Blossom

My greater concern is that Premium Friends who buy SCS might be inclined to buy more dates to spread their bets, leaving fewer for those of us lower down the pecking order... I'm not actually so concerned at the moment about casts as between the 2 Ashton programmes I can only make 3 dates.

Still available if anyone still looking.

We should definitely view this as a glass half full (and not half empty) event! I was on the front row of the Royal Circle, the centre section looked pretty well sold but sides not so well. It looks like some of the sold seats weren't taken - must have been a few no-shows. From what I could see, similarly the side stalls were not particularly well sold. Having checked the seating map earlier in the day, I don't think there was a particular last minute rush, despite leaflets being handed out at the ROH on Saturday night. From the audience response, especially to the bigger, showier pieces, you wouldn't have thought that the auditorium was anything but full.

I really enjoyed last night and Ivan Putrov is to be commended for turning around a gala in little over four weeks with such a splendid mix of dancers. In some cases, this meant that What I particularly enjoyed about the evening was the mix of principals and dancers lower down the ranks, giving a great opportunity to see them close up, in more dynamic roles with no distraction in terms of set and narrative going on around them. As much as this offers opportunity for the audience, I assume it can also feel quite exposing for dancers, especially working on pas de deux with only a few weeks' prep around their day job. All of the Royal Ballet dancers and ENB dancers were on good form, but it might get a bit boring to write about all of them in detail! What did cross my mind during Lauren Cuthbertson and Matthew Ball's R&J balcony pdd was the lack of live orchestra, which got me thinking about Northern Ballet's upcoming production. A recording was acceptable in this case due to a combination of turnaround time and lack of access to the pit, but it does make me incredibly sad to think that some NB audiences will not get access to the music in its full glory. Luca Acri, Marianna Tsembenhoi and Vladyslav Bosenko danced Le Corsaire pas de trois. Luca Acri was absolutely explosive on stage in his solo as Ali and Bosenko was a slick and assured Conrad, although perhaps there isn't quite enough dancing for Conrad which is why, I assume , the show piece is usually a pas de deux. Medora is quite a challenge to take on, less so in terms of her solo which is of course popular competition fare, but in terms of partnering both Conrad and Ali, the complexity of the dancing and the exceptionally short prep time. Marianna Tsembenhoi really took on the challenge. It wasn't quite as perfect or assured as some of the principals on stage, but her partners were as generous as can be and she is absolutely to be commended for accepting the challenge and delivering such a good show. It really demonstrated what a difficult piece this was and it was great to see what she is capable of. I look forward to seeing much more from her in the future. I'm lucky to have seen Olga Smirnova dance live in Amsterdam as Raymonda so was delighted to see her again. Her Dying Swan felt incredibly authentic for want of a better word, likely given her Vaganova elegance, long limbs and musicality. It almost brought a tear to my eye (as did Nunez and Braendsrod, not sure if it's the piece itself or if it's memories of Beatriz Stix Brunell). Very much enjoyed Smirnova in Alberto Alonso's Carmen Suite a bit later in the evening danced with Denys Matvienko, which was a sharp, modern and witty piece of choreography, excellently delivered and much enjoyed as it was new to me. Suited to the Russian style, I wonder if homegrown dancers would be able to deliver it with as much impact. As with Tsembenhoi, it was good to see Francesca Velicu, junior soloist at ENB, dance the pas de deux from La Fille Mal Gardee with a dancer from the Swedish ballet. Another complex pas de deux, with a partner she likely hasn't had a huge amount of time to practice with but she danced so perfectly, with energy and joy. She could make a lovely Lise, but also looks like she has plenty of stamina and could see her dancing the Swan Lake Neapolitan. A round up of the remainder - the guests from Japan danced a piece from The Dragon God by Tomoharu Yonekura which was structurally everything you'd expect from the big pas de deux, but the music didn't quite have the attack to follow the choreography. It was good to see something new (to the UK, premiered in Tokyo in 1957) and the dancers were incredibly light on their feet. William Bracewell danced a piece which drew on his lyricism and I could have watched all evening. Sanguen Lee and Gareth Haw from ENB danced Metamorphosis by David Dawson which suited Sangen's long and lean frame beautifully but I found the piece was a bit too long and perhaps not as engaging as some of the showier pieces. From a more contemporary perspective, Two by Two by Russell Maliphant, danced by Ivan Putrov and Grace Jabbari was completely different, the music had a thumping beat but the movement and the pace made it much more impactful. A mix of ENB and NB dancers took on Gloria, apt given the cause and particularly enjoyed the opportunity to see the elegant Minju Kang. We also got to see a full character dance, 'Gopak, Taras Bulba' danced by Volodymyr Kutuzov which was most definitely had the oomph in terms of the jumps alone as a show piece and this received rapturous applause. I left the theatre on a high - and wanting more, a lovely feeling to have at 9.30 on a Sunday evening.

My understanding is that the dancers don’t even know yet.

