JohnS

I don't think the recent Manon Insight broadcast has yet been highlighted: http://www.roh.org.uk/news/watch-the-royal-ballets-manon-in-rehearsal-on-7-march-2018 The live broadcast was on Facebook which I saw. Whilst the Insight was interesting, the Facebook relay included continuous Facebook posts which took up the left hand side of the screen and were very distracting. It may well be my lack of IT skill to be able to turn them off! Fortunately the film on the website has none of these comments and makes for much better viewing. The Insight focuses on the non principal roles - three gentlemen and two courtesans, together with a presentation on the musical sources. Unless there's a way to turn off Facebook comments, I'll not bother watching Insights live and enjoy the uncluttered video later.

Apologies - I should have highlighted the contribution made by Koen Kessels and the orchestra, with particular thanks for the fabulous Act 2 viola solos every performance. Koen Kessels very much keeps the music flowing and there are very few moments when there is room for applause. This is a virtue but there can be a downside where the audience wishes to show its appreciation. Last night was particularly taxing as some members of the audience seemed to be even more determined to applaud at what to my mind were inappropriate places and I thought threatened to undermine the Giselle magic. I don't recall quite so many interruptions for applause during other performances or with Natalia performances in previous revivals. That said the final curtain fall was wonderfully hushed as Natalia's and Matthew's magic proved spell binding.

Just a few observations on what has stood out for me during the recent run of Giselles. It’s good to read others’ thoughts and I do hope there will be further reflections. So many posters are far better qualified than me to offer comparative insights and I think a number suggested they would wait to the end of the run before doing so. I do so agree with bangorballetboy and others: the Corps de Ballet have been wonderful throughout and provide the bedrock for the Royal Ballet. Many thanks to bangorballetboy for the last night flowers and for his fabulous photos of so many curtain calls and behind the scenes. I’ve really enjoyed fabulous dancing from a number of Myrthas (particularly Mayara Magri and Fumi Kaneko), and attendants. In past Giselles Myrthas have not always been that convincing but in this run the dancing has on occasions been great - that other worldly entrance, secure in the most exposed of solos, brilliant jumps, and uncompromisingly commanding when dispatching Hilarion and demanding Albrecht dances to his death. Olivia Cowley’s Bathilde and Kristen McNally Berthe have been real gems. I loved Bennet Gartside’s Hilarion; it seems likely from what Benn has said that we have seen him in this role for the last time. The PD6 have included some wonderful performances, I think best captured by James Hay’s immaculate elegance. There’s been a great choice as regards the principal roles and I’ve very much enjoyed the Giselles and Albrecht I’ve seen - Akane’s porcelain dancing with Benjamin Ella, a very youthful ardent Albrecht, genuinely smitten from the outset and not the typical aristocrat out to have his way with whoever he fancies; Marianela’s 20th anniversary performance with Vadim, a matchless Albrecht eliciting gasps from the audience; I’d never seen Laura dance Giselle and I’m so pleased I caught her performance and that chilling rage in her mad scene; and Natalia bringing the run to such a triumphant close. I’m sure like many I treasure those special debuts and it was a wonderful weekend seeing Francesca and Yasmine. I found Yasmine and Matthew very engaging, particularly in Act 2 where Yasmine seemed more human than other Giselles and where there was a real tenderness to their relationship. But the outstanding memory for me I think is Francesca’s Act 1 solo where she just exuded the joy of dance and where her footwork seemed on a different plane and so completely within her compass and why I think Giselle could become her signature role. I found Alexander an appealing Albrecht and still wonder about his reasoning for dropping Giselle’s final gift of a flower. A suggestion was that he realised his dreams had disappeared but I still think it was his recognition that he was undeserving of Giselle’s protection and would not be able to forgive himself for what he’d brought about. I think originally 8 Giselles were scheduled for 15 performances and I do wonder if that’s quite the right balance. For 24 Swan Lakes we have 6 Odette/Odilles and I wonder if it would be better to look to schedule 3 or 4 performances per principal couple rather than 1 or 2, even if this means fewer principals perform the roles? Finally it’s been wonderful to see Sir Peter Wright, often in the audience and on stage for Marianela's celebrations, but he now has to negotiate the steps from the Stalls so carefully and I imagine in pain. I find his Giselle utterly captivating and ultimately life affirming so a heartfelt thank you to him and all the coaches who have helped mould a memorable set of performances.

