Richard LH

I can't make assumptions about what others do when looking at the site. The information is there though. And at the time of general booking, the summary page for the triple bill page should change to the full details anyway, like it did for the Winter Season.

"He is both the only British male Principal currently performing and is the longest serving Principal at The Royal Ballet." But he is unfortunately not currently performing, and what about Matthew Ball? Also Nunez and Bonelli have been Principals at the RB longer.

Sorry I must be missing something! The only issue I see really is on the summary page for the mixed bill, if not signed in, in which case there is just rather a jumble of names for each date, but as this page does not even attempt to link those names to the individual works, it isn't anything I would take much notice of anyway. But even if not signed in, you can see all the available individual casting information for each ballet for each date, including 15 May, by clicking on the dates shown in the Spring Calendar of Events page.https://www.roh.org.uk/seasons/2018-19/spring/events Assuming it works like the Winter Season did, as soon as public booking opens the mixed bill pages will revert to the same as they are now for anyone signed in, with all available details. So it should all be fine! Hopefully the above makes sense: it is easier to do, than to explain clearly here.

Lizbie I have just edited my post to point out the same details can also be seen if not signed in. And surely people will sign in before looking to book.

It is rather strange that Osipova (only) is listed as cast in 4 of the 7 performances of the new SLC work, with no mention of any casting for the other 3 performances. But otherwise, I don't see what the problem is: if you are signed in and you click through to the details for any performance/ date, you can see such cast details as are currently available for each part of the triple. Or if not signed in, you can get the same details via the Spring Calendar of Events route.

I don't think A100 is a worse seat than A99-inwards, so I don't see any reason to price it cheaper. Regarding R & J, there are quite a number of cheaper seats available at present, and I expect there will still be a reasonable choice at kick-off on the 30th.

There is now just a space above the side of the orchestra pit beyond A100 where seats used to be; I understand the idea is to allow more space for the sound to escape to help avoid damaging the hearing of orchestra members.

People have different likes and dislikes! Please look after A100 as I will need it for the last night, again Magri/ Campbell! I saw Takada/McRae from there, in Mayerling; it is a great position for being close to the action, at the expense of a little awkwardness in terms of keeping your head towards the right, and potentially missing a few things near the side of the stage -not that I missed anything in Mayerling that I recall.

You mean Orchestra Stalls presumably Ruth; I know you can get Stalls Circle seats from time to time.

Oh dear - will she not be doing Manon next week?

ElleC these look great choices - I had forgotten Rhapsody in the one-Act catergory. Out of interest I set out below the full-lengths, performed on the main stage, from 11/12 onwards. My choices for 19/20 are in bold (as most recently performed) , plus Coppelia. I left out Giselle and Manon, not because they would not be welcome, but as I thought them likely non-starters after their appearance early in 2018; having said that, I do note that Giselle was performed in early 2014, 2016 and 2018, so on that pattern it could be back early 2020. For Manon the recent gaps were at least 3 years. 8 full-lengths would be unusual (see below) so it is likely at least one of yours would have to go. I would not complain if that were the only change from your list ! 11/12 Jewels, Manon, Nutcracker, Sleeping Beauty, Alice, La Fille, R & J, Prince of the Pagodas (8) 12/13 Nutcracker, Swan Lake, Alice, La Bayadere, Mayerling, Onegin (6) 13/14 Don Q, Jewels, Nutcracker, R & J, Giselle, Sleeping Beauty, Winter's Tale (7) 14/15 Alice, Don Q, Manon, La Fille, Onegin, Swan Lake, Woolf Works (7) 15/16 Nutcracker, R & J, Frankenstein, Giselle, Winter's Tale (5) 16/17 Anastasia, La Fille, Nutcracker, Jewels, Mayerling, Sleeping Beauty, Woolf Works (7) 17/18 Alice, Nutcracker, Sylvia, Giselle, Winter's Tale, Manon, new Swan Lake, (7) 18/19 La Bayadere, Mayerling, Nutcracker, Don Q, Frankenstein, R & J (6).

General booking does not open until 30th January and there are still 2½ months until first night.

This is a beautiful, joyful ballet, with a good combination of humour, pathos, different dancing styles, memorable music, and vivid scenes. It has plenty of opportunities for the dancers to show off their technical expertise, flair, and characterisation, with various good roles to fill, not just Kitri and Basilio (the two principals) but Don Quixote himself, Sancho Panza, Dulcinea, Lorenzo, Gamache, Espada, Mercedes, Amour, and The Queen of the Dryads. I am looking forward very much to seeing Takada with Campbell (twice!) - they should be great together in this - as well as Nunez/Muntagirov, and Magri/Campbell. Also attending the Insight rehearsal - as mentioned by Blossom that was a lovely one in 2015 with Acosta and Takada/Muntagirov (link below) and I would love to see Acosta back again for the forthcoming Insight on 04 Feb (which is fully booked I'm afraid, but is to be filmed). So for any undecided, with still 5 weeks to opening night, I would say grab tickets whilst you can !

