JohnS

Absolutely Coated - I thought there was real rage and anguish in the mad scene which for a moment or two brought to mind Laura's Anastasia. From the front row of the Orchestra Stalls it was spine chilling. I agree there have been more sparkling Pd6s but there have also been weaker performances. Overall I enjoyed the six and as you say Sissons and Yudes were very impressive.

I know we can't comment on Rehearsals but I hope it's in order to say that Luca Acri was back on stage after injury as Brother Clown.

I quite agree RobR. Laura is such a fabulous dancer bringing a wealth of experience to her performances and wonderful technique. I hadn't seen Laura's Giselle and am so pleased to have been there last night. Her mad scene was truly gripping and it struck me that here was a dancer who has performed dramatic roles like her astonishing Anastasia. We really are fortunate to have so many Giselles who demand our attention! It was another performance where all the Wilis were commanding, led by Itziar Mendizabal attended by Olivia Cowley and Lara Turk. In some performances I've occasionally wanted to cut to the chase - can't we get Giselle on stage and get on with things? But the Wilis have danced extraordinarily well and have massively enhanced recent performances. It was good to see a different Pas de Six, led by Elizabeth Harrod and Tristan Dyer with Leticia Stock, Gemma Pitchley-Gale, Joseph Sissens and David Yudes. There is such depth of talent in the Royal Ballet. Kristen McNally was again Berthe - it would be wonderful to have her reflections on the last three Giselles as she has been a constant. I enjoyed Fumi Kaneko's Bathilde. Bennet Gartside was Hilarion - for me the strongest Hilarion. Just one vignette but does anyone else quite capture that terror and mad dash to escape the Wilis at the start of Act 2? A tremendous performance throughout. Nehemiah Kish was Albrecht and he was much more engaging than what I recall from the previous Giselle run of performances when he partnered Akane. He may not be the most dynamic Albrecht but he proved to be a dependable partner for Laura's must see Giselle.

Another trip to London for Giselle (Laura Morera) and Winter’s Tale General Rehearsal and opportunity to reflect on the weekend’s fabulous performances and the debate on the Forum. Firstly, I’ve enjoyed hugely reading so many comments and opinions and it's good on the train to be able to read them again. I do struggle somewhat with the urge for critical comparisons and often wonder if it’s better simply to enjoy the immediacy of performance and how we are transported by what we see, hear and feel to a much higher plane. For my part I loved both performances. On the Forum there have been a number of comments which I find a little problematic. Francesca is ‘more naturalistic’, Yasmine ‘romantic’. I’m not sure what is meant by these statements and what they imply as regards technique. But what I do find a little perplexing are the assertions that Yasmine ‘edged it on technique’, and there have been similar comments about other performances where it would help enormously if some exposition were provided or illustration given. It strikes me that Giselle’s Act 1 solo when invited to dance by Bathilde provides the opportunity for Giselle to demonstrate her intoxication with dance and her fabulous technique. I thought Francesca’s dancing in the solo was exquisite - every flick of wrist or foot to me seemed absolutely precise, and she presented perfect symmetry when required. I could believe that every repeated step would be within a few millimetres of each other. Forgive me for not using the language of dance but in terms of music it was as if every demisemiquaver were crystalline. And I found that because to me Francesca has such a wonderful technique, I could simply luxuriate in her embodiment of dance and the joy that brings her Giselle and hence us. This is just a small example of Francesca's technique and fabulous ability to communicate and I’m delighted to read the recent reviews with which I wholeheartedly concur. I do hope that National critics might also have attended Saturday's matinee and will publish their reviews in due course. So if posters wish to make comparative statements, I would ask that if possible time is taken to set out the reasoning for opinions formed and illustrations given. I look forward immensely to Laura’s and Natalia’s Giselles and to future performances from so many dancers (including hopefully debutants) when Giselle returns. It is a fabulous production and both Francesca and Yasmine (and their partners) have enhanced my appreciation of Giselle and more generally of how ballet and performance enriches us who are fortunate enough to be in the audience.

