JohnS

Francesca certainly was dancing Alice - with Vadim!  Wonderful.

You're correct Legseleven.  10 June last year.

I have a spare Stalls seat G29 £55 for the matinee performance - is anyone interested?  Please send a pm.

Many thanks

I agree - there are so many incredibly talented dancers.  In addition to those mentioned above, I've been mightily impressed by James Hay, Benjamin Ella and David Yudes.  And that's just the men.  I do think Yasmine and Anna-Rose have been outstanding.  Kevin O'Hare has my sympathy in having to decide on promotions.

I thought last year we were very pleasantly surprised by the number of promotions and I hope we'll again be pleased.

15 hours ago, capybara said:

After The Dream, the bright lights of Symphonic Variations are especially welcome. Add to that the stellar line-ups which are revealed in both casts as the curtain rises and we know that we’re in for real treat.

 

The first cast has the beautifully matched female ensemble of Nunez, Choe and Naghdi but, at the beginning of the piece, my eye was drawn away from them by the still poses of Muntagirov and Hay – and, indeed the subsequently pure dancing and bearing of these two men in particular. Both seem made for this ballet. Bravi 

 

And bravi not only to Reece Clarke, who has reprised his central role with distinction even when distracted by his top coming undone, but also to his two ‘sidesmen’ (Benjamin Ella and Joseph Sissens). Ben has really come into his own this year and he must surely be a strong candidate for promotion to soloist. However, as others have noted here, Joe made a huge impact – in my case for his ballon and his beautifully arched feet. I have a feeling that he may be still only aged 18 (or just 19) as he moved straight from Year 10 at White Lodge to the RBS Upper School. What a debut in a featured role!

 

Cheers too for Yasmine Naghdi, another of this year’s super-subs, who was initially dancing in both casts, and, indeed, for all the women. However, not for the first time this year (cf Diamonds), Lauren Cuthbertson didn’t make as much of an impression on me as I have come to expect from her.

 

Everyone who has ever danced Symphonic Variations reports that it is ‘a killer’ but no one in the current casts gives any hint of that being the case. What they do give us is simply sublime.

Is there a missing 'not' in the first line of the 4th para?  Yasmine was not initially dancing in both casts but replaced Mayara at the General Rehearsal.

I agree Symphonic Variations is sublime and very much looking forward to the cinema encore.  Hoping the camera work will enable the audience to appreciate the importance of precise symmetry (distances between three dancers and angles of arms etc).

Thank you all.  I am deeply touched by the warmth of all your commiserations.  I'd never imagined that my post would have generated such a response and I can only apologise for so underestimating the kindness and generosity of Ballet Forum members.

I thought it might be better to ask moderators to move the condolences to a separate post and I am very grateful to John for doing so.  I'm sure they'll be a swathe of posts on the last performances of the Ashton Triple Bill.

Now having a separate post for Lynn and in light of your comments, I thought some folk may be interested to see something of Lynn's love of ballet and first the music chosen.

The Service Sheet included a few comments on the music:

When entering

The opening of Brahms' German Requiem with its hushed setting of 'Blessed are those who mourn for they will be comforted' provides much solace.  The recording is the classic 1956 performance conducted by Rudolf Kempe.

Commendation 

An den Schlaf  To Sleep

Komm, und senke die umflorten Schwingen,

Süßer Schlummer, auf den müden Blick!

Segner! Freund! in deinen Armen dringen

Trost und Balsam auf's verlorne Glück.

Come and lay your gossamer wings,

Sweet slumber, upon my weary eyes!

Protector! Friend! in your arms come

Solace and balsam to my lost happiness.

Schubert's 'To Sleep', just four lines and one page of music, is so simple, the tenderness of 'Protector! Friend!' at the start of the third line exquisite.  Baritone: Dietrich Fischer-Dieskau; Piano: Gerald Moore.

When leaving

Listz's 'Mephisto' Waltz provides much of the music for the opening scene of Act 2 of Kenneth Macmillan's 'Mayerling', Lynn's favourite ballet.  The 'Tavern' scene (euphemism acknowledged) is a celebration of the joys of life and love with friends and encapsulates Lynn's love of life.  Piano: Leslie Howard.

Thank you John - and to everyone for all your kindnesses; I am deeply touched.

I will read with great interest news of tonight's performance and of course Zen's final ROH performance later in the week - what a way to end a wonderful season for the Royal Ballet!

