BeauxArts

It is very true that the potential in the Hayward Bracewell partnership has not been exploited and that is a shame. Their forthcoming SLs are therefore awaited with real anticipation. I also agree that Will’s naturalistic acting skills lend themselves to the Ashton répertorie, but also I would say to MacMillan. I find him elegant in the classical repertoire and an exemplary partner. I am very keen to see him tackle Onegin, Mayerling and Albrecht. It is particularly rewarding to see his progression as an artist in every sense.

I am not sure there are actual assumptions being made that Fumi and X or Will and Y will not be "as good as" Fumi and Will. My perception - and I could be wrong - is that people are expressing subjectively how they feel when they watch Fumi and Will, and their opinions derive from having seen them dance in a wide range of works, not least their extraordinary Romeo and Juliet. Chemistry is just that: they have it. It is rare and should - in my view - be treasured and allowed to flourish. None of that means that those who - and I include myself here - want to see Fumi and Will dance together as much as possible - will not derive very great pleasure from seeing the various combinations in SL and Manon.

A very enjoyable opening night with a lot of good dancing all round. But for me the absolute highlight were the partnership and performances of Fumi Kaneko and Will Bracewell. When they are on stage their gravitational pull is immense: they draw you into their world and you want to stay there. It is bittersweet fo see them in this run and to have no idea when they will next be cast together. They elevate each other, inspiring each other to ever better levels of performance. And Fumi is simply sublime: a true and world class ballerina. They are just glorious.

Bumping this in the hope of a ticket!

Elisa is a real artist and beautiful dancer. Her partnerships with Vogel and Reilly are wonderful.

I am in search of 1 ticket (SCS preferably) for the Kaneko Bracewell cast of The Nutcracker on either 6 or 9 December. Thank you!

I don’t understand the somewhat censorious comments about Osipova and her schedule. She, more than anyone, is best placed to assess what she can and cannot deliver in terms of fulfilling her commitments. For example, in April 2019 she dropped out of a performance of Don Q at the Mariinsky at a very late stage, leaving Vladimir Shklyarov and many Russian and international fans in the lurch: she said she had to prioritise her RB commitments over guesting at the Mariinsky. Those of us who had hoped to see this stellar duo were still treated to a splendid performance, with Elena Evseeva stepping up (the performance is still available on YouTube). I am sure KOH is aware of what his dancers are doing elsewhere, and no doubt he gives them latitude because he recognises their careers are so short and the ROH cannot provide enough performances.

If arriving at Waterloo on Saturday, 11 November, there is a strong chance the bridge will be closed to all traffic so be prepared to walk rather than catch a bus or taxi. I had to sprint to make it to the Don Q at 1 pm! The bridge was closed because of a protest march. I do not know if it will close for the LM Parade.

Indeed. I would guess that given the extensive experience of Forum users, that is the very approach to mixed casting that we have in common. However, a desire to experience the pleasure of one’s favourite dancing couples can co-exist with that approach, and seems to me to a quite natural inclination of ballet enthusiasts everywhere.

I suspect that Fumi and Vadim will scintillate in Swan Lake, but Will and Fumi in Manon would have been the ideal: a missed opportunity. I am very happy to have seen them in Don Q: for me this is the partnership with true chemistry. They fit