JohnS

So pleased to attend yesterday's matinee which fully met our expectations. I just echo the warm words of all above regarding Yasmine and Matthew - a joyous occasion and how generous they are at the stage door. The whole cast were on great form, with the Fairy Cavaliers so much better than the previous Saturday. Not sure who'll be dancing in the cinema relay with Marienela and Vadim but yesterday's cast would have been a treat for all to see. One more performance for us next Saturday, plus the cinema, and a massive 'thank you' to all at the Royal Ballet for giving us such pleasure in all the Sleeping Beauty performances we've attended. We're so fortunate to be able to see such talents blossoming and look forwards in anticipation to end year promotions.

Just to echo Bruce Wall's comments about Koen Kessels - and wasn't it wonderful to have Vasko Vassilev as Leader, with his richly toned solos. Vasko hadn't been playing on our three earlier visits.

Apologies for interrupting the fascinating Fairy Tale thoughts but I've been meaning to say many thanks all for the comments on Yasmine's and Matthew's unscheduled performance. I'm looking forward immensely to Saturday's matinee for a second chance to see them dance. I'm particularly pleased we have tickets for this as their debut followed so soon after Francesca's debut which I found one of the most magical occasions at the Royal Opera House. I posted earlier that Francesca and Alex for me made Sleeping Beauty so human: I thought Francesca's transition from 16 year old on the cusp of adulthood, excited by all that life might offer but also showing a most touching vulnerability, through the ethereal vision scene, to the supremely confident young woman with her Prince celebrating their marriage, was wonderful to behold and still, a week later, so fresh in the memory. I really enjoyed Yasmine's debut and she sailed over all the hurdles with consummate ease, without doubt a lovely dancer who has already brought so much pleasure to audiences. Because I was perhaps still overdosing on Francesca's Aurora, I'm rather hoping that this Saturday I'll experience more of a sense of Aurora's journey with greater differentiation for the three Acts. As an aside last Saturday's Prologue didn't hit the mark for me, with the Fairy Cavaliers being very out of sorts. In contrast Carabosse's rats and their ensemble work were brilliant, though it seems odd to be preferring rats to Cavaliers in Sleeping Beauty! More seriously, I just wanted to touch on the comparative comments others have made and the notion of dancer x being more classical than dancer y. I'm a little reluctant to award such accolades and prefer to delight in the immediacy of performances which enthral and so lift the spirits and luxuriate in how some performances transport us to a higher place. I rather question the desire for ranking and categorisation. And I struggle with what some of the accolades mean - 'classical', 'demi character' etc and whether there is a suggestion that 'classical' is the highest accolade. If 'classical' doesn't allow for the full portrayal of character development, it's not for me. Some Bolshoi performances in the cinema are without doubt technically brilliant but they can sometimes leave me a little cold. Floss writes: "Naghdi provides greater clarity, expansiveness, grandeur and authority in [sugar Plum Fairy, Aurora, Princess Florine] than Hayward because she is less "busy"." I've no idea what 'busy' means but I find Francesca's fleetness and finesse, attention to detail throughout a performance (and not just for the big moments), and ability to portray her character utterly compelling. Finally, wonderful to see so many flowers and so well deserved - Mark and all at Bloomsberry Flowers do a fantastic job. And do hope Francesca and Lauren are feeling better.

Thank you Bridium and all for your refections above - a sublime performance yesterday afternoon which will live long in the memory. I'd never really seen Sleeping Beauty as other than a fairy tale (albeit perfectly charming) but Francesca and Alex made it so human. The support from all the dancers for Francesca was so touching - the warmth of all four Cavaliers during the Rose Adage and their exchanges of smiles with Francesca and I'm sure I saw Anna Rose (what a wonderful contribution she has made during the last 36 hours or so) transfixed in admiration and willing Francesca on in her solos. Alex was of course the perfect partner and so much more. Reliving the whole performance continues to bring a lump to the throat as I'm sure it does for many who were fortunate enough to be there. I do hope Francesca is fully recovered for Monday and that another audience will be utterly entranced!