A second memorable Giselle in less than 24 hours. Yasmine and Matthew do perform so well as partners and this was another very special debut. But first congratulations to a fabulous cast. The Royal Ballet corp are performing so well, so consistently, that there is a risk of taking them for granted. The Pas de Six were a joy - led by Akane Takada and James Hay. After last night’s Myrtha, Mayara Magri was also in the six with Chisato Katsura, David Donnelly and Teo Dubreuil. Kristen McNally again a commanding Berthe and both Elizabeth Harrod and Meaghan Grace Hinkis repeating their very assured Attendants. I very much enjoyed Tomas Mock’s Hilarion. It was also astonishing to have another superb Myrtha, this time from Fumi Kaneko. She, her attendants and the corp provided a wonderful opening to Act 2. And so to Yasmine and Matthew. A lovely, most touching performance delivering the essence of their characters, as they did so memorably in Romeo and Juliet. Matthew’s realisation of his culpability for what he had done and recognition of his love for Giselle was wonderfully portrayed. Yasmine’s journey from the intoxication of love and dance, through the madness brought about by betrayal, to protection and forgiveness in Act 2 was deeply felt. The pas de deux was beautiful and I thought the music ravishingly played and fully supporting the dancing. At the very end Matthew kept hold of Yasmine’s parting flower (Alexander had allowed his to fall) and I like to think that Matthew’s Albrecht would accept Giselle’s forgiveness and be able to move on, probably with Bathilde, but he would never forget Giselle. I was slightly nervous at times that technique may not have been fully secure, particularly in Act 1, but I am sure what I will long remember is the vivid portrayal of the dramatic trajectory of the characters. As people have said even more bouquets, a fabulous afternoon, and all plaudits to Yasmine and Matthew

A wonderful debut Giselle from Francesca. I thought she lived the role throughout, utterly convincing whenever she was on stage and a magnetic presence. Innocent, vulnerable, playful at the start of Act 1, capturing and embodying the spirit of dance that she lives for; tragic in her mad scene; and ethereal in her exquisite Act 2, protective of Albrecht to the end and deeply moving when pleading for his life. And her dancing and technique is a wonder to behold. She seems extraordinarily centred yet so flowing and fleet of foot. I can see Giselle being Francesca’s signature role (but then she delivers wonderful performances whatever she’s dancing). I agree very much with the comments about how she brings back memories of Alina. Where time is suspended with Giselle floating from pointe to pointe in a tremendous arc beautifully supported by Alexander’s Albrecht, I did wonder if Koen Kessels might have been more expansive - to my ears the tempo slightly quickened rather than luxuriated. I very much agree with the praise for Alexander in how he shaped his role from aristocratic seed sower, through recognition of his love and what he had done, to utter remorse. His dismissal of his dalliance with Giselle when confronted by Bathilde was chilling. Again fabulous dancing and very moving in his final slow walk at curtain fall. He discarded Giselle’s parting flower - was this a sign that he realised he was not worthy of her? I thought some Albrechts kissed and held the flower at the end. Two other performances stood out - Kristen McNally’s Berthe, wonderfully characterful as always, and an astonishing Myrtha by Mayara Magri. Fabulous dancing, absolutely secure in the tremendously exposed opening, and commanding throughout. Was this her Martha debut? She consistently delivers excellent performances but her Myrtha was extraordinary. Many thanks again to bangorballetboy for curtain call photos and Bloomsberry Flowers. A very busy weekend for them and how richly Francesca deserved all her bouquets.

I'm not sure if this short clip has already been posted ... but worth seeing again if it's a duplicate.

Thank you Floss and I agree with much of what you say. But I wonder if the issue lies with the BBC rather than the ROH? I'd hoped Tony Hall would have made a difference but I think we're very much waiting to see the results of the ROH and BBC being partners. Yes there are occasional documentaries and some of the ROH filmed performances are broadcast but there has not been any live BBC broadcast for years - Darcey Bussell's farewell performance? As partners would it be unreasonable for there to be a live performance broadcast every season?

Agreed SPD444! What a weekend we have in prospect. I don't suppose any one managed to attend today's schools matinee - but perhaps these thoughts should move to the main Giselle thread?

