Ianlond

This triple bill is fantastic in many ways. Concerto is a great opener, although with some very demanding choreography. Anna Rose O’Sullivan & Marcelino Sambe looked very happy & springy. I very much enjoyed Lauren Cuthbertson’s purity of line in the second movement (sensitively supported by Reece Clarke). Fumi Kaneko did extremely well in the very long & exposing third movement, although it never seems to have the impact I wish I could, until the corps & other soloists arrive. Reece Clarke looked very much the principal in waiting as he matched Sambe for ballon & precision, impressive for such a tall, long-limbed dancer. Enigma Variations shows what a genius Ashton was, & how little can suggest so, so much. I was very moved by Bennet Gartside although Kirsten McNally (while good) failed to erase fond memories of Christina Arestis. I look forward to seeing Laura Morera as it sounds like she will be mesmerising. Good to see Paul Kay in a demi-character role again. Although I was sitting in the stalls so could see facial expressions very well, for some reason I preferred the last time I saw the ballet, performed by the wonderful BRB. Raymonda Act3 - as ever - looked impressive. I could do without the corps & soloists of the ‘Hungarian Dance’ but it is what it is. Mayara Magri was, as others have noted, very impressive, looking at ease & technically strong. I thought Itziar Mendizabal did very well in an extremely tricky, demanding solo but thought Melissa Hamilton unfortunately looked less secure (but, again, such exposing choreography!). I thought James Hay & (I think) Calvin Richardson looked very good in the classical pas de quatre but there seemed to be less uniformity from the other two (first) soloists. Sarah Lamb managed to suggest an ‘inner world’ during her solo & certainly seemed to have decided to clap last night. What to say about Vadim Muntagirov? He looks so relaxed & happy performing the most tricky steps, has such beautiful lines & soft, accurate landings. It is a privilege to watch him dance. A great way to end an evening.

I always find applauding in Enigma Variations tricky since, for me, it’s about the piece as a whole & its ‘perfume’ which make it work (or not). I’m not suggesting btw that there shouldn’t be applause during this ballet.

Forgot to say that Sambé and Hayward may be great together in it. I would have said James Hay if not were for (I believe) opening night & he is (unfortunately) not a Principal.

Candleque I think it’s almost certain they will never do Balanchine’s full length version. (Thankfully in my view; Ashton’s seems completely perfect. Funny, touching, swift-moving, romantic. Plus it was made on the company. Balanchine’s on the other hand seems somewhat over-stuffed. But I’m only ever keen on Balanchine’s plotless work anyway). Sorry, not relevant to the discussion really 😉

Many thanks bridiem. How very kind of you to look that up.

It’s interesting from a historical perspective. However, although many performers change their name for Equity and personal reasons (& everyone of course we all have the right to be known by whatever name we chose: I am certainly not implying that there is anything ‘wrong’ with changing a name) I do find it somewhat unsettling that there are (still??) only certain types of names that are are appropriate for ballet (or indeed any other profession from that matter). btw I’m certainly not suggesting that anyone here is indicating that dancers should change their name! As an aside, I’m sure I read that Dame Ninette de Valois changed the stage name of Fonteyn (or possibly Pamela May??) without asking? I may have made that up!

An interesting article Bruce. Certainly when I was dancing, mainly in the U.K., we were given guidance on how (& where, when & for how long) to bow. New choreographers generally did have something in mind.

Belinda Hatley absolutely. Unfortunately, I was only able to see her towards the end of her career and I believe she had had many difficulties with injury. Her Giselle was lovely. I was much more emotional at the end of her last ROH performance (in Symphonic Variations) than Darcey’s at the end of the evening.

I agree, it does seem a little like overkill to have her dance them all. And I say this as someone who very much appreciates her performances in many roles. However, as was discussed on another thread (I think!), she has had a very difficult time with illness & injury so perhaps it was thought it was overdue (although I still think giving her the Swan Lake live relay would have been enough).

The Green Table, yes. Interesting that Matthew Bourne’s Swan Lake has been mentioned. Yes it’s danced to a score originally written for ballet but (assuming this is what Floss meant) is it a 20th Century ballet classic? Certainly, the style of movement - while influenced to a degree by ballet - isn’t the same. I could go on about this but won’t. It would however be interesting to think about which contemporary dance works should be saved for the repertoire (although not on this thread!) as there seems to be even less desire (?) to do this; when was a major work from the LCDT (London Contemporary Dance Theatre) era staged? As Naomi M mentioned, there are many works of mid and late century choreographers from around the world whose own companies are no longer active but possibly still deserve to be performed and do not fit into a ‘classical’ company’s repertoire. Sorry for taking this thread in an obtuse direction!