Just a few thoughts to add to a fascinating thread to underline how very much we have enjoyed seeing Woolf Works at ROH (2nd cast) and in the cinema. There is much to admire and cherish, particularly in Acts 1 and 3, and Act 2 is dazzling in its vibrancy. The cinema relay was great and so good to hear Max Richter explain so lucidly how he approached the musical composition - a real triumph of communication which others should seek to emulate. Dame Maggie Smith's readings were also so eloquent, along with the image of the burning candle figure, and we hope the DVD will include and extend these. I have to say that one or two aspects do trouble me but this may well be because I am not as familiar with Virginia Woolf's work as no doubt many others: In Act 2 'Becomings', my impression was that we simply saw mulitiple Orlandos becoming female and I got no sense of any 300 year romp through history. Act 3 was very moving but I'm afraid I have no idea who the Sarah Lamb/Federico Bonelli characters are. Is Bonelli reappearing from Act 1? And more seriously I am concerned that despite Act 3 depicting renunciation and loss, I do wonder about its apparent idealisation of suicide by drowning. I guess we are all much more aware of the appalling suffering inflicted on victims by water boarding and the terrible image of Virginia Woolf, stones in pockets, drowning herself must be in complete contrast to the so gentle final moments depicted on stage. In Act 1 it's much easier to see what is going on in terms of the novel but that is surely contingent on some understanding of the plot, otherwise we are left wondering if Federico Bonelli is a younger Gary Avis and we may well be completely at a loss as to the Ed Watson/Akane Takada/Calvin Richardson First World War characters. This leads to my strongest criticism which is why Wayne McGregor refuses to provide any short programme note of what we're seeing on stage and why he chooses not to provide even a basic cast list of characters. Front of House staff told me that McGregor didn't want the audience to fear that they needed to know the novels etc to enjoy the ballet drama and there was a suggestion that Royal Ballet members were not cast as characters (although there's plenty on social media showing the dancers properly named in character). I am not at all persuaded by McGregor's arguments and feel that he is doing a massive disservice to the audience by not providing useful programme notes. The Royal Ballet has also employed a dramaturge to assist but I haven't found her contributions in the programme, during Insight events, or in the couple of paragraphs in the cinema helpful. She refers to 'the false order of narrative conventions' as if this is a statement of fact: there may well be many approaches to literature but narrative chronology has a lot going for it and surely can't be dismissed as 'false'; and I do struggle with 'synaesthetic' as a helpful word. And why does the programme intersperse various texts from Waves, making them so difficult to read? What is really exasperating is that Max Richter has demonstrated so well how easy it is to communicate (and Crystal Pite in the recent Insight event) but I'm afraid Wayne McGregor seems to delight in the opaque and deliberately keeping the audience in the dark. A great shame: as I said above there is so much that is memorable and with a helpful programme note, I am sure the experience would be significantly enhanced.

Thank you Quintus - a fascinating insight into how institutions like the Bank of England can learn from the creative arts and what a wonderful ambassador Tamara Rojo is as you say! If only we had a few more J M Keynes's to support the Arts (and Government for that matter). As an aside, I rather enjoyed Mark Carney's self deprecating introduction but yes the meat is very much Tamara's eloquence.

There is so much local competition on the doorstep - La Ballerina, Paul and Valerie to name three. Do wonder if ROH might consider contracting out? Brings back memories of pre refurbishment and how folk would picnic on the stairs from the foyer to the grand tier, including Sir Colin Davis and his family (for Nutcracker?).

Well worth a listen - repeat on Friday. Some similarities with the Katie Razzall Newsnight interview. Can't quite dislodge the image of a 5 year old Wayne McGregor enjoying his English country dancing. Both Kirsty Young and Katie Razzall were on good form. Desert Island Discs' format never ceases to enthrall me. Have to say that both Desert Island Discs and Newsnight were more insightful than Friday's ROH Insight which in my opinion was far too much of a love in and would have been much better with much more rehearsal dancing.

Sunday 15 January - should be interesting1

Kevin O'Hare's nurturing of both tremendous up and coming talent and established dancers at the Royal Ballet. The 10 June 'Promotions' press notice was a highlight and has been followed by a succession of captivating debuts. Elizabeth, Winter's Tale, Frankenstein and Anastasia have provided many memorable performances for Zenaida, Laura, Kristen, Olivia, Ed, Steven, Gary, Bennet and so many others. A personal highlight is being fortunate enough to get a pair of Anna Rose's pointe shoes courtesy of Olivia's sterling efforts for the Alzheimer's Society. We like to think that Anna Rose may have used these for Clara in the 29 November Nutcracker, the magic of which was so beautifully captured in the BBC's Christmas documentary. As regards the lows, I just worry that there may be the beginnings of what I sense may be some Ballet Forum perceived rivalry between Francesca and Yasmine advocates. Both are wonderful dancers who light up the stage and we're so fortunate to be able to delight in their artistry. And there are so many other amazingly talented dancers coming through the Company and the School.