My first post for four weeks and so difficult.  My wife Lynn had a catastrophic stroke Sunday 7 May and died the next day - completely unexpected and shocking (Lynn was only 58).  She'd had awful sciatica which had made it difficult at times at the Royal Ballet; indeed for Mayerling, her favourite ballet, she'd sent me to report back but had hoped to make the final performances.  I'd just come home from that wonderful Federico/Laura Mayerling and Lynn was just as enthusiastic as me.  I was very unsure about when I might return to London and the ballet; I'd sent back lots of tickets, including the Mahler 9 LSO concert with Bernard Haitink conducting.  We'd thought it might be one of the last opportunities to see him conduct: we have so many memories of him as the Royal Opera's music director.  But the concert was broadcast, sublime - do catch it on iPlayer if you haven't heard it, and helped me make my mind up to visit London sooner rather than later, let a number of folk know the news, and take in the Ashton Triple bill if I could.

First a thank you for the kindnesses of so many and particularly ROH Box Office, front of house and admin staff.  I've been able to reserve Lynn's favourite seat Stalls H3 in her memory.  Thank you also to the Ballet Forum - still catching up on four weeks of posts but have very much enjoyed the end of the Mayerling thread.  Thanks also (again) to Bangorballetboy for those wonderful curtain call photos - Lynn loved them.

And the Triple bill?  So good to see so many of Lynn's favourites delighting audiences.  Loved the fairies - dare I single out Anna Rose's Moth in the rehearsal and then leading the corp; Laura, Akane and Francesca were all lovely as Titania; Steven's Oberon was perfect - properly had the menace with of course his technical mastery of all the steps; David Yudes as Puck is a super talent; and you can understand why Akane would fall for Bennet's Bottom - no real need for any magic potion.  Symphonic Variations is surely one of the most sublime ballets, certainly had me in tears at the rehearsal.  For the opening night I was in the Balcony, central, unrestricted and so it's wonderful to see the patterns being formed  That position also highlights when symmetries are not perfect - distances between three dancers, different angles of arms.  And as many have said Joseph Sissens was a revelation.  I found the Alessandra/Federico performances absolutely compelling, with Gary as the father, and more tears at the matinee (not just from me).  I thought Roberto Bolle started rather tentatively on the opening night but wonderful to see Zenaida.  Will catch the cinema performance next week.

So very bitter sweet for me but I'm very pleased to have made the trip and I will be back.  Very fortunate to have a returned ticket for the Royal Ballet School annual performance and booking for Autumn opens shortly.

So pleased to have been able to get a returned ticket for the Federico/Laura 2nd and final performance having not been able to see their debut given the engineering works north of Crewe over the Bank Holiday weekend.  And a big thank you for all the posts following their debut which had so whetted the appetite.  

Wonderful central performances, so engaging and incredibly sympathetic, given such flawed characters.  Gave their all, with the bureau chair a casualty to their passion at the end of Act 3.  I will long remember Laura's striking affirmation with a nod of her head that yes the time had come for the suicide pact to be actioned.

Again so good to see another strong supporting cast and I so agree with the plaudits from Bruce Wall for James Hay's Bratfisch.

Thanks also for the fantastic curtain photos from bangorballetboy and others, including lovely stage door photos.

Will now have to wait for next Saturday for the final two performances but will be keenly following comments on Ed's final performance (dare I say this run?) in the week.

Apologies for the delay in posting and I see so many interesting posts in the last 48 hours.  Hope it's not too late to add my comments on Tuesday's Mayerling.  Another scintillating performance, with Ed utterly convincing as Rudolf. Stellar cast all on great form and no costume/props problems that I noticed (although not as close to the stage as for the opening night so couldn't vouch for Rudolf's moustache).  

A special mention for Martin Yates' conducting and the superb orchestral playing, and of course the marvellous Listz score orchestrated by John Lanchberry.  What a tremendous contribution the score makes to Mayerling.  A better aural perspective from Stalls Circle rather than front row stalls. 

I do hope penelopesimpson is successful with Ed's flowers and that they may get presented on stage.  Why not?  I can't see Ed dancing Widow Simone (or such like) which is of course one way of ensuring a bouquet is presented to a favourite male dancer.  We were delighted to take such an opportunity to do something for Bennet not so long ago - Bloomsberry Flowers came up trumps as always, complete with cabbages if you look.