A special occasion last night and delighted to have got a returned ticket a few days ago. It was unquestionably Marianela’s evening and the flowers and tributes were wonderful. There was a camera at curtain call and on stage during the celebrations so hopefully some footage will be made available at some point (I trust significantly more than the short video in John Mallinson's link above). Meantime bangorballetboy’s photos are fabulous as always - many thanks to him. Vadim was sensational - aristocratic at the start of Act 1 and in many ways he and Olivia Cowley’s haughty Bathilde would make an acceptable match. But Vadim’s love for Giselle became manifest in his early scenes with Giselle and the tragedy of his realisation of what he had done at the end of Act 1 was heartfelt. His dancing in Act 2 was mesmerising and there were a number of gasps of astonished admiration in the Stalls Circle. The final moments with Vadim so slowly and tenderly picking up Giselle’s parting flower and walking towards the audience were utterly sublime and the music was almost allowed to dissolve with the curtain drop before the thunderous applause. And as others have mentioned he was the perfect partner in supporting Marianela during the curtain call and celebrations. There were many other performances which made me marvel, adding to the sense of occasion. I’ve mentioned Olivia Cowley’s Bathilde, a cameo gem. The Pas de Six were fabulous - when the six were all dancing together my eyes were drawn to the immaculate footwork of Elizabeth Harrod, exceptionally fast and neat. I also loved Anna Rose O’Sullivan’s Moyna - exquisite, a joy to watch, and I’m sure a fabulous future Giselle. Bennet Gartside’s Hilarion was as always wonderfully honest. So thank you Marianela and all at the Royal Ballet, from Kevin O’Hare to the many flower throwers, for making such a tremendous occasion.

Made for excellent viewing on line with a great balance of rehearsal and discussion. Fascinating to hear Christopher Wheeldon's detailed explanation of the significance of parts of the choreography. He was incredibly well served by all three dancers and I'm very tempted to see if I can make a performance of this cast. Slightly surprised Clemency Burton-Hill introduced Akane as dancing Hermione rather than Perdita but she makes for a good presenter. Would have loved to hear the question and answer session but that's being a bit greedy and it's wonderful that so many Insights are made available on line.

I very much agree with jmhompton. In light of the suggestions from the Forum that 1 February Giselle would have been ideal for the BBC and ROH to have worked as partners and broadcast the performance, I was trying to think when was the last such occasion. Was it Darcey Bussell's final performance in June 2007? And wouldn't a repeat broadcast of 'Song of the Earth' complement the documentary? I'm sure others with much better memories will correct me.

Thanks proballetdancer. I'd be very interested in knowing your sources of information for statements about the relative contributions made by Opera and Ballet and by production. I've never seen any thing published on this and I have no idea how the ROH accounts for production costs. I'm not sure what is meant by losing money on a particular production given box office receipts overall are 32% of income. I'd be astonished if for any production box office receipts exceeded the full costs including overheads. Also what's the evidence for the majority of top priced seats being held corporately? As I say it would be good to know where the information can be found.

I'm a little unsure about some of the figures quoted e.g. ticket sales cover about 50% of running costs. The Royal Opera House's Annual Report for 2016/17 shows Box Office receipts as being 32% of income, with commercial and other income (including investment income) 25%, Grant 22% and fund raising 21%. http://www.roh.org.uk/about/royal-opera-house/annual-report There isn't any break down between Opera and Ballet or financial performance by production and I'd be interested in knowing the source evidence proballetdancer uses and if it's published.

Back to the main theme and I'm a little unsure about what is meant by 'up and coming'. A number of dancers mentioned so far to me have very much arrived. But as we are told a Swan Lake revival is likely to include opportunities for 'some of the up-and-coming Company dancers to take the principal roles' does that mean that we might include any one not cast in the first series of performances, including Principals? If we're including James Hay, I'd also include Matthew Ball, Reece Clarke and Marcelino Sambe. I think Kevin O'Hare and others have an unenviable task in deciding on promotions. It strikes me yet again that we have an abundance of incredibly talented dancers and at every performance I attend there are always truly memorable accomplishments.

In narrative ballets what moves me most is where all aspects of performance are coherent and I am fully engaged in the fate of the characters, caring deeply about what happens to them. Design therefore has a vital role to play in enabling characters to find expression in a context. Would I be as moved by Giselle on a bare stage? Probably not but Floss's point is really interesting because the choreography is so moving and I could envisage being completely transported by the dancing alone. I'm tempted to say more so for Giselle/Albrecht as the supporting cast gain a great deal more colour from the production. But for most narrative ballets I'd have thought the production, including design, is integral to the Ballet. I'm sure I'd find it much less satisfying seeing Nutcracker or Mayerling without the fabulous designs which give the framework for our wanting Clara and Hans Peter to triumph or where we can begin to understand Rudolph's predicament. For non narrative ballets simplicity is key enabling us to see the choreography, achieved brilliantly in Concerto and Symphonic Variations. I wonder if a similar question would be to ask whether Opera is better performed in concert or on the stage. When the production really works, I'm certain the answer is on the stage and I'm sure we will all have our own cherished memories of staged performances which truly transported us to a higher plane.