Thank you all for the reviews of what must have been a magical evening. So pleased for Yasmine and Matthew in their public debut and also that Bennet was dancing after his recent minor operation on his big toes. Very sorry not to have been able to attend the performance but 27 December is very high risk for long distance public transport. It's a shame Yasmine and Matthew only had one public performance but I guess this all underscores what a difficult task Kevin O'Hare has in casting the Royal Ballet's enormous talent.

Thank you Sir Peter Wright and thank you BBC!

I'm just so pleased that the Royal Ballet has such an abundance of talent. Yasmine and Matthew got a great deal of fully deserved coverage for Romeo & Juliet and of course danced as part of the Shakespeare celebrations. Yesterday's documentary for me was about the wonderment of Nutcracker, ballet training and preparation, and performance at the Royal Opera House. Francesca's engaging story provided the key illustration - the two year old dancing her Sugar Plum Fairy inspired by the Lesley Collier video 22 years later becoming the SPF coached so warmly by LesleyCollier; how her chair, brush and ginger cat early partners became Alex (such a considerate partner if still definitely a pussycat); and culminating in a wonderful debut. But there were so many other expressions of wonder - the children at White Lodge (let's hope the boy who didn't get to audition for the rabbit drummer will have a chance next time); the senior students from the Upper School (Nadia's awe in dancing the snowflake was wonderful to see - and the snowflakes on 29 November were brilliant), the creation of the new Chinese dance with Marcelino and Luca; and the obvious joy of Peter Wright and Lesley Collier in nurturing Francesca and Alex. I wish we could see Yasmine and Matthew's public debut tomorrow which I'm sure will be a triumph and I look forward very much indeed to Francesca, Alex, Yasmine and Matthew in Sleeping Beauty in February.

Perhaps the sleigh got stuck in the same lift as the angels/snowflakes?

A Christmas highlight and wonderful to see (again) Francesca, Alex, Anna Rose et al. A recording to keep and treasure. I agree with Floss that a documentary will focus on two or three aspects and I think the BBC made an excellent choice, including the pivotal role of the Royal Ballet's coaches. Fascinating to see footage from behind the scenes and Francesca's colleagues so clearly supporting her from the wings. And what an assured contribution from Nadia. Yes the BBC should have got Anna Rose's name correct.

Thank you Capybara and bridiem - must have been a magical Christmas Eve bringing back memories of the 29 November performance we were fortunate enough to attend. Hopefully tomorrow's Nutcracker documentary will have plenty of footage of Francesca, Anna Rose et al in their Nutcracker preparations and performance. The excerpts posted yesterday were brilliant.

Good to see the Song of the Earth extracts - would be wonderful to see again that whole farewell performance as I think it's only been broadcast once and isn't available on DVD. And what about a repeat of a magical Cinderella from years ago with I think Alina, Johan and Anthony Dowell/Wayne Sleep as the Ugly Sisters? Again I think that only ever had one broadcast. Perhaps a new thread on what isn't on Christmas television?

