JohnS

I too booked for the Annual Performance. There wasn’t much choice (other than in the Amphitheatre) and I was pleased to get a restricted Balcony ticket. It’s always good to attend and a great way to bring the curtain down on the season. And hopefully I should manage a day trip as it’s a Saturday.

I do hope you got what you wanted @Dawnstar.

The problem I have is the many full price tickets which do not have the unobstructed view and where it’s a bit of a lottery as to the height of the person sitting in front.

I’m sorry you missed out @LinMM. All a bit of a rush at 10:00 and very fortunate to have got such a good ticket. Stalls can be a bit hit and miss but the aisle seats (normally 6 and 26/27) are exceptional.

I've returned the ticket to the Box Office. It’s a favourite seat and I find the restriction pretty minimal but I managed to pick up a very good aisle seat in the stalls.

Apologies - I managed to duplicate my post rather than edit it.

Ticket for sale for tonight’s Manon (8 March 2024 7:30pm) Balcony A33 (slightly restricted because if the safety rail to the right) £99. Please pm me and post here. I’ll return it to the Box Office this lunchtime before 1pm.

Another fabulous Wigmore Hall recital this lunchtime (6th March). Alisa Weilerstein cello and Inon Barnatan piano played the fiendishly difficult Britten cello sonata with astonishing ease followed by the Brahms second cello sonata, a favourite. They then played the Andante from the Rachmaninov cello sonata as an encore. A wonderfully matched duo and so good to have the Wigmore Hall hosting their programme, such a welcome haven of civility from the ills around us.

I enjoyed last night and there was much to admire. Melissa Hamilton is a compelling Manon and I agree with the praise for Calvin Richardson’s debut, particular his solo work, acting and stage presence. But there were times when the partnering was insecure and I was pleased Melissa Hamilton is such an experienced Manon and covered so well. Act 3 impressed me most and I’d very much like to see them again: I wish they’d had chance for another performance this run. James Hay is a magnificent Lescaut and I feel very fortunate to have seen his three performances. His cameo old man has also provided great entertainment and hopefully we’ll see him again in that role on Friday.

I think Fonty’s highlighting of Hayward’s and Campbell’s intimacy absolutely captures Saturday night’s performance. Their relationship seemed so real that for me they inhabited Manon and Des Grieux more than any other lead pair. Their fluidity of movement, at times almost melting, transcended the choreography. Whilst always on the beat, they conjured time to make the most of every gesture, touch and kiss. A truly fabulous performance.

Very sorry to hear about your migraine @Richard LH. I do hope you’ll be able to enjoy Friday’s performance.

Utterly spoiled by yesterday’s double Manon. Two unforgettable performances. A privilege to see Sarah Lamb’s Manon and like others I do hope that’s not her final Manon. Sarah was extraordinarily generous at the Stage Door and in Floral Street, emerging in dressing gown and Manon’s wig, then donning a coat when outside in the damp. I thought Ryoichi Hirano more relaxed in his second Des Grieux and his Act 3 was particularly strong. James Hay was a hugely impressive Lescaut. Last night’s Manon was one of those truly exceptional evenings, Francesca Hayward and Alex Campbell intoxicating throughout. Valentino Zucchetti and Leticia Dias gave strong performances. Gary Avis and Nicol Edmonds were appropriately evil. And a shout out for Kristen McNally’s Madame and Marco Masciari’s Beggar Chief. It all made for a thrilling Royal Ballet performance with Francesca Hayward raising the bar yet again on her Manon. Fabulous to see Francesca and Alex at the Stage Door. Of the eleven performances I’ve seen this run, including the General Rehearsal and cinema relay, last night’s is the one I’d most like to see again. So I’m looking forward immensely to Friday. I’m sure any tickets will quickly be snapped up and those fortunate to be able to do so are in for a treat. But before then on Tuesday it’s the Hamilton cast and who knows if that may change my view.

