Richard LH

That's potentially very good news, but "appears to be confirming" is a little vague...I wonder if you recall more details of his post @capybara, since this is no longer on his IG story feed? Many thanks...

We usually use part of these routes, from Hitchin to Finsbury Park...

Anyone know how the overtime ban on Friday/Saturday may affect Thameslink/Great Northern trains into Kings Cross? Thinking of our trip to SL at ROH Saturday evening.....

True, but then there hasn't been all that much Ashton programmed in recent years! However he has performed, for example, in La Valse, Two Pigeons, and Sylvia in the past.

Nor Hirano.....😕

Exactly...that's what I find troubling. For me, the fact that MacMillan habitually included such scenes in other works is not a valid excuse for yet another one; rather, it is itself part of the problem.

So true Sim.....balm for the soul, provided by the whole Company.

Anyone else going to see Fumi and Will tonight??

No they were fine thanks, and good surround sound too (Cineworld Bedford).

Definitely!

"Unfair" I would say to whoever said that... I thought all the three leading singers I mentioned are excellent in their respective roles and well worth seeing.

Sensational, emotional and extremely heartfelt performance last night from Asmik Grigorian, very well supported by Joshua Guerrero as the cad Pinkerton and Hongni Wu as the faithful Suzuki. Brilliant in the cinema, but it must have been fantastic to see it live; the ROH audience seemed to be in raptures...

Sorry about the negativity @JohnS ! It's great that you (and many others) found the whole programme so rewarding. I did enjoy DC and Requiem but for me DD was the fly in the ointment... just one too many of MacMillan's depictions of horrible behaviour. Perhaps coming so soon after Manon, and the treatment of women in that ballet, didn't help. We even had the seemingly obligatory group of harlots running on near the end, for no particular reason I could see (although I accept I have no prior knowledge of the original work that this was based on). Your last quoted point is a cogent and interesting one, although I would hope, as a rule, that it is not first necessary to endure a harrowingly bleak offering in order fully to enjoy a beautiful transcendental piece such as Requiem! As to returning tickets, given the costs of attending ballet (including train fares etc.) I just thank the ROH that they enable us (subject to the £4 retention) to cancel further performances we would not particularly enjoy, and credit the proceeds for hopefully more rewarding future choices.

This explains why she withdrew from recent performances at the last minute....many congratulations!

Just a point about the orchestration at the end of Requiem (In Paradisum); the little triad motifs that run through the piece seemed a lot more dominant than in other versions of Faure's Requiem I have listened to. I think these are traditionally played on an organ, whereas I assume they were using some form of electronic keyboard last night? Anyway I did feel the instrumental balance tended to make the end sequence sound more lightweight than the orginal and thus not completely reflecting the intended mood at the ending of the work.

For me this triple bill displayed (intentionally or otherwise) two very contrasting aspects of MacMillan’s work. Taking the “dark” side first….whilst performed with admiral bravery and dedication by Hayward, Sambe and other cast members, Different Drummer suffers from the same unsavoury and dismal obsession with themes of mental illness, degradation, rape and death that characterises a lot of MacMillan ‘s output, as also seen for example in The Invitation, Anastasia Act 3, Manon, Mayerling, and The Judas Tree. I didn’t find the story, such as it was, moving or engaging, just tedious and somewhat depressing, and after the first 5 minutes or so I just kept wishing for the end. What a shame, as the evening had started so brightly, in contrast, with the quirky, inventive and clever Dances Concertantes, which I found very enjoyable, and which was performed superbly, particularly by the three leading ladies (Gasparini, Maeda and Hinkis) , and with Acri the stand-out gentleman for me. It was only slightly spoiled, I felt, by the somewhat weird costume designs, including the head pieces which unfortunately tended to make the dancers difficult to recognise, and those with little "Tin Man" stove pipes (?) atop looking faintly ridiculous. Also a shame that DD had to precede the hauntingly beautiful and impressive Requiem piece, which displayed some marvellous dancing , brilliant lighting and stark but elegant costume designs, and which was carried throughout by the wonderful live choral music. There was some tremendous, and challenging, choreography, mostly extremely effective, with just a few parts that didn’t quite work for me (for example I recall Cuthbertson sort of see-sawing on top one of the other dancers at the end of one of the sections). I was holding my breath at the end when Braendsrod carried Cuthbertson off at the end….am I imagining it, or was he just holding her upright with one hand on her lower leg?? Truly spectacular. Overall though, mainly because of DD, I don’t feel the need to see this triple again at present and I have returned my tickets booked originally for the 27 March and 13 April.

I think it's the same as knock knees...when there is a gap between your ankles when you stand with your knees together. This did seem to be noticeable with Dudinskaya in the video.... (As opposed to bow legs where there is gap between the knees when standing with the ankles together, which must be why I am also unable to perform fouettes 😂)

Fumi and Will only danced it once, at the Welcome performance "for people who have never been to a ballet or opera at the Royal Opera House", so I don't think you would have qualified @Sim !

The problem with that is, if his vow to Odile doesn't count, why all the fuss and the need for the last Act resolution? 🤔

I find it so; the transcedence is in the dancing and music but also in the ending; as @Linnzi5 observes, Odette takes control at the end and through her self-sacrifice defeats evil, is released from her imprisonment, and although leaving behind her earthly body, (literally!) rises above it all in the end scene, reaching the spiritual realm.

Thanks @Linnzi5....and I feel that in those lovely black and white photos Fumi and Will really give us a glimpse of the beauty and emotion to be found in White Act ballet.

Exactly!

Me too! The White Acts are my favourites parts of the Classical ballets and can be extremely moving and emotional in their own way.....the lines, the movement, the positioning, the response to the music....fantastic when it all comes together!

Yes indeed, but I was thinking also of the dedication from the coaching team to get all the Corps dancers so well coordinated, and in time and tune with the music and the mood.

Lovely reviews from @JennyTaylor and @Linnzi5...thank you for putting into words, so fully and eloquently, what I was struggling to express...I don't have enough superlatives to give proper credit to Fumi and Will for their amazing performances last night. What an advert for this art form..I sat next to a young man who was seeing his first ballet, and he was absolutely astounded by the skill and elegance on display. I think he is now securely hooked! Yes it was Fumi and Will's night but I wouldn't want that to detract in any way from the performances put in by the rest of the whole Company, and from the brilliant staging and music.....the Swan Corps were sublime and their Act 4 introduction dancing, amongst the mist, a thing of rare beauty to witness. Dance after dance, in every Act, was just exceptional. The RB is benefiting from some outstanding coaches and coaching at present. Can't wait to see more casts as the run progresses....! Finally it was super to have a quick word again with @Silke H and @Dawnstar and to meet @Linnzi5for the first time.