Last performance of the current run of Giselle with Natalia Osipova and Matthew Ball and a very enthusiastic audience culminating in a standing ovation with house lights up. Great to see Natalia and Matthew acknowledge the whole audience and take their final applause from both sides of the auditorium. Lovely also to see the entire corp de ballet receiving an individual white rose: the corp have been fabulous throughout the run of performances and add so much to the ballet. Olivia Cowley’s Bathilde has been a highlight of this run and her characterisation is splendidly sulphuric, immediately passing Giselle’s proffered bouquet to one of her ladies in waiting without so much as a glance - you know who will wear the trousers when she eventually marries Albrecht. And Olivia was back for Act 2 substituting for Anna Rose O’Sullivan as Moyna, a very different role which she dances beautifully yet still has that steel when it comes to dealing with Hilarion and Albrecht. Beatriz Stix-Brunel was Zulme and she and Olivia were ideally matched. I liked Claire Calvert’s Myrtha, particularly as Act 2 develops. The solo is very exposed and I found it a little heavy; we’ve certainly ‘heard’ quieter Myrthas. The Pas de Six were a delight, Yuhui Choe and James Hay leading with such elegance. I wasn't quite sure about Meaghan Grace Hinkis and Calvin Richardson as a couple, purely because of the height difference which seemed such a contrast to the other couples. Isabella Gasparini and Joseph Sissens were the final pair. Thomas Whitehead was Hilarion and Elizabeth McGorian Berthe, both good but I think we’ve seen stronger characterisations in other performances. I very much enjoyed Matthew's Albrecht. I’d been impressed in his debut performance with Yasmine Naghdi and I do like his overall characterisation, particularly when he realises his responsibility for the impending tragedy and throughout the whole of Act 2. I find his opening a bit tentative as it’s not clear to me how aristocratic he wishes to be. The closing was wonderfully done with Matthew absolutely holding the stage and the curtain falling to silence before the thunderous applause. We know how brilliant Natalia’s Giselle is and again she triumphed. Her jumps are fabulous and the mad scene gripping; hearing her breathing is spine chilling. Olivia Cowley has commented on twitter how incredible she found the mad scene. Natalia is so ethereal in Act 2 and we are fortunate to be able to see her Giselle live and have a fabulous performance captured on DVD. I was more moved by a performance I saw last run because it was so extraordinary and set such a standard. I also thought there have been other performances where there was better symmetry in the shared jumps and where the arc of those lifts from pointe to pointe seemed more expansive and fully complemented by the music. But the Natalia/Matthew partnership made for a fabulous evening and I look forward very much to seeing their Swan Lake in the summer. I have enjoyed enormously all the performances I’ve seen and I’ll be keen to look back on the thread when home and see what others have made of this run of Giselles.

Is the reason there's no interval so we don't have a second chance to play musical chairs?

And more so on reading the programme note?

Apologies for pedantry but did Dave mean 'yugened' or am I in need of further enlightenment? With a great deal of trepidation I wonder what the programme notes will say?

Many thanks all for your posts about last night's extraordinary Giselle. I'd seen Luke Jennings tweets so perhaps there'll be something in the Observer and bangorballetboy has provided fabulous photos of the curtain call, including Natalia Osipova's enthusiastic applause for Matthew Ball. Looking forward immensely to 9 March final performance.

