Blossom

I’d like to know about the previous costumes for Royal Ballet’s version. I have a gorgeous DVD with Alina Cojacaru from around 2007 where costumes are completely different, but I had thought the current design was introduced around then. Marianela Nunez is the Lilac Fairy but costume is quite pale, somewhat insipid esp vs current costumes. However, I had thought the timing of the production meant that this was the version which reopened the ROH around then. Can anyone familiar with the production shed any light? Haven’t found anything in the ROH online archive which helps…

Me too!

What a gorgeous debut. A few shaky moments in rose adagio (i felt for her) but otherwise stunning. Mayara is a simply beautiful classical dancer and Cesar is precision and perfection. I can’t not see them!! Enjoyed tonight’s performance even more than Tuesday and found many of the fairies (some repeats) much stronger tonight. Or I was in a better mood. Not the biggest Gina Storm Jensen fan but she works for me as Lilac Fairy. I find she really uses her long arms well, using every bit of stretch while maintaining fluidity, making every movement look bigger, using space well. A few shaky moments below the waist though… Nicol Edmunds was excellent as Florestan and his pairing with Isabella Gasparini and Mariko Sasaki was spot on and so in sync. Same Bluebirds as Tuesday but loved it even more second time around.

Getting rather excited about tonight having seen it!

I actually think @FLOSShas hit a nail on the head. It’s pretty lovely using the many soloist roles as an opportunity to elevate lots of dancers within the company, but the challenge with doing this is that they don’t all have the maturity in terms of artistry. I could only comment that the stage did not feel quite full enough, I guess in terms of the dancers’ ability to project -and add a bit more sparkle, something not evident in all of last night’s fairies, to keep it as vague as possible, but something which Anna Rose O’Sullivan has in buckets and vastly outshone everyone (as you would expect from a leading lady). Perhaps it’s a case of getting a better balance - give opportunities to one or 2 younger dancers, but focus the majority of these roles on the more experienced dancers who can deliver and shine. I am interested to draw some comparisons tomorrow night so hopefully some different fairies (or rather dancers in the roles) as I am sitting in roughly the same place which is somewhat higher up than in previous runs, but I note that this was pre-Covid and with quite a different set of established dancers (with the added bonus that casting was geared towards a cinema relay).

On the Prince's solo - yes of course, not my finest moment!!! On the new audiences/offers front, there should be some sort of member get member scheme. Bring someone new, get a great ticket deal for both of you but with some sort of data exchange a a condition to enable onwards contact.

I am in 2 minds about this....I was a bit miffed to have issues at the ROH last night given I was there on a pricey ticket at full price too. But then I considered a bit more selflessly that for the ROH, the value exchange of reduced ticket prices to bring new people into the theatre to see ballet at an affordable price, regardless of age (ie not young ROH, open to older people and families) is greater in terms of building audiences. Even if only a small percentage of visitors consider coming again, engage with their online content or cinema broadcasts who wouldn't have before, they can help secure the future of ballet. The question I have for Alex Beard (and have shared) is whether they have a relevant communication plan in place (also considering permissions required!).

It appear that there were a lot of new people in the building, potentially as a result of struggling to sell and it was wonderful to hear the hum of excitement as people were asking for directions and filing into the theatre. There was an exceptionally positive response around the house during the wedding scene as people laughed in all of the right moments in the fairytale variations and enjoyed the stellar performances of Anna Rose O Sullivan and Steven McRae in the grand pas de deux. The performance brought in quite a few families, but a conversation overheard on the way out (something along the lines of the performance contrasting with the difficult conversations they have to have everyday) suggests that perhaps a ticket offer was extended to NHS workers. I'm keen to see how the ROH harnesses the high on which people exited the building to get them back again! In contrast, the couple next to me who were new to the ROH stuck it out for the first 2 parts of the performance but disappeared before Act 2/3. That final point leads well into my summary of the performance. From where I was sitting, with Alastair McCauley's latest scathing review in my ear (and seems that now he is continuing to pick apart performances one by one on Instagram), I did think that the Prologue and Act 1 seemed to be a little sparse on such a large stage, but I do wonder if this was just down to my position on the balcony. It's wonderful to see so many dancers rising the ranks and/or starting to get the opportunity to dance meatier roles. It was obviously Annette Buvoli's debut last night but such a shame that this wasn't highlighted on the cast sheet for posterity. It's always lovely to see someone new in the role - and getting those bigger opportunities - and she seemed to get better and better as the performance progressed. Last time I saw Anna Rose O'Sullivan in the full length SB, it was her debut and I saw her Swan Lake debut after that, so it was lovely to see her return to a role with an assured confidence. She sparkled throughout the performance, from the Rose Adage to the grand pas de deux and reminded me why I love seeing her so much! This was the first time I've seen her paired with Steven McRae and the first time I've had the opportunity to see him since his injury pre Covid and he didn't disappoint. I sometimes find that you can really feel the pull of gravity in the Prince's solo in act 2 (and particularly did not enjoy seeing this performed at the Nureyev gala back in September), but McRae's strength - particularly upper body strength - really seemed to lift his performance so that it seemed more like an open, emotional out-pouring vs an ungraceful, weighted depression. I did hold my breath a little for his solo in the grand pas de deux and pleased to see he was on spectacular form. Having tracked his recovery on Instagram, it is so good to see him fighting fit. In terms of other performances of note, I always love to watch Leticia Dias and she didn't disappoint as Fairy of the Golden Vine or Florine and look forward to seeing her continue to rise the ranks. I noted that Joonhyuk Jun appeared to hover in mid air as her Bluebird partner. Florestan and his sisters was danced by David Donnelly, Ashley Dean and Mariko Sasaki who gave assured performances. Sophie Allnat and David Yudes got all of the laughs from the audience as Puss in Boots and white cat. Enjoyed the performances of many others but don't want to write a shopping list, but as a final note, Kristen McNally has such an impressive and graceful stage presence, in this performance as the Queen. An initial mishap meant that the loose chair I had booked on the balcony wasn't there and had to be squeezed into a smaller space than usual (as everyone else had spread out) only moments before the performance started, which was a bit of a dampner... It was lovely however to meet @Sim and have a chat in the second interval and also to meet @bangorballetboybriefly. Last night was my 'expensive ticket' night and unfortunately with the current economic climate it's proving tricky to get people to invest in seats of a certain price which means going it alone!