Very interested to read the comments about today's matinee having seen the rehearsal where I found Steven's performance fascinating - technically incredibly strong and precise.  I thought Kristen's Empress (and Anna Rose's Louise) outstanding and I prefer Sarah's Larisch to her Mary, although given she was dancing Larisch on the opening night, she may very sensibly have been pacing herself.  I'm very much looking forward to the final performance to see this cast when they can bring the curtain down on what I'm sure will have been a stupendous run of performances.  And given the comments about the Bonelli/Morera cast, I'm delighted to have picked up a return ticket for their remaining performance.

1 hour ago, annamk said:

Sensational performances, sizzling chemistry on stage this afternoon - Bonelli & Morera were the most moving & convincing Mayerling partnership I've seen since Kobborg/Cojocaru in their prime. 

Wow!  I'm afraid we had to miss this performance as engineering works north of Crewe meant it virtually impossible to get back to Cumbria tonight and we can't make the other performance.  One of the disadvantages of living so far away but there are so many compensations!  I'd rather hoped this cast might have danced the rehearsal as we have tickets for the final Saturday performances and so will see the McRae cast in any event.  Will be fascinated to read what others have to say about Bonelli/Morera and all the other performances: from what I've seen so far, I'm sure there will be many memorable performances.  Again congratulations to all at the Royal Ballet.

A brilliant opening night with, as others have said, a stellar cast, although the Royal Ballet is now so hugely talented that there's so much to look forward to in every performance.  

I thought Natalia was incredible throughout, from her wonderment in the opening scene as she witnessed Rudolf's wedding ceremony to the awful, demonic shared suicide where she was so clearly committed to the pact.  She seemed as if she were in effect taking Rudolf's morphine as Ed injected himself.  

It was truly painful to watch Rudolf's treatment of Stefanie (and his and Mitzi's mocking in Act 2) but Francesca's portrayal was wonderful.  I very much liked Sarah Lamb's Countess: she'd already danced Mary at the Rehearsal so an incredibly challenging day on stage.  Zen was great - she'll be much missed though I'm really looking forward to seeing Kristen again.  Alex's Bratfish was stunning - brilliant dancing and real pathos when trying to entertain Natalia and Ed but realising his efforts would not prevent the suicides.  Have the Hungarian Officers been more strongly cast with Ryoichi leading them?  Wonderful dancing with Mitzi - a lovely performance from Marianela. 

One or two slips and very sorry for Romany Pajdak getting her foot really caught up in her costume.  Natalia, firing on all cylinders, but not her pistol?  And did Ed's moustache get a little dislodged at the end - just hoping this wasn't a case of Natalia biting off more than she could chew.

And let's hear it for the brilliant corp - ladies at Court, chamber maids, and whores, sometimes all three.  Great support from the men in their roles including Bennet Gartside, almost Falstaffian padding, as Philipp.

But Mayerling's success is contingent on Rudolf and Ed was astounding: a truly great performance and a fantastic privilege to see him so live the role.

We also have so enjoyed the run of Jewels.  In addition to many of the highlights commented above, I wonder if it is the overall excellence of the corp which has made the performances so special?  For example the four men in Rubies have been brilliant in all performances we've seen and it's been a joy to see Anna Rose O'Sullivan and Benjamin Ella as partners.  What a season Anna Rose is having and we're very much looking forward to hearing what she has to say at the Ballet Association meeting towards the end of the month.

in addition to various suggestions for dream cast soloists, I'd add Francesca Hayward (such exquisite footwork) and Melissa Hamilton.  James Hay and Emma McGuire have been wonderful.  But I think this just highlights the overall strength of today's Royal Ballet as there simply aren't enough places to accommodate all these special talents.

Whilst there have been one or two slips from some soloists, I was astonished to read Jeffrey Taylor's Sunday Express review and his savaging of Lauren Cuthbertson.  We were certainly blown away by Vadim when we saw him dance but also found much to admire in Lauren's performance in total making for a truly memorable performance.

I agree that some of the cinema work didn't enable the audience to appreciate the overall flow of the ballet, with far too many close ups, but it's also a great shame that there isn't to be a DVD.  I'm sure the Royal Ballet will have tapes in its archive so future dancers will be able to draw on the performances.  What a treasure trove that archive must be and let's hope that documentary producers etc will have access to it and we might have more glimpses into it.