Many thanks Anna C. No chance of getting to Keswick cinema last night but there is a local encore at Penrith on Saturday afternoon. Will hope the weather improves by then but it doesn't look good. Not even the tractor has gone by today. I'm very pleased you enjoyed Winter's Tale in the cinema and have posted your thoughts and am hoping others will follow.

I think Peregrine had a few accidents in the last run of Fille and the sweeper upper was on overtime. I also recall the non appearance of the Nutcracker sleigh at the end of Act 1, Clara, Hans Peter and Drosselmeier having to walk.

I don't see any mention of this in the Radio Times for 3 March - is there any update at all?

I'd heard Wayne McGregor is using Chichester Psalms and I've seen public comments: http://www.edmunddewaal.com/news/wayne-mcgregor-leonard-bernstein-celebration

I've always taken the view that the necklace means nothing to Bathilde - she no doubt owns many dozens and occasional gifts help cement the social fabric. So why would this necklace have any significance for Albrecht? What I find telling is the contrast between Bathilde's disinterest in the necklace, how easy it is for her to make a gift of it, and Giselle's delight in the necklace, never having opportunity to touch yet alone own such jewels.

I am deeply shocked and saddened to read the above posts and would add my thanks to the work of all moderators. I was aware but only vaguely of the heavy workload but I'm afraid I had absolutely no idea that you might be subject to such abuse and that is truly appalling. I can only apologise if posts I've made have contributed in any way to the unpleasantness you have faced. I offer Sim belated congratulations on her wedding anniversary and do hope that at least some of the weekend was a proper celebration. Simon Smith

Having seen a number of Winter's Tales last time, I thought I'd be a bit more restrained this time and probably just go to the General Rehearsal and the cinema relay. I was also a bit disappointed that Bennet Gartside wasn't going to reprise his Leontes which I'd much admired the last time. But I was very impressed with the Winter's Tale Insight relay: http://www.roh.org.uk/news/watch-live-rehearsals-for-the-royal-ballets-the-winters-tale-on-30-january-2018 I'm not sure if this has already been commented on so if this is a repeated link my apologies, although in my opinion very much worth a second viewing. I very much enjoyed the livestream and thought there was a great balance between rehearsal and discussion. Fascinating to hear Christopher Wheeldon give such lucid explanations of aspects of his choreography and Joby Talbot's insight into his musical composition. I thought all three dancers, Fumi Kaneko, Tierney Heap and Akane Takada, gave a real insight into their characters through dance. I've booked for this cast at the end of the run and couldn't resist adding the penultimate night with Francesca Hayward/James Hay given the various reviews above so many thanks for these. I was also interested in Jan Parry's recent review and her question whether Winter's Tale moves audiences compared to Giselle. I have to say I find Winter's Tale profoundly moving, particularly the reconciliation in Act 3 and yes there can be tears. Looking forward very much to the cinema relay and final performances.

I'm not sure how but I can often see Times/FT articles on the Ballet Association news link and a google search for example for a Clement Crisp review of a named ballet often gives a result. I've no idea if this is permissible or if the Forum would prefer not to publicise such access.

I'm delighted bridiem is more than happy to express her opinions: I always read her posts with great interest, admiring her experience, insight, independence and generosity, both in what she posts and in her many ‘likes’. But an issue being raised on this thread is that some posters have expressed a concern that they feel a little constrained when it comes to making more critical comments. Whilst I fully agree that posters should have the courage of their convictions, I do think it is reasonable to ask what more can the Forum do to encourage such expression. Here the Forum is not simply the stated policies but the culture as shaped by everyone posting. I'm sorry if bridiem sees such a question as in effect a slur on the Forum and offensive to regular posters. Part of a plea being made is, I think, for posters to be slow to take offence so it strikes me as a little ironic that inviting reflection on encouraging expression is perhaps considered offensive. I've found this thread thought provoking and in musing about the Forum’s evolving culture and collective responsibility have considered whether my own posts might have been more critically incisive. I mentioned earlier about overuse of 'wonderful' and 'fabulous' and suggesting some self-rationing. The Acceptable Use Policy deals with offensive posts and I don't imagine anyone sets out to be deliberately offensive. But might there be a place for seeking to limit the times offence is taken? For my part I tend to be wary of posts which state I find x offensive. It is the reasoning behind the taking of offence which is much more compelling and can stimulate debate: when that reasoning is set out, stating offence has been taken becomes superfluous.

