bridiem

I've no idea what ballet newcomers would have made of it (especially with no intro/synopsis/cast at the beginning), but I thought it was brilliant! Really powerful, and filmed in a really interesting and effective way. A bit like going on holiday with an old friend for the first time and seeing them in a completely new environment and so seeing them anew. I thought all the cast were terrific.

Yes, it's true that it's all done in a slightly superficial way, but I think that the whole issue of Dr Coppelius's dreams being shattered in the previous act is not really highlighted in this production, so there probably isn't the leeway to then have great remorse etc in the final act. It's all light-hearted, throughout. Which I find quite a relief for a change! No need for a broken heart for once (ballet-going can be quite exhausting). But I agree that the pathos etc (and then the remorse/forgiveness) could be given more prominence.

But Swanilda does offer her purse of money to Dr Coppélius as a gesture of remorse (though he doesn't need to take it because he's then given two purses by the Duke), and they then all smile happily, and he then waves enthusiastically down at them on their marriage. They're clearly all reconciled at the end. It's not played out in detail, but it's all there.

I'd be happy to have Coppélia AND Nutcracker next year!

Exactly what Sim said! My general dislike of McGregor doesn't prevent me from loving this particular work (which is mostly very unlike most of his other work, I think).

Long as it already is, I can't let my Highlights list above stand without adding two glaring omissions: Gary Avis and Zenaida Yanowsky. I'm sure there are others, but I will now withdraw quietly.

Well that was very Rude of Rudi, if you ask me!

I'll start with the Lowlights to get them out of the way. Both my lists are in no particular order of priority or chronology. Lowlights: the continuing prominence of Wayne McGregor at the RB the poor quality of most of the new RB works during the decade Project Polunin at Sadler's Wells, 2017 the various issues with the ROH since Open Up (including the new Linbury sightlines) the revival of the full-length Anastasia (RB) (though Act 3 still brilliant) the ending of the new RB Swan Lake (which will deprive me of my essential SL catharsis at the RB for many years to come) Highlights (only a few, when there have been SO MANY!): Woolf Works, RB 2015 - thrilling, including the return of the sublime Alessandra Ferri the 'previous generation' of RB dancers: Cojocaru, Kobborg, Rojo, Benjamin especially and the sadly short but wondrous period of Polunin as an RB dancer the 'new generation' of RB dancers, including Osipova - especially Muntagirov, Hayward, Campbell, Sambé and so many others someone who spans the two 'generations': Sarah Lamb, the most exquisite, beautiful, moving dancer Akram Khan's Giselle, ENB Akram Khan dancing anything Lest We Forget, ENB 2015 BRB Giselle 2019 Rojo's directorship at ENB (though it also marked something of a lowlight given her loss to the RB repertoire and less frequent performances) the live screenings of performances - brilliant initiative Kevin O'Hare's directorship of the RB (with some reservations, but in general I think he does an excellent job) Hofesh Shechter - Political Mother, 2010 the MacMillan Celebration at the ROH 2017 - the leading UK companies sharing the ROH stage, especially Northern Ballet in Gloria David Bintley's knighthood reaching my personal landmark of 1,000 live ballet/dance performances earlier this year and last but definitely not least: joining this Forum in 2015 - it has completely re-booted my ballet-going (I went to 8 performances in 2010 compared to 38 (plus live screenings) in 2019 - almost back to the heights of my early years of ballet-going!) and the stimulation, learning and entertainment it gives me all the time. So a huge THANK YOU to all the members and moderators!

Yes, she did.

I thought Magri was a lovely Swanilda. I wasn't wholly convinced by her acting in the very early stages, but as the performance went on she inhabited the role more and more and was very sweet, likeable and amusing. I thought she rose impressively to the technical challenges and she has a beautiful amplitude to her movement. Corrales was a suitably flirtatious Franz and formed a good partnership with Magri; and when he could let rip with the Act III solo he did so with great vigour. I also liked Thomas Whitehead's Dr Coppélius and found him more moving than Avis or Gartside (but they had other virtues - I think all three have been brilliant!). Claire Calvert danced the Peasant Girl with style and precision, but with no apparent connection with her partner (Franz); and she was a secure and confident Aurora in Act III. Romany Pajdak seemed a little more comfortable as Prayer and again danced with great beauty. I do find my eye constantly drawn to Annette Buvoli now; I can't wait to see her in more roles. Anyway the performance went down a storm with the audience, and justifiably so.

I think it was 2017!

I hope not! I love the RB's Nutcracker. (And if a new production equalled the new Swan Lake, there's a danger that would mean some sort of dodgy ending...).

Oops, sorry - I misread the cast change notice and clearly wasn't paying full attention at that point! I remember thinking that the peasant girl was good, but it's a relief sometimes NOT to be glued to my opera glasses...

My vote would go (unfortunately) to the RB's new work/new music programme in the Linbury in February. It was dire, and exacerbated by realising on my first visit to the new Linbury that the sightlines were terrible. (Though given what we were looking at, perhaps it was a blessing to be unable to see so much of it.)

Lovely tribute, and lovely and characteristic comment from Sir David. I do feel that it's a great shame (to put it mildly) that he did not receive this honour while still director of the company.

Yes, it was Annette Buvoli (a late replacement for Romany Pajdak, who had originally been scheduled to do both peasant girl and Prayer. Perhaps there was a reason unknown to us for Pajdak not being able to do both).

If I had to choose only one performance, and in spite of the fiercest competition possible, it would be: BRB Giselle (Hirata/Morales). The most exquisite and poetic production, perfectly danced.

Yes, Choe and Naghdi.

Just watched the Essential Royal Ballet programme. I enjoyed it, though from a selfish point of view I'd hoped for more interviews and backstage material whereas it was really just a string of quite long excerpts with very small amounts of introductory material. I did think that (with apologies for the technical terminology) there was too much swoony white stuff in the first 20 minutes; I think it might have been better to have more wizzy-bang stuff to excite viewers before going all soulful (which I would imagine can look a bit OTT out of context). It gave a decent impression of the company's rep in the last 10 years, but I would have thought that a bit more context would have been helpful for non-balletomanes.

I know you don't take photos during a performance, Rob S, but surely dancers know that that's not allowed and so shouldn't post such photos on their accounts?

I tend to agree about Hinkis (k not g); I'm afraid I don't generally enjoy watching her very much, though she seems to be both confident and competent. But I found Pajdak (jd not dj) a very beautiful Prayer. I did sense a lack of complete control and confidence on this occasion, but even on a slightly off day she embodies soul and grace in her dancing.

So have I, until the last few visits.

I suppose there's always a potential mismatch between security and customer service, if you employ staff who specialise in these two very different areas. I wouldn't object to a (literally) serious security focus, if that's what was happening (though of course that wouldn't really tally with Open Up); but there's no point having unsmiling and unfriendly security staff who then don't do a proper bag search (which is what happened yesterday - also at the Piazza entrance). So I think the ROH needs to decide what it's actually doing here.

Maybe some people can no longer tell the difference between real life and social media.

Couldn't agree more, Sim! They were both brilliant but she was just sensational. She had everything - technique, characterisation, stage presence, projection. She positively glowed. At one stage I seriously wondered if she had springs hidden in her legs. She bounced and she flew. Amazing. I half hoped that Kevin O'Hare would announce her promotion after the performance because she owned the role and the stage so completely.