Here goes.... Ashton: Symphonic Variations (it has to be this first; for me, it is THE best ballet, full stop). Scenes de ballet Cinderella Daphnis and Chloe (when will we see this again??) La Fille mal gardee The Dream Monotones (both of them!) Enigma Variations Rhapsody (then I’m torn between A Month in the Country, Les Rendezvous & Acts 1 & parts of Act 3 of Sylvia). Probably, Month then. Balanchine: Apollo Serenade Symphony in C Theme and Variations Agon Stravinsky Violin Concerto Liebslieser Walzer Jewels Symphony in Three Movements Ballo Della Regina (possibly) or Ballet Imperial/ Tschaikovsky Piano Concerto No. 2 Fokine: The Firebird Petrushka Les Sylphides (?) Robbins: Dances at a Gathering The Goldberg Variations The Concert In G Major Afternoon of a Faun (or Nijinsky, if possible). MacMillan: Mayerling Concerto The Rite of Spring (maybe - I prefer the Pina Bausch version but that really isn’t ballet. But then what is ballet...?) Song of the Earth Gloria Romeo and Juliet (I guess). Tudor: Dark Elergies Forsythe: In the Middle, Somewhat Elevated (certainly a 20th Century classic for me!) Quintett The Vertiginous Thrill of Exactitude Nijinska: Les Noces Les Biches (come on RB! These are really significant and need to be performed). Cranko: Onegin (not my thing but has earned its ‘classic’ status me thinks!) I am sorry to say I haven’t seen any other Cranko Petit: Carmen Neumeier: The Lady of the Camillias Nijinsky Bejart? Birgit Culberg Miss Julie? Hans van Manen? Mark Morris, Pina Bausch & Mats Ek but they, for me, are fine examples of Modern/ Contemporary dance rather than ballet, usually

Wow....the idea of doing repeated double tours in opposite directions boggles my mind!

Well, although Ryoichi Hirano has many excellent qualities (a fine and strong partner, stage presence, handsome (just my opinion!), & - as any dancer of his rank in a company such as the Royal Ballet - can ‘do the steps’) he is certainly not as complete a classical dancer as Vadim Muntagirov (few are!) or, in his prime, Federico Bonelli. Likewise, he doesn’t have the ‘fizz-bang’ technical ease that Steven McRae has (had?). William Bracewell, on the other hand, is young, a good partner, has had excellent stage experience from BRB, proved himself in the previous run and seems to have a very good classical line and technique. I wonder if he (Bracewell) will do the ‘double-double’ tours en l’air in Act 3 Muntagirov did. Does anyone remember if *any* other dancer did them last time??

Pleased to see Joseph Sissens prominently cast in Onegin but sad not to see James Hay cast in....anything? At least he has the lead in Sleeping Beauty and, I assume, Benno. I think Fumi Kaneko should be great in Swan Lake but personally disappointed that Claire Calvert isn’t given an opportunity. I know many may disagree though, as it looks KOH does too 😉

What a delightful ballet this is; genuinely funny at times, as well as tender & moving (I was strongly reminded of Fille, Two Pigeons & The Dream at times). Like bridiem I was in the second circle (row B too!) & although the front section was quite full, I think I spotted quite a few empty seats at the back. A shame, as it really was a very enjoyable theatrical evening even without the special guests, speeches and flowers for David Bintley. I do hope that the ballet is revived from time to time in the future.

Symphonic Variations (Ashton) - I could happily watch this multiple times in one evening and never get tired of its genius. Certainly every season. The Dream (Ashton) although perhaps its magic would wear off after a while. Apollo & possibly Agon (Balanchine) Maybe L'Allegro, il Penseroso ed il Moderato (Mark Morris) - a dance I love

In which I thought she did very well indeed, looking every inch a future principle. Firebird: an intriguing, strange ballet but the powerful ending gets me every time. I thought that Yasmine Naghdi was great as the Firebird, demonstrating superb control & command towards the end. Lovely to see Edward Watson back on stage, with Christina Arestis. Month: love the ballet, but not wholly convinced tonight for some reason. I’m not sure that Matthew Ball has the length of line or adagio quality of movement for this Dowell roll, although dramatically he was good. Francesca Hayward & James Hay were both a delight, bringing a lightness of touch, speed & flexibility of movement ideal - it seems - for Ashton; the highlight for me. Also lovely to see Romany Pajdak in a soloist roll! Symphony in 😄 as I overheard someone say, like the pop of champagne! A great way to end, although perhaps the first two movements were overall stronger than the second two? Vadim Muntagirov was (surprise!) outstanding & I really enjoyed Fumo Kaneko’s debut, actually more than I did seeing Natalia Osipova last time it was performed. Claire Calvert (despite a slight slip on the tricky backwards arabesque hops) & Beatriz Stix-Brunell both luxuriously supporting as soloists. Good to see Cesar Corrales & impressively Joseph Sissens (who has the most beautiful line!) as lead soloists too, although a few heavy landings from these two men. The second movement was a thing of beauty; I think Sarah Lamb really glows in this roll. Alexander Campbell was really great in the third movement; extremely accurate & beautiful, soft landings. Yuhui Choe was very appealing but at times seemed to demonstrate a lack of turn out & extension, especially compared to Anna Rose O’Sullivan. James Hay was again his brilliant, classically refined and virtuoso self in the final moment, partnering Francesca Hayward. While she didn’t do anything wrong, I wasn't convinced she was fully on top of the choreography & she seemed to be struggling a little on the fouettes & some turns towards the end (I think she may be a ‘left’ turner? Which would make this all the more understandable). But a super way to end on a high, with a loud roar from the audience. be

