mijosh

I too saw it within the first month of it's opening in London - on New Year's Eve to be exact - and to this day can still recall the emotional impact it had on me. Not only the impact of the music and dancing,but the dramatic climax which had me reeling and tearful. I had to walk several times round the comparative quiet of St James's Square behind Her Majesty's Theatre until I was able to compose myself sufficiently to face getting on a bus to go home. The next morning I was back at the theatre to book to see it again. Now I'm looking forward to Friday and reaquainting myself with this masterpiece ot total theatre.

Obraztsova's problem was that she tried to do three pirouettes instead of two,which meant that in order to keep up with the music she had to do them very fast and she just lost control. I hope she learnt her lesson. Maybe she was punished for her recklessness, because I was expecting to see her last night in Sleeping Beauty but she was replaced by Krysanova. Not very impressed by the production. Lovely to look at but not delightful to know. Very unexciting,choreographically muddied and tampered with, and lacking any dramatic impetus or emotional involvement. Sadly Grigorovich's fingers are all over it. He really needs to be put out to pasture.

A sad evening. I get no pleasure from watching Zakharova. She blasts her way unlyrically,almost mechanically through the steps without seeming to feel the music at all. She's away on planet Svetlana while we are left to admire and relish the warming beauty of Alexandrova (what there was of her was gorgeous) and Stashkevich. Like Meunier,I'm dreading Diamonds next week.

Likewise,but overheating or not,how can I pass on a performance which,apart from other anticipated delights,displays Marianela x 4.!

And that about sums up (plus that infernal spinning,grinning jester) why I never go anywhere near the Bolshoi's Swan Lake. I learnt the hard way!

My guess is that the General rehearsal will be the other debutante Giselle - Sarah Lamb.

Of course it may call for a "sickie", but Laura Morera does have another performance,a matinee on Thursday January 30th

The private family funeral for David will take place on Monday July 8th,and,as previously stated,a memorial service will be planned for the Autumn. The family have requested no flowers but a donation in David's name can be made to St Christopher's Hospice,479 Bromley Road,Bromley,Kent,BR1 4PQ

Can't be bothered with DVDs as there's nothing like the real thing. In consequence my one luxury item (bearing in mind that Dame Sybil Thorndike chose her husband,Lewis Casson) would be the entire New York City Ballet,live, whenever I felt the need, which would be often.

It may be of interest for many of you to know that I have heard from David's wife, and his funeral will be a small,private family service and cremation. They are hoping to arrange a memorial service (presumably in St Paul's Church) later in the year when both of the Royal Ballet companies are in London.

I have just received the very sad news that David Wall died this afternoon at 3pm. His was a tremendous talent and a very dear personal friend. I am incredibly saddened by his tragic passing at such a comparatively young age and a long illness. R.I.P. "Ginger"

To lose one ballerina may be regarded as a misfortune,to lose four looks like carelessness.

Marianela Nunez will be a guest artist in Romeo & Juliet in October 2014, partnered by and at the request of the retiring Massimo Murru.

Having now seen the very tall Igone de Jongh,I can't help wondering if she may not be the daughter of former dancer Betty(sp) de Jongh who for so long was one of the leading dancers with the Paul Taylor Dance Company. A handsome woman,she bears a very striking resemblance to Taylor's muse,who I remember in many of his ballets,in particular "Big Bertha" where her height was used to great effect. As a side thought to this,isn't it way past the time that we should have a visit from the legendary Mr Taylor's company? I've loved his sometimes quirky but very distinctive ballets (usually danced barefoot) since I had my first view of his unique style when his ballet "Aureole" was part of the Fonteyn Gala at Drury Lane which also as the introduction to London of the newly defected Rudolph Nureyev.

Very sad indeed to hear this,but it may well be frustration at perpetually being passed over for promotion when it is so patently deserved, added to long periods off through injury. A fine dancer ( particularly delightful and charming Colas opposite Yuhui Choe),a brilliant pianist,a consumate linguist and an all round really nice guy. If you're on facebook send him a message,particularly as today is his birthday.

Having lived there for 24 glorious years,I can vouch that San Francisco is not an easy city to leave. That said,it is quite understandable for a dancer like Vito Mazzeo,having attained the rank of principal in that city, to want to stretch himself in a different arena and one that gives him more opportunities to dance than the fairly restricted San Francisco Ballet season which (apart from Christmas Nutcrackers) only operates between January and May. It also,and perhaps more importantly, places him in a much better position to be seen by the directors of other companies who may have a little poaching in mind. Is it entirely beyond the realms of possibility that he might be lured,as was Fererico Bonellli,back to London, where his handsome presence was noted, if only briefly and significantly underused once before? The Royal Ballet currently employs quite a number of lavishly talented young male dancers,but most of them are on the vertically challenged side,and it would be beneficial I feel to have at least one principal who tops six foot. Wishful thinking?

This is puzzling,because according to Cory Stearns himself he was coming to dance Romeo. Added to which, on a facebook posting by Lauren Cuthbertson, he commented;"My Juliet" It seems hardly worthwhile coming all the way from America for a 10 minute Sugar Plum pas de deux. I too am surprised and distressed by the lack of new Juliets.

Don Q remains in the rep after performances of Romeo & Juliet have begun. It is my understanding that she will be dancing Kitri partnered by Thiago Soares.

According to a report on facebook,Sergei Polunin will no longer be appearing in "Midnight Express".

Good for Benn,though I really hoped that they'd have fulfilled Bonelli's fervent desire to dance Rudolph.

The Evening Standard is reporting that Dmitrichenko has been arrested.

What he is dancing however, is "Mayerling" with the Stanislavsky Ballet (sadly.not in London) on March 22,23,24. Considering that David Wall said that dancing Rudolph shortened his career by 10 years,I find it hard to credit that he will dance three consecutive performances. Of course this also gives rise to the succulent speculation of him replacing the injured Johan Kobborg in the RB's forthcoming revival. Wouldn't that set the town on it's ear !

The flowers for Tamara's farewell were courtesy of ex Royal Ballet dancer Sephen Wickes,now proprietor of Bloomsbury Flowers.

That would make sense,remembering their golden partnership in roles created on and for them as a couple; Romeo & Juliet, The Invitation, Two Pigeons, Images of Love,etc. This makes it doubly sad that we were never given the oppotunity to see it.

While appreciating these two riveting and electifying performances of "Marguerite & Armand" (and impatiently anticipating the third) I find myself regretting the performance that might have been but was never allowed to happen. It is well known that Ashton created the ballet specifically for two unique and remarkable talents and was adamant that they and they alone should dance it. However,common sense dictated that,in case of some last minute calamity, there had to be a cover. Heaven knows who covered Nureyev (a thankless job if ever there was one).but the cover for Fonteyn was Lynn Seymour. Now,for those of us old enough to have seen this great artist in her prime,the very notion of what glory such a performance might have produced is enough to make one seriously salivate, as well as to weep that it was never necessary nor,as I said,ever permitted to take place in it's own right. I think that must rank up there with performances I most regret having missed. Sad too that Marcia Haydee never had a chance to dance in it,a loss in no way compensated for by her appearance in the full length overblown excesses of the inferior "La Dame aux Camelias".