and forces him to pull back. The bedroom pas de deux - beautifully performed by both Soares and Mendizabal - is therefore not just Tatiana's dream/fantasy - it's his too. It's how they could have been if he'd had the courage. In Act II, he is constantly drawn to Tatiana and wants to show his love for her, but cannot; he wants to accept and delight in her letter, but cannot; whenever he's tempted to do so, he pulls back. And when he finally tears the letter up, he knows how much he's hurting her and can barely do it; he's full of shame and self-hatred. And the more he loathes himself, the more he pursues Olga and the more atrociously he behaves. He's rejected Tatiana's goodness and love, and he turns to casual cruelty as if to prove to himself that he didn't deserve Tatiana anyway. When Lensky challenges him to the duel, he tries not to go through with it but when Lensky continues to provoke him his pride and anger explode and he carries it through. And then, only then when it's too late, does his façade come down. He sees Tatiana, in effect his conscience, and collapses. The tragedy is his and hers as much as Lensky's (and Olga's). In the final act, Mendizabal's pas de deux with Gremin (Lukas Bjorneboe Braendsrod - excellent, but I do think I prefer an older Gremin) was intensely moving, as we see how Tatiana has found a peaceful and grateful love with her husband. Soares' face as he watched them dance was so full of pain, dismay and grief that it was unbearable. This wasn't him realising his love too late; he'd known it all along, and had lost Tatiana through his own pride and fear. When they finally express their mutual love, the dam bursts for both of them. But it is too late - for him, and for her. And the only way she can convince him of that is to tear up his letter, although it causes her as much pain as it causes him. He finally flees, and Tatiana is left in a state of shocked and agonising turmoil. Soares' performance was that of a truly great dancer and actor. Complex, nuanced, convincing, gripping and altogether brilliant. And Mendizabal was a worthy Tatiana for this magnificent Onegin. She portrayed a young woman taken out of her introverted, bookish world by her love for this man, whose inner being she sees better than he does. She acts always out of love and goodness (looking after elderly guests at the ball, comforting Olga, trying to dissuade Lensky from duelling, etc), and then builds a loving marriage when she accepts she has lost Onegin. Her dancing was terrific too. David Donnelly was excellent as Lensky - young, handsome and impetuous, but some of his landings were so noisy that they were a distraction. Meaghan Grace Hinkis did well as Olga, but I didn't find her particularly interesting or moving. I so hope that Onegin will come back soon, preferably next season. The sadness being that Soares will not come back too. He got a tremendous reception, and Kevin O'Hare made a very warm and appreciative speech with many other members of the company coming on stage too (and Dame Monica Mason). Flower throws, bravos and tears. Magnificent.

I found it very moving at the end too this time, which I didn't at the live screening. Seeing it live made it more possible to block out the irrelevant characters on stage and focus mainly on the principal characters, but also to get a slightly clearer picture of the whole. I still found the first three quarters of the work very tedious and the choreographic style and vocabulary very limited and repetitive, but towards the end the clutter cleared somewhat and it was possible to get involved with what was happening. It's a shame, I think - there's a good chamber ballet (a bit like The Suit, which I really enjoyed) trying to get out of The Cellist, but there's just far too much going on to absolutely no point, and too much literalness (if that's a word) in the ideas. And too little dancing - the only people who actually dance to any degree are the Instrument (Calvin Richardson was very good, but didn't dominate in the way Sambé did on Tuesday) and the Conductor (Matthew Ball again, also very good with what he's asked to do). Beatriz Stix-Brunell as the Cellist was tremendous and really moving; but she does very little dancing - she spends most of her time being lifted, often with her legs in the air for no apparent reason, or turning/being turned on the spot. Without space and movement, dance can't breathe. (Maybe the set is partly to blame here? It seemed to take up a huge amount of space leaving little room for the dancers.) At any rate, I did at least get something out of it this time, and the dancers were excellent. I loved Dances at a Gathering again. I'm interested to read the comments above about the piano playing - I did notice some fluffed notes, but I'm no expert and it didn't stop me enjoying either the music or the performance. Wonderful to see Tierney Heap (Green) back on stage, commanding and playful by turns; and Sarah Lamb (Pink) glittering like crystal. Marcelino Sambé (Brown) blazed around the stage with the most amazing charisma (and terrific technique). A beautiful and very moving performance.

I'm so sorry, FlowerPower! That's so sad and frustrating for you. I really hope your recovery progresses as quickly as possible and that in due course you will be able to resume classes. Just think of Steven McRae or Tierney Heap - you're in good company having to fight your way back after injury!! So glad you're walking again and that you've had such good support.

That's not a very helpful/enlightening reply. I always keep my coat (if I have one) on my lap, but if we're at the end of the row (which we generally are) my friend leaves hers on the floor in a free area there (not obstructing anyone or anything and very close to her seat). A lot of other people do the same sort of thing (and have always done so). And I don't think anyone takes their coat out with them during intervals. Are we supposed to do that now? (I wouldn't leave any valuables in my coat anyway, just in case!).

I was wondering about Muntagirov/Japan. I do hope he doesn't have to pull out of Swan Lake next week!

I don't think all the press reviews been raves, in fact. A lot of positivity, yes, but also some reservations/criticisms (and one stinker, as discussed above). And I think the response on this forum has ranged quite widely too.