I agree with toursenlair and think the ROH should be congratulated for its fund raising initiatives.  Box office revenue and grant cover only part of the costs and in recent years the ROH has become increasingly reliant on sponsorship, donations, legacies etc.  I thought the Nutcracker pointe shoe appeal championed by Lauren Cuthbertson a couple of years ago, and with more junior dancers decorating the tree with signed messages on point shoe cut outs from donors, was wonderful.  We also see the continuing pointe shoe appeal regularly in the cinema relays.  It strikes me that the latest appeal is very much in line with other appeals and it's difficult to see why it registers as newsworthy given what is going on in the world: another quiet day in the Telegraph offices?

Thank you - a lovely article (which didn't seem to be behind a paywall).  Akane's Giselle was exquisite, for me the most moving portrayal last run, and it's good to see her being recognised more widely.

In response to some of the comments above, it would be interesting to know how many references there are on the Forum to individual dancers and I would guess that Akane has attracted fewer comments than a number of others.

We were fortunate enough to see the recent Royal Ballet School 'Solo' evening which included the Concerto PDD in practice for this gala.  The PDD was a highlight of the evening, truly memorable, and I'm very much looking forward to reading more from Bruce and others about the gala.

Thanks for the clarification Sim and apologies Bruce - I read the original post too quickly.

Bruce Wall "So looking forward to seeing Hayward and Muntagirov in Manon again too.  Such brilliant depictions."

I thought Francesca was partnered by Ed Watson when she debuted as Manon?  I do recall (very fondly) Francesca and Vadim in Alice.

I'm excited by what the new season has for us and applaud Kevin O'Hare's massive vote of confidence in the Royal Ballet's many talents, younger and older dancers, and choreographers.

No doubt this has already been covered but what do you do when folk lean forward in ROH Stalls Circle, arms on finger boards and head in hands?  Immediately 50 per cent of the stage view is lost for those sitting close by and no doubt there is massive obstruction for those in rows B, C and D.  We had great Row A seats for Jewels Matinee, including an aisle seat, but folk the other side of the aisle seemed either to have no spatial awareness or considered that they could sit forward and obstruct others' views as of right.  

We we did ask them to sit back (which they did) but the glares were not pleasant.  Had we waited for an interval to ask front of house staff to intervene we would have missed virtually a whole Act.  Has rather spoiled what was a wonderful performance.

I have contacted the ROH to pass on my concerns and have suggested including messages on tickets or in situ about respecting others etc but it's disappointing that we now seem to have to remind folk of the need for common courtesies.

Apologies for this late post but we only saw the penultimate performance last Thursday.

First many congratulations to the Royal Ballet for their commitment to this Triple Bill: their artistry and endeavour are to be applauded.

I have to say that I really struggle with The Human Seasons. To me there is no perceptible differentiation between the dancing for the four couples and Keat's "four seasons in the mind of man". I just didn't see any organic development in the ballet and couldn't fathom any relationship with the poem. And like others I found parts of the ballet pretty ugly and wince inducing.

After the Rain was a lovely contrast made even more memorable by Marienela celebrating her birthday on stage for an enthusiastic audience.

Flight Pattern shows what can be achieved when we are fortunate to have such a fine choreographer as Crystal Pite and the wonderful Royal Ballet dancers and orchestra - massively thought provoking, genuinely moving, and a real triumph. Ballet can successfully explore critical issues when handled with such intelligence and refinement.

As a footnote I should also add that we were lucky enough to see the Royal Ballet School's Solos Evening just before the Triple Bill. Wonderful to see so much talent and one of the highlights, not a solo but the PDD from Concerto - great to be reminded how uplifting abstract ballet can be!

I've been meaning to say that I wasn't at all surprised by Sarah Lamb's contributions (dancing and discussion) - she's occasionally been on Radio 4's Broadcasting House on Sunday mornings reviewing the papers and has been very feisty!

I'm also willing to bet that the programme note will be a great deal more helpful than Obsidean Tear and Woolf Works etc.

I couldn't agree more Capybara - and also many thanks to the Forum for such an interesting thread which has so helped illuminate the performances.

Dare I possibly ask who folk might wish to see as Aurora next time Sleeping Beauty is revived? I've so enjoyed the debuts this time and I'm very much hoping that Anna Rose will get her chance - she's been an absolute delight in all her roles this time.

Thank you Floss and Johnpw for your comments above. I'd just add that Brexit uncertainties in the Arts extend well beyond professional companies like the Royal Ballet. The Royal Ballet School has flagged up funding concerns for EU students - deeply worrying for a world centre of excellence, critical for the future growth of the Royal Ballet and contributing hugely to many other companies. And of course not forgetting the (international) young talent nurtured by the School!