5 minutes from ROH to Coli - no problem! After Manon you could take a leisurely stroll back up to the ROH for the Queen of Spades - there are a few tickets left for only £215....

Takada and Campbell....I'm really pleased. At last, something good coming out of cats! 😲

It is because of Cats Sim. I hoped it might be Campbell - Brilliant !

Part of an online virtual world in which "residents" can explore, meet other residents, socialize, participate in both individual and group activities, build, create, shop, and trade virtual property and services with one another ! Go for it, Sim !

Isn't this the Royal Ballet ? Surely the definitive version...with that famous little green man...

Overall I prefer the RB's, as you might deduce from the above! Beyond that, whilst I know both productions have similarities, having only ever seen this one ENB performance I can't justify my opinion with the sort of detailed critical comparison of specific sections that maybe other posters could provide, Lizbie.

Oh yes, something else that I meant to mention about this Swan Lake performance...there was only a very brief curtain call session, no "calls" for any of the individual leads, and no flowers, not even for the splendid Cojocaru. So rather a flat feeling at the end! Is that sort of ending typical for the ENB or the Coliseum?

Bruce this seems crazy given the large amount of standing space that could be made available, for example at the rear of the Dress Circle alone.

I enjoyed Swan lake at the ENB last night, particularly the exemplary dancing of Alina Cojocaru and the skills of Jeffrey Cirio (who, for example, runs on for his Act 4 entrance with a breathtaking leap - I think the RB Siegfrieds just run on). However overall the ENB version does not match the new RB production, for me, and I thought I would try to identify a few of the reasons why (irrespective on the actual dancing performances of the main characters, or the corps, because I am probably unfairly biased in favour of the RB in that respect - if only due to greater familiarity, and having my favourites!) ENB'S Rothbart, with his huge wings, is fun, but he comes across as rather more of a caricature than a character, and his permitted entrance to the court in Act 3 is less logical than for the RB's Rothbart who is already part of the court. I don’t like the concept of the ugly, evil Rothbart taking front centre stage and directing the swans – that seems effectively giving him the credit for their beautiful dancing. I like to think of these girls forming their own sisterhood/swanhood and moving gracefully as one flock, as far as they can, as a sort of antidote to, and in resistance to, the evil spell they are under. In RB’s version the depiction of Rothbart’s Act 3 triumph is filled out more, and seems more logical and convincing. The RB's staging and costumes are much better (no doubt helped by being “in house” rather than touring, and by having a larger budget). I prefer RB’s entrance of Odette on her own, and seeing her, after crossing the stage, being surprised by encountering Siegfried close by, rather than the ENB's version of her appearing amidst a group of her swans and then seeing him at the other side of the stage. There is a rather excessive use of the "let's all dance" mime in the ENB version, which someone has pointed out previously. I am pleased, though, that both versions retain the Act 2 Odette/Siegfried mime. The ENB have a strange 5 min gap, with house lights up, between Act 1 and 2, where the audience are unprepared for the music recommencing half-way through, and end up talking over it (the talking just gets louder as the music volume increases ! ) and/or checking their smart phones. I do enjoy the ENB’s extra dance for Siegfried at the end of Act 1. I prefer RB’s use of Benno as Siegfried’s friend/mentor, rather than ENB’s tubby tutor. I prefer RB’s expanded roles for the Pas de Trois girls, as Siegfried’s sisters. I prefer the RB concept of 4 different identifiable princesses in Act 3 rather than 6 indistinguishable ones. The ENB's opening of Act 4 includes a long section of the music played pre-curtain up, thus missing out some of the lovely swan dancing that is seen in the RB version. ENB's Act 4 seems a bit short, and I thought the ending rather too much of a cliché and a cop-out, with the recent departees conveniently ascending heavenwards, as if on a fairground ride, whereas the RB has a more poignant depiction of real sacrifice, as Siegfried is just left cradling the body of the restored, but drowned, Princess Odette.

Just off to the Coliseum for Swan Lake so I am a bit worried now! Perhaps the radio is better for enjoying ballet after all (sorry in advance, Lizbie)!

Not really, for me - perhaps I don't have enough imagination Lizbie! I did find myself visualising the relevant dances from La B as the music was being played, but of course that only worked because I had already seen the ballet.

A lovely programme, but rather a shame it could not have be a TV item. We just had to imagine what was going on in the dance rehearsals with Makarova etc.