Richard LH

Clearly the name change means we can now divert ballet threads to demonstrate "inclusivity" by having a discussion about opera instead 😂

We are delighted to announce that next summer 2025, we will welcome the National Ballet of Japan to our stage for the first time. The company will perform Giselle, in a production by Artistic Director and former Royal Ballet principal Miyako Yoshida from 24–27 July 2025, showcasing the exquisite artistry of Japan's national ballet company. Further details will be included in your 2024/25 Summer information.

She was indeed amazing in that Insight; Wheeldon said how wonderful it was to see her dance his choreography. So I'm also sad that she isn't dancing it this time, especially as I neglected to see her dance the role in 2018. 😞

@oncnp's query about casting, above, seems to have had the most positive and specific response so far.

I like the design too, having seen it now in few different contexts. Hopefully folk will grow to be pleased with it, or at least reasonably content.

There is lot of invective on here about the name change which includes fair criticism/opinion, but some posts seem to be repeating queries about being unsure of its exact nature and extent; queries which may have been valid initially but which I thought had been answered pretty clearly by the Royal Ballet and Opera at the outset, and covered upthread.

Many thanks for your clarification @JNC

Understandably @MAB , but with respect @JNC hasn't really summarised this accurately. Neither Oliver Mears nor Kevin O'Hare, as respective Directors of the RO and RB, suggest they are moving either organisation to be "more approachable and less elitist", through programming or otherwise. The words "elitist", and "irrelevant" are referred to, by Mears alone, as a problematic, but unsubstantiated, preconception by others about Opera, and one which he challenges as follows: He continues that the perception of opera as ‘elitist’ and ‘irrelevant’ remains a big problem. “But I think the work we’re presenting challenges those preconceptions which are normally presented without any evidence.”

This would be 2015, also with Akane as Olga and Vadim as Lensky.

I am delighted to be able to see, for the first time, Serenade performed by the RB, and Symphony in C again. I am not at all sure about Prodigal Son though, from watching what can be seen online. Onegin is great, and I loved the new Cinderella (mostly) so fine with those. R&J is fine but I hope I wont become jaded by seeing it so regularly over recent years. Very far from excited about yet another new McGregor; nor Alice...I am very surprised the latter gets a total of 30 performances, especially as Wheeldon's "The Winter's Tale" (a much better work IMHO) doesn't seem to have sold all that well, and is about to start. Nothing else in the season particularly grabs me I'm afraid.

This was an issue Forum Members (especially the now greatly missed @capybara) took up with the Management last time and I think it was largely resolved....with suitable apology, may I quote my own post from then..."we were at the extreme right side front of the Stalls Circle (A97 & 98) and even from there we could still see Fumi's lovely procession in full from the bottom of the stairs to the front of the stage, although her earlier passage down the stairs was somewhat obscured. The onlookers bow down/ curtsey as she progresses, which must help from some viewpoints".

It has been made clear that there is no change to the name of the building itself. The Royal Ballet and the Royal Opera remain separate parts of the umbrella organisation that used to be described as "Royal Opera House" but is now to be "Royal Ballet and Opera". We wilI still be going to the Royal Opera House to watch the Royal Ballet (or the Royal Opera). I don't see the change as objectionable, rather I think it can be welcomed. The latest magazine I received today includes a Friends letter that explains that the changes to logos on publications etc. will be rolled out over the next few months, to be "as sustainable and financially responsible as possible".

This is a real shock for me, and others I expect on the Forum, who didn't know her diagnosis. I never met her but we occasionally exchanged private messages, and she was always someone whose opinion and ballet knowledge I greatly valued and respected. Very sad...she will be greatly missed.

And there is also the BRB Nut.

Am I right in presuming that in due course the overall "Royal Opera House" name on everything is being replaced by "Royal Ballet and Opera" - except for references to the actual building? So we will receive a "Royal Ballet and Opera" magazine, and be Friends of "Royal Ballet and Opera" and the website will be titled "Royal Ballet and Opera" and become something like rbo.org.uk? Assuming such changes (particularly to the website 🙄) can be engineered without too much cost and disruption, I think it is to be much welcomed that "Ballet" is now included in the name.

Well at least Onegin and Serenade are set to Tchaikovsky's music!

Geoff isn't the transformation concept now just the same as at the start of the first run? If done properly (and yes the lighting has to be right) I think the way VR turns around Odette and engulfs her in his "wings", to engineer her transformation, works very well. I'm not sure how it would be improved by him using a cloth instead, perhaps with the sort of "tada" flourish one might see in a magic show, without introducing an unintended element of amusement!

Indeed! .... so I don't think we need be too picky about the exact similarities of the two Odettes in the prologue, seen by most observers at some distance, in dim lighting.

Yes they are excellent in the Neapolitan....one of the stand-out performances for me. I also particularly liked Benjamin Ella as Benno....I'm not sure if he has been mentioned yet.

I really like the prologue....as @zxDaveM suggests, it poignantly sets the scene, and always gives me goosebumps when Odette as a swan appears, being the first glimpse of whichever amazing ballerina is dancing the role that night. The spot lighting does need to be just right, though, to get the full effect.

Exactly! However I've just re-read the well-written synopsis provided for the Scarlett production, and it may answer some of the queries people have raised. Anyway it adequately explains everything plot wise I might need to worry about! In fact I think it it adds quite a lot of additional poignancy to the story.

😂

BEST CLASSICAL CHOREOGRAPHY ..........Wayne McGregor for Untitled, 2023 for The Royal Ballet...... 😂

Wow, hope for me yet then? 😂

😬