I too hope Claire Calvert is given the opportunity to dance the lead in Swan Lake; she seems to have the amplitude of movement and beauty of line to do this. As others has said, she also seems to be interesting dramatically, with (IMO) the ability to project pathos. But of course there are only so many shows ...

I find it deeply puzzling as to why the RB continue to relegate its Ashton legacy (surely its greatest legacy?) to a handful of performances. Coming to ballet from a contemporary dance background, I completely understand the need for new work & am impressed they will be exploring Cunningham. Look forward to the new McGregor full length, as well as revival of Scarlett’s Symphonic Dances. But it seems that some really significant Ashton works (Daphnis/ Cinderella especially) are in danger of being forgotten. Does there *have* to be both Manon and Onegin (glad though I am to see the latter back on ROH stage)? It might be more interesting to have another look at Prince of the Pagodas if there must be a MacMillan full length. (But why must there? There doesn’t seem to be the same requirement for Ashton). Have we not also recently seen Concerto (admittedly not danced by the RB itself)? There are other MacMillan one act Ballet’s which have been seen less recently. I wonder when we will see some Najinska again. Perhaps a triple bill of DeValois, Marston & Najinska? Glad to see Coppélia (although both as a performer and audience member have always found it a bill dull, actually). But glad that it’s still in the active repertoire. Maybe this is what happens when ticket revenues begin to be of greater concern but surely we should strive for such a company to be more than that? Sorry for any spelling errors!

I believe Monica Mason once described considering an ‘all white’ mixed bill (my wording may well be incorrect) of Symphonic, Chroma & possibly Symphony in C. I could see either of those with Monotones. Personally I think I would like: Chroma, Monotones II/ Symphonic Variations/ Symphony in C. Actually Apollo would work very well too.

I’d love to have a go at Symphonic Variations - a killer but such dance heaven! Ideally the ‘side man’ role who does the ‘look at the sky’ pirouettes; I’m not sure if it was Brian Shaw or Henry Danton who originated this part. Perhaps Monotones. Or Dutiful Ducks by Richard Alston, possibly so I can pretend to be as good as Michael Clark (if only!)

Claire Calvert? She’s of course done quite a lot already but I could see her doing Swan Lake perhaps, Monotones, slow movement of Symphony in C. Is is her ‘age’ (30 I believe) against her? (Not that I’m suggesting it should be!). Certainly James Hay, Reece Clarke - amongst others - I can see making it to Principal.

A very interesting evening although perhaps, on first viewing, & only in my opinion, not entirely successful? On the other hand, maybe this is a reflection of a not entirely positive day at work! However, it is certainly very impressive of Rambert to be producing such an ambitious piece of contemporary dance. I only really got engaged in the second part, which I very much enjoyed & became engrossed in the different relationships/ personas depicted. I really loved some of the ‘waves’ of movement & how seemingly random movement fragments would Imerge in unison alongside and within surges of quite earthbound, but flowing, choreography for the group. I wasn’t quite sure of the first section (having deliberately not read any of the programme notes beforehand - possibly a fault on my part). Great set in the first ‘act’ with the stage fully opened up for the second part. Fantastic, brilliant performances from the dancers (of course; this is Rambert!) & I have to say that I did find the music effective (again, particularly in the second section). I will certainly be going again as the piece, I feel, suggests intriguing questions about how a ‘narrarive’ can be presented and it will be interesting to see how that may change my view. Appologies for my rushed, possibly incoherent thoughts!

Dame Beryl seems to have a lovely ‘flow’ of movement & it does really highlight how very slowly (sometimes excessively so perhaps?) the classics are sometimes taken now.

As somebody who habitually wears (clean!) jeans & takes a (smallish) backpack to sit in any seat (yes, from the stalls, through the grand tier to the amphitheatre), I’m suprised that someone may think this is a case of ‘dumbing down’; surely it’s what’s on stage that is important? Criticise someone’s views on a limited ‘Swan Lake, Romeo & Juliet, Nutcracker’ repertoire as dumbing down, if desired, but surely not what they wear?