I've been thinking about Floss's post 105 above for some time and just wanted to add a few comments. I always read Floss's posts with great interest and appreciate the deep knowledge and insight they bring to the Forum. I do wonder if some of the judgements made are a little harsh, particularly in relation to Anastasia and Frankenstein. From Floss's post it seems clear that the three act Anastasia is considered by Floss to be one of Macmillan's 'failed story ballets'. "Of the six full length ballets which MacMillan created only three really work as effective narrative works the other three have major defects ... when [MacMillan] created the three act Anastasia, he had already created Song of the Earth and his Romeo and Juliet and his other two failed story ballets lay in the future." A number of eminent critics and several contributors to the Forum have argued that the thee act version works dramatically for them and that the first two acts do shed light on Act 3: the earlier acts provide an idealisation of what Anna imagines her life might have been like in Imperial Russia. The Tsar and Tsarina, her brother, sisters and Rasputin are all developed in the first two acts and so Act 3 becomes much more understandable in terms of many of the characters who appear. The film of the Imperial family at play, including skating, has also been presented on stage in the earlier acts, to my mind very effectively. Floss refers to the Tsar and Tsarina being better developed because of parallels with Enigma Variations: "At the time it may not have seemed as threadbare as it does now because by casting Rencher and Beriosova as the Tsar and Tsarina and requiring them to repeat the roles of Elgar and Lady Elgar he gave the characters an emotional depth which his own choreography failed to generate." I'm afraid I haven't seen the 'Enigma Variations' ballet (I do hope it’s not too long a wait) but I find it hard to see how dancers playing roles in other ballets would generate as much tension as we saw on stage from Gary Avis, Kristen McNally, and others. I'm also not sure if Floss is suggesting that a triple bill which includes both Enigma Variations and the Act 3 Anastasia would be dramatically more coherent than the three act ballet. I don’t think this is what is being suggested as it’s surely only in the three act ballet that we can see the Tsar and Tsarina roles being fleshed out. But if we’re talking about Enigma Variations and the three act Anastasia being performed in broadly the same time frame (by Rencher and Beriosova), I do find it it a little difficult to see how this would add significantly to the dramatic tension in Anastasia. Turning to ‘Frankenstein’, Floss states: “I don't think that Frankenstein is a complete failure as it has some very effective scenes. Its weaknesses are structural. Scarlett would have benefitted from editorial input to help him to identify those elements of the story which, however much he loves them, need to be cut because either they overstay their welcome or do not work in balletic terms.…For example I think that the audience needed to know why the Creature behaved as he did and that if he had been given a proper entrance in Act 2 we would have been aware of him as a brooding presence throughout the scene of celebration.” I am pleased that Floss found some scenes very effective. I thought it worked very effectively in the theatre and some scenes were indeed gripping. That isn’t to say that it wouldn’t benefit from some revisions. Like Floss I would welcome further development of the ballet, giving the Creature more prominence at the end of Act 1 and at the outset of Act 2. In addition I have some difficulty with Victor who in the ballet knows with complete certainty that the Creature has killed William (the Creature shows Victor William’s coat) but Victor does nothing to save Justine. Doesn’t it call out for a solo of absolute remorse? But these are minor and the thrust of Frankenstein is I find clear and dramatically convincing, including the effective story-telling in Act 1 which may not be particularly original but it is I think beautifully executed. The recent BBC broadcast underlined for me the narrative dynamic. Given the above I do find it a bit harsh to describe the ballet (paraphrasing) as ‘not a complete failure’. I don’t think much has been said of Christopher Wheeldon in the discussion on the dearth of successful narrative ballets to date. I would just say how much I have enjoyed Alice and Winter’s Tale and think these excellent narrative ballets, with memorable productions and performances by the Royal Ballet. Apologies for the length of this post but I would just emphasise that for me the narrative ballets mentioned above have provided wonderful performances, at times giving that raw, gut wrenching experience that makes me want to return to these ballets again and again.

Thank you Capybara - what a Christmas treat we have in store!

22 years I believe with the Royal Ballet. A wonderful dancer with a great sense of humour - truly Queen of Hearts!

Thank you zxDaveM. You've certainly whetted our appetite for February when we're catching a few casts. Do hope Francesca and Alex are the Bluebirds in at least one performance! Kristen was fantastic in the Insight evening when helping Olivia Cowley who was new to Carabosse and I think that Insight broadcast is still available on the ROH website. http://www.roh.org.uk/news/watch-rehearsals-for-the-sleeping-beauty-to-be-livestreamed-on-22-november-2016

Not all critics were quite as dismissive of Matthew Golding's Romeo as may be suggested. Judith Mackrell is worth quoting: "It’s only in act three that [Hayward's] inexperience registers; while touchingly convincing in Juliet’s revulsion against Paris and in her uncomprehending fury against her parents, Hayward doesn’t quite register the gutted desperation, the cold steel of adult knowledge that elevates Juliet from teenage girl to tragic heroine. Matthew Golding, whose Romeo starts out as a romantic boy, spiking with hormones, finds that steel in his own closing moments. He’s surprisingly well paired with Hayward, an ardent, attentive partner. ." While Yasmine Naghdi and Matthew Ball were mesmerising in their debut, I found the Hayward/Golding performance very moving as well as being technically brilliant.

Thank you all for recent comments. Matthew's Onegin, in as Bruce Wall says an outstanding cast (Ben Gartside also), has been a real highlight. I thought his Romeo remarkably generous, caring and supportive for Francesca's Juliet.

Just received our pointe shoes - Anna Rose O'Sullivan. We saw her delightful Clara (when Francesca made her SPF debut) so maybe these were part of her Nutcracker preparations and dancing. Hopefully we'll all see some of this performance as part of the Christmas Day Nutcracker documentary. Many thanks to Anna Rose, Olivia and all for signing their pointe shoes and congratulations to Olivia et al for raising £1,700 for Alzheimer's. I do hope others have been successful but I guess Olivia would be working all hours and more to meet demand.

Sorry Rachel if I've taken the last of the latest batch but do keep trying Olivia's website - do hope you're successful in time.