Very pleased to be on the train heading for London for today’s double Manon. Avanti are running pretty much to time and I don’t think there’ve been any cancellations so far this morning, at least on the main line. With a covering of snow and ice, not the easiest of drives to Penrith but I’d allowed double the normal journey time. I’m pretty sure all the snow will have gone by Sunday afternoon and next week’s Swan Lake General Rehearsal drive should be easier. Whether Avanti continue their recent run of good performance (at least as far as my own arrangements are concerned) may be more of a question.

I returned the ticket to the Box Office and I think it’s been sold.

I returned the ticket to the Box Office and I think it’s been sold.

A final check to see if there’s any interest in this spare ticket before returning it to the Box Office.

A final check to see if there’s any interest in this spare ticket before returning it to the Box Office.

Goodness - that’s awful. Despite Avanti’s grim record, so far I’ve always managed to get to my booked performances (albeit sometimes having to add an extra night for industrial action/grim weather) and never had to miss an Act. And I’m enjoying my Platinum bonus freebie return journey, including a bacon sandwich second breakfast.

I very much enjoyed last night’s Manon and found Fumi Kaneko and Vadim Muntagirov a stellar pairing. The praise heaped on them in the many posts following their first performance held out the promise of something very special and it was fabulous to experience their second performance. Quite a crowd wanting to see them afterwards and all managed very well by Stage Door staff. I was very pleased to have a few words offering congratulations: Ashton casting remains very much work in progress. Joseph Sissens made a pretty convincing Lescaut although I think less can often be more in the drunk scene. Leticia Dias projected well but I wasn’t sure the steps were quite there. Having seen Christopher Saunders the previous evening, I’d rather adjusted my expectations. Gary Avis’s Gaoler was evil incarnate. I think this was very much Fumi’s and Vadim’s evening. Performances of Manon work best when there is consistency across all the key roles and the corps. I think we’ve had more consistency in a number of performances so far with new casts still to see. I should make clear that the corps have provided a bedrock of excellence throughout this astonishing Manon run.

I have Stalls Circle B96 spare for Saturday’s matinee 2nd March 1:00pm, the Sarah Lamb cast. The price is £63. Please pm me and I’ll get back to you. I’ll return the ticket to the Box Office on Wednesday but wondered if anyone might be interested.

It wouldn’t surprise me when the casting is announced that we see each evening has a unique cast rather than there being alternating casts. With overlaps between the programmes and some dancers no doubt scheduled for two or more ballets, plus other commitments, retirements, injuries etc, I can imagine casting being a major headache.

I’m very pleased to have seen last night’s Manon largely for two reasons. Firstly Sarah Lamb’s finely polished, compelling Manon, a tribute to her years of experience in the role having meticulously weighed her character and motivation. It’s a performance that grips the attention throughout. Secondly James Hay’s Lescaut, again a finely detailed portrayal, complementing Sarah Lamb’s artistry, and fabulous to see him in a dancing role although I’ve loved his recent cameos. I found Ryoichi Hirano rather tentative in his Act 1 solo but he impressed as the evening wore on and Act 3 was appropriately climactic. I didn’t think Meaghan Grace Hinkis projected as well as some Mistresses. And I’m afraid Christopher Saunders’ GM didn’t do much for me. In contrast David Donnelly’s gaoler was terrifying, the rape scene utterly shocking. Liam Boswell made the most of Chief Beggar. I’m very much looking forward to Saturday’s matinee second performance of this cast which would be worth seeing for Sarah Lamb alone. And I’m expecting a number of dancers will find the second performance a bit more relaxing and provide opportunity for them to make the most of their roles.

And at one stage it looked as if Manon and Des Grieux might have to run rather than take the carriage.

I have Stalls Circle B21 (bench seat) spare, price £79, if anyone is interested. I’ll return the ticket to the Box Office on Wednesday. Please pm me and I’ll get back to you as soon as I can, Manon, Dutchman General Rehearsal etc permitting.

I had a similar thought @PeterS and I’ll be very interested to see how it plays tonight. I didn’t think the Hirano/Hay height difference was as pronounced as that between Clarke/Campbell. There’s opportunity to see Richardson/Hay next week and of course Campbell/Zucchetti on 2nd & 8th.