I'd also add it's a lot easier travelling from Cumbria to London than trying to get to Leeds for example - a pretty reliable 3 hour service from Penrith, comfortable and, when booked in advance, cheaper than car parking at the station.

I see the Royal Opera House now has its 'what did you think of Giselle' web page - an opportunity to urge for broadcasting of 1 February? It always takes a bit of time for posts to appear but I've hopefully added my plea. http://www.roh.org.uk/news/your-reaction-what-did-you-think-of-giselle-2018#comment-1

I wonder if this is the sort of occasion where the BBC ought to broadcast the performance. Very occasionally the BBC has done this but many years ago. I guess many people would have hoped that Tony Hall might have established a much stronger link between the BBC and the ROH - we see the ROH and BBC are partners but I'd love to see more results including live broadcasts.

I enjoyed yesterday's matinee - an unexpected bonus as I was in London for the evening’s Giselle, found I had the time and tickets on the day were discounted. I'd never seen Le Jeune Homme et la Mort and was very taken with it. I fully agree with all the rave reviews Cesar Corrales and Jia Zhang have received. Stunning and provocative - what I like in ballet. I also enjoyed La Sylphide with fabulous dancing from Alison McWhinney, Aitor Arrieta, Adrian Lizardi and Henry Dowden. Stina Quagebeur was an incredibly strong Madge. I don't think La Sylphide will be a ballet I’d rush to see that often, I’m not particularly engaged by the characters and music, but I’m very pleased to have caught this double bill and now understand much more vividly the enthusiastic posts on the thread. So many thanks to numerous contributors for encouraging me to go.

Just back from London. A lovely Giselle last night which must have been particularly special for Akane Takada and Benjamin Ella. The audience were also very much taken with their performance and there’s a fabulous photo from bangorballetboy on Instagram of their curtain call hug! I thought it was so good to see a young Albrecht, clearly in love with Giselle and not, as often seems to be the case, a Count playing fast and loose. I thought particularly touching was how Albrecht had to be man handled away from Giselle at the end of Act 1. And the love, regret, guilt were all palpable in Act 2. He deserved Giselle’s final parting gift of one flower as the curtain slowly fell, as well as the one Akane gave him from her bouquet at curtain call. I was delighted for Akane that she had a partner who treated her with such tenderness. She was an exquisite Giselle, just as she was in the previous revival. Other real strengths were Bennet Gartside’s Hilarion and Kristen McNally’s Berthe. I thought Claire Calvert’s Myrtha grew in strength and very much enjoyed Olivia Crowley and Bea Stix-Brunell as Myrtha’s attendants. Hilarion has no chance when confronted by these three, and the fabulous Corp de Ballet. And we know that Albrecht too would yield but for Giselle’s protection. I also enjoyed Mayara Magri in leading the Pas de Six but I recall stronger performances of this set of dances. A final word of thanks to Koen Kessels, the ROH Orchestra and particularly the lead viola player, Amélie Roussel?, whose Act 2 solos were utterly ravishing. I think I might well have passed her in Floral Street but by the time I realised it was too late to offer my thanks. What a treat we have in store in February when Giselle returns with the prospect of special debuts and I'm sure more stunning performances.

I'm tempted to say that if they're kind enough to share their best photos, I'm delighted. bangorballetboy for one has been generous enough to share fabulous photos on many occasions on Instagram which have certainly added to my enjoyment.

Many thanks Josephine. Having now read properly yesterday's January news email, I found the summary casting information. I ought to read emails more closely.

N No post/email in rural Cumbria as yet (and more than a bit worried about travel on Saturday for the Akane/Ben Giselle) but the many attractions outweigh postal delays and intermittent broadband which to be fair has always worked well for the 9:00 bookings.

I do wonder why there are 6 casts for 24 Swan Lake performances when we have 8 casts for 15 Giselle performances? I think people have mentioned new production, choreography, rehearsal time etc or perhaps the Giselle pattern isn't great use of resources with one or two performances per cast? Whilst I'd have been delighted to see Laura and Francesca (if cast), I'm sure there'll be many memorable performance. 28 May looks like being a spectacular double performance if casting is as originally listed.