Links: Sunday 18 February 2024 Review – New York City Ballet, Solitude (and more), David H Koch Theatre, New York: Jerry Hochman, Critical Dance Mary Cargill, Dance View Times Review – Grand Kyiv Ballet, Giselle, Boston, Jed Gottleib, Boston Herald Preview – Alonzo King LINES Ballet, Deep River, Lincoln Center, New York Dil Bar Irshad, BNN Gia Kourlas, NY Times Preview – Grand Kyiv Ballet, Giselle, Albany, New York; Geraldine Freedman, Daily Gazette Preview - Sacramento Ballet, Cinderella: Staff, Sacramento Bee Interview - Choreographer Gemma Bond on returning to The Royal Ballet and her new work, Boundless: Graham Spicer, Gramilano Feature – Duets in Greyscale: Wendy Perron News- Utah Senate Honors Ballet West’s ‘The Nutcracker’ as a Living State Landmark: Sakchi Khandelwal, BNN News – Teatro Colon, 2024 Season, Staff, Breaking Latest News Article – Alvin Ailey, Iconic choreographer and dance photos: Staff, Alaska Commons Article - Breaking Barriers: David Ledford West's Journey to Redefine Ballet Through Diversity and Inclusion: Salman Khan, BNN

Very much enjoyed Manon this evening. The crowd was definitely in to see Nunez/Bolle and applause was forthcoming at every possible moment. Great performances from both, although did not feel the electricity between them or the depth of character in the way Hayward has with Sambe. Having said that, there is evidently a deep connection in terms of dance partnership. Particularly enjoyed their act 3 pas de deux, which was heartbreaking as ever. Hirano and Mendizabel greatly amused in their act 2 pas de deux, a very receptive audience laughed in all of the right places. All over far too quickly so glad to be getting another viewing next week, this time with Kaneko/Muntagirov.

@Mariana Freire looks set to take the ticket, will let you know if it becomes available.

7.30pm

@Sim has a NY Times article on this in Links today. Amazing to have such a cash injection - confidence in Rojo’s abilities. Programming certainly looks fresh and exciting and she’s bringing British heritage works to a new audience. Interesting to read in SF Chronicle that $50m for new works and $10m to fund the day to day company operations.

Realised my daughter has exams next week so won’t be joining me for this which we are both disappointed about. Surprised not to see any requests yet! Row E seat 3 on the far side from the entrance. Ticket £20

I would love to see Alison McWhinney as Giselle. I hope she is cast. This run she was only just back from mat leave.

They have suggested on social media that they are responding to requests. To me it looks like they are taking the opportunity to tour Skeaping Giselle but ensuring London doesn’t miss out - it’s only a 4 day run. The opportunity for a refreshed Nutcracker is hugely exciting. A new Forsythe is hugely exciting. The gala event sounds interesting and despite not being in theatre, the digital/filmed option provides an opportunity to really think about how it could be 1. distributed to reach new audiences 2. get people to connect with ENB directly, solving the challenge they have of not really having customer data to build any loyalty due to sales happening through their theatres. I certainly hope that they have such ambitions in mind. I have sent a note to ASW on the first point anyhow…

Booking open for Friends for Nutcracker - opening night is quite booked out in the stalls and first 3 rows of the dress circle. Got my tickets booked, can’t wait!

Aaron S Watkin's Nutcracker - some German interview in here but a good flavour of different bits of the ballet. Will we get our first UK Mother Ginger and Polichinelles?

This is interesting. I will potentially skip Skeaping in Jan but very excited at the prospect of a new Nutcracker. Having written to Aaron S Watkin to plead for a new Nutcracker I am delighted it will happen and have already sent my thanks. I'd love it to be classical but either way, anything is better than the current production.

Forgot to mention this in my excitement. Love Playlist and glad it’s balanced with something new.

Delighted my prayers have been answered at least for a new Nutcracker and co-choreography by Arielle Smith. Interested to see what they will create. A nice mix of productions, happy with some of them than others, but hopefully will have wide interest/appeal. Feeling more optimistic than this time last year…

I sent my daughter today, age 16, with a friend who has never seen ballet before. The friend loved it- so hopefully will get similar love from those people attending for the first time thanks to the low entry cost for the ROH. My daughter also really enjoyed it but not had the full download yet. Key question is whether she thinks I would think it unmissable…

Out of interest, how old is Baby Campbell? Perhaps they are choosing to take Shared Parental Leave which would explain a lack of Alex as Claire comes back???

No info on Next Generation festival either although there is an insight for it

Me too!

Is this not perhaps more to do with junior dancers and facilitating use of a number of dancers for a specific campaign? There was one a while ago for skincare and there was a clothing brand they have teamed up with recently- All Saints - which I think used quite a few young dancers. Pretty sure I’ve seen at least one similar partnership from ENB. My feeling is that this won’t be about individuals, it will be about the group. Realistically the challenge is that everyone from supermarkets to the ROH are struggling with profitability - or even to break even - and are looking for new revenue streams. If this sort of endeavour can contribute to the ROH coffers and help to manage the cost transferred onto audiences, I am all for it.

Finally! Thanks so much for sharing @capybara Thrilled that of the 2 dates I was contemplating, there's a choice between Yasmine Naghdi and Viola Pantuso as Perdita. What a choice to have to make!!!! Perhaps I will have to try to see it more than once.

The music drives a lot of the passion in and for a ballet. There is none in this music. I did find Like Water for Chocolate had more depth, but it’s all just incidental music and is not completely absorbing like Tchaikovsky or Prokofiev. Given Talbot can create more emotive music, is this driven more by Wheeldon? I do want to experience TWT so I can understand if it can feel emotive. Like Water for Chocolate was very cast dependent- much preferred Naghdi cast, plus it worked excellently on screen having seen it on the stream.