I’m wondering where all of the tickets for tonight disappeared to yesterday - spoke to a Young ROH member and doesn’t seem to have gone to them…

Going alone this evening if anyone else in the same boat…

I agree! This is another of ENB's 'best in class' productions

Also didn’t get offered the discount but already booked for 17th and 19th (alone tomorrow night if anyone is there). This morning there were an extraordinary amount of unsold seats but suddenly they all became sold out. I can only assume that these have been offered at a much lower price (including the most premium seats) to Young ROH or similar, as how else could they disappear so suddenly? Rather miffed to be paying a premium and assume that the seats next to me and a large proportion of the top price seats will have gone for a song. Essentially I get penalised for being loyal. As a result I am sticking with my one Cinderella seat and will take the risk and hold out to see how it sells. Had a brief conversation with someone at the ENB Swan Lake rehearsal who says with rising prices she just won’t go anymore - I think people are already starting to vote with their feet. Thinking about new audiences and preserving the future for ballet, it was wonderful to see a diverse and heaving audience at London Coliseum over the weekend and a sterling performance delivered. Editing to add that in reality, happy with the seat I have but it’s another example of an unfair system without equal access to all and is going to result in some unhappy loyalists and my concern is that rather than building on what they have, the ROH is going to have to start from nearer scratch. Genuinely concerned that tweaking ticket prices too far as they have done will make the fragile house of cards topple.

These have now been returned to the box office.

Could hear the noise in the dress circle but couldn’t see where it was coming from so thanks for clearing up that mystery! Last night was simply gorgeous. Emma Hawes was perfection as both Odette and Odile and the whole production is stunning from beginning to end. Enjoyed seeing Rhys Antoni Yeomans dancing the Neapolitan- and making it look so easy! Was lovely to see Francesca Velicu standing out as lead peasant. National dances are one of my favourite things about Swan Lake (and along with black swan pdd makes it my favourite act). ENB delighted with their perfectly stylised Polonaise, Czardas and Mazurka.

I have unfortunately double booked myself and won’t be able to attend! Stalls tickets row K, £35 each.

Back to the main plot of this thread, I realised I was so wrapped up in my Royal Ballet wish list that I forgot about everything else! Scottish Ballet - bring Little Mermaid to London! BRB - sad not to have Still Life at the Penguin Cafe triple coming to London so would love this to be part of their next programme at Sadlers Wells and a return to them bringing a full length and a triple bill over a week of performances. Didn’t get to see Bintley’s Hobson’s Choice last time it came and still waiting. I understand from an email from BRB in response to my request for a London visit is that something exciting and full length is coming in Autumn…. Otherwise, best hope of Fille I think is here not RB. Northern Ballet- would love to see them bring a classic (any classic) to London, so not fussy.

Also completely agree. Seeing same cast tomorrow night and not sure how they could even better the performance. One thing I will say about the rehearsal is that the atmosphere was electric. Lots of students in, company staff and I think a few dancers. I had brought ballet newbies to the performance (a brilliant way for people to first experience ballet) and the audience response to the Neapolitan the Act 3 pdd mirrored the enthusiasm usually reserved for Emerging Dancer and really added to the experience.

