Blossom

Thank you thank you thank you!I couldn’t watch it live and had been struggling to find it!

And Crystal Pite won last year for Revisor too- would it be unusual to win 2 years in a row?

I think we covered it ourselves. The idea is to prevent any photos inside the Kit Kat Club which might then ruin the experience for others.

At Cabaret they stick a sticker over your camera to stop photos being taken- even at the curtain call.

I did wonder when tonight’s event went in the ROH schedule. I am so sad that I couldn’t make it but tonight was always going to be impossible. I can’t make her Cinderella performance either.

This is exactly the point I made in the comments at the end of the survey, using the words ‘daylight robbery’.

According to Yuhui Choe it wasn’t filmed and was actually their first rehearsal with Wayne McGregor. Such a shame for us but I guess takes off the pressure for them! Just a little unfair given tickets are like gold dust!

I still haven't seen it!

I really did not enjoy the Nutcracker pdd.

Well Don Q beat Black Swan PDD on this occasion. Both dancers were brilliant but Mayara was just gorgeous and has just the right temperament for Kitri. Would love to see her dance the full production at ROH (with Cesar Corrales).

Thank you - it’s still available on the Medici app/website!

Gone

Unfortunately I can’t attend on Wednesday night so looking to sell. Will return to box office at the end of today if no takers. 2x Balcony tall stools C58 and C59 £34 each

Where can I watch the PdeL gala? I have been struggling to find day 5 and 6 on Arte, can’t find the gala to watch either.

To add a further dynamic to the conversation, did anyone read Richard Morrison’s article in the Times on Friday? https://www.thetimes.co.uk/article/the-royal-opera-house-s-ditching-of-its-long-term-sponsor-bp-is-pure-hypocrisy-2n3vw6cs5 To quote a very small but pertinent couple of sentences which I assume is ok @mods ‘The arts world should consider this: every time a sponsor is deemed not pure enough to pass muster, that’s another £10,000, £100,000 or several million that either has to be raised from ticket sales or begged from government. Ticket sales seem unlikely to rise much in the foreseeable future, so that leaves public subsidy as the only way of plugging the gap.’ Of course we then know how organisations like ROH suffer at the hands of ACE.

Anyone finding that the site is incorrectly telling them that they have exceeded their ticket limit (when no tickets booked at all??).

Thank you, There is a lot of shiny insipid fabric in that version, although it is wonderful for seeing dancers earlier on in their careers, or those who have since retired….

This makes sense. And noticed that the current Lilac Fairy costume seems closer to the original…

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!).