I recognise this thread has become more than a little fractious. The discussion has also impacted on other threads where some posts suggest comments have been constrained in case of triggering censure. Jamesrhblack's post from this thread captures that concern not to offend. If posters do feel they need to be circumspect to such a degree that is indeed sad and the Forum will be poorer, as highlighted in penelopesimpson's telling post. Sim's post is a clear statement of what should be, although I would not wish to see any diminution of critical comment in response to 'this snowflake world' other than respecting social norms which as far as I'm concerned predate references to snowflakes. But in light of the debate on this thread and concerns expressed on other threads where posters are wary of making critical comment, it seems to me that we should do more to encourage expression of independence of thought. So despite the difficulties of this debate, if the outcome is a healthier, more open debate where people feel more able to express their views, positive and negative, that would be most welcome.

My sympathies lie with penelopesimpson, Fonty and others, and the Forum would be significantly duller without critical comment and caustic remarks. I think as others have suggested perhaps it's easier being effusive in praise than being prepared to pass critical comment knowing that others may take exception - are we just too quick to take offence? Criticism is too easily relegated to what isn't said - dancer a is praised for something that has struck a poster as being particular polished and it may be a lot easier to say nothing about dancer b's performance. But if people wish to make comparisons it would help enormously if reasons were given for those comparative judgements, otherwise they are simply assertions. I do take seriously the protestations that the Forum should not be a fan club and wonder if there should be a self imposed limit on the number of times posters can use 'wonderful' or 'fabulous'. I fear with Nutcracker and Giselle, I've already exhausted my annual allowance. I was going to say 'like the pollution levels in London' but I'm in danger of crafting a sentence which includes Nutcracker/Giselle and pollution. But the pollution comparison may well be apt - overuse of 'wonderful', 'fabulous' etc lessens their impact and the words lose meaning, with language itself a victim of pollution. So thanks for the robust comments, let's sharpen our pencils, be slower to take offence ... and still be richly enthusiastic when performance transports us, which on current form is pretty regularly for me.

My move is from B19 to B17 on 18 April. Must be a bit of a nightmare for the box office. I'm sure there's a 'Puzzle for Today' lurking somewhere - what's the minimum number of seats that have to be reallocated given a different layout for the auditorium? Or perhaps the Barbican are looking for the maximum number of changes?

Interesting - I thought at the General Rehearsal Alondra de la Parra was pretty high on the podium and assumed it was for the rehearsal. I was in the middle of the Stalls Circle. I did like her conducting! I see Tom Seligman is conducting the later performances and he doesn't normally have a raised podium so bangorballetboy may have a better view if sitting in front of Tom.

Thanks Lynette. I vaguely recall discussion of the symbolism of flowers in a Giselle programme from way back but haven't as yet found it. The Royal Opera House website includes the following which may be of interest: http://www.roh.org.uk/news/petal-power-some-flowery-moments-in-ballet There's also an article about flowers in the Paris Opera Ballet's Giselle - different flowers: http://michellepotter.org/articles/giselle-and-the-paris-opera-ballet

Thanks Jan - I'd forgotten there was already a thread.

Just had a phone message about the MacMillan programme at the Barbican in April - Thiago Soares is replacing Ed Watson. There are also some seating changes as well so as to accommodate a slightly bigger stage and I need to exchange my ticket beforehand at the box office. I'm sure those affected will be contacted by the box office. https://www.barbican.org.uk/whats-on/2018/event/kenneth-macmillan-steps-back-in-time

Many thanks penelopesimpson. I enjoy reading your posts and that you do say it as you see it.