Back to the topic in hand I am just going to reiterate a lot of what others have said - but should this thread be viewed by those in power it will hopefully contribute! Mostly reiterating what others have already said but would love to see Bayadère again- it’s such a gorgeous production. I was star struck sitting at the studio rehearsal last time with Natalia Makarova coaching. MORE ASHTON - it’s definitely time Sylvia came back to the stage and would like to see Marianela dance it as I made a bad choice last time!!! Fille is indeed overdue and would be lovely as a second ballet to Nutcracker in the lead up to Christmas season. Alternatively. I have been waiting years for Alice to finally introduce my son to the ROH, but this is the only Wheeldon I want to see this year - can’t take more than one Talbot score. I mostly want to see the number of productions bolstered again so we have plenty to choose from, with a decent classical mixed bill in each season’s programme. My favourites in the past were Ashton triples or themed triples such as the intelligently programmed Russian triple bill which combined Firebird, Winter Dreams and Symphony in C. It may be a touchy subject revisiting Russian heritage productions but given we aren’t going to see any Russian companies in the UK anytime soon I would like us to get the opportunity to see more in the vein of Firebird if in the rep. Also MacMillan triple - revisit some more modern pieces from the anniversary year. We never got to see Prodigal Son due to Covid and would love to get an opportunity to see Osipova and Claire Calvert dance the Siren. An emotional bruiser of a ballet but have only seen it danced in New York. Another emotional bruiser I would love to see is Rite of Spring (MacMillan).

So hard to choose a step!!! With each ballet I think it is quite different. Nutcracker has to be the lifts in the grand pas de deux as the music swells - bliss is Naghdi/Ball. In any Ashton it’s spotting the Fred step. MacMillan also has to be some of the rather daring lifts (or Manon almost floating above the sea of men in act 2: Francesca Hayward is very memorable). In any of the classics it has to be the male grand allegros which are just so exciting - Cesar Corrales please. Swan Lake has to be Odile’s ‘got you’ flourish at the end of the pas de deux. I could go on!! Giselle: the light spinning jumps and then the ghost like floating/flying assemblés across the stage as she is revealed as a new Wili. Favourite in this role and this moment would be Natalia Osipova, followed by Alina Cojacaru (second only because I think she is not quite as breathtaking a Giselle now as she was 5 or so years ago).

Was this someone in balcony standing yesterday? I saw also… I am a bit horrified that people seem to think it’s ok and also to miss the actual live performance!!! In terms of the your other issues @Emeralds I think that this is complaint worthy and hope you wrote to ROH.

Merry Christmas and thank you for creating this brilliant online space where it’s possible to speak to other balletomanes!

Agreed. Yasmine Naghdi is my favourite Sugar Plum from now on! Used every milisecond of the music. A great partnership with Matthew Ball too- they are just magic together.

A little disappointed that there are no London plans for BRB this summer as usual, but delighted to get a speedy reply (little over 50 minutes) from Caroline Miller sharing that there is a plan for new work to be shown in London in autumn ‘23 and ‘a big classical ballet’ for spring ‘24. Unfortunately juggling family and work makes it pretty impossible to get to Birmingham but look forward to hearing from those who can.

https://www.instagram.com/p/CmU4QPNIbG-/?igshid=YmMyMTA2M2Y= As a starter for 10, Graham Watts’ latest post about a performance is worth a read.

Looking back I've had quite a busy year! In January I saw Raymonda by ENB. Despite not following the classic story and a weak narrative, I really enjoyed the costumes, dancing and exquisite music by Glazunov. February was a thoroughly modern month - Acosta Danza was a diverse mix of dance with some exceptionally talented dancers, followed by equally talented NDT2 who blew me away. March was Swan Lake - I saw O'Sullivan/Sambe, a delight to watch, and managed to head to a weekday matinee with Margri/Corrales where Magri's black swan was breathtaking. March was also the Forsythe Evening - I managed to convince my husband to join me having piqued his curiosity by playing the Playlist erm playlist. Thoroughly joyous evening and Precious Adams really stood out in Playlist. April was the Ashton triple - absolute bliss as adore Ashton! Wish I could have seen this a second time. In June I saw Like Water for Chocolate, first seeing Naghdi/Corrales and a couple of days later managing to get hold of tickets for Hayward/Sambe. Interestingly, I much preferred Naghdi's interpretation. More joy in July with BRB's Don Quixote - always thrilled when BRB brings their productions to London as they are a much more affordable way to take kids with (can sit in top price stalls for less than ROH amphi!!) September brought the Ukrainian Giselle gala and another (likely last?) chance to see Alina who is my second favourite Giselle (after Osipova of course) and the Nureyev gala where I finally got to see Xander Parish live, but found Iana Salenko underwhelming. Enjoyed seeing Marianna Tsembenhoi representing the newer blood rising at the ROH (and was it Daichi she was dancing with?) November - Crystal Pite's new and old - breathtaking, plus BRB's brilliant triple bill with the rather memorable and comedic piece Hotel. Last was ENB's mixed bill - I wasn't too keen to see Blake Works again and would have preferred Playlist and found Take Five Blues a little dull, but Ek's new Rite of Spring and Emily Suzuki was outstanding. November finished with Mayerling and was wowed by Matthew Ball's dramatic Rudolf. So far December has brought Nutcracker rehearsals, but off to Naghdi/Ball on Thursday and can't wait! Cast is perfection. Looking forward to what next year brings but summer is still looking rather light as there's so little on at ROH and it doesn't look like BRB are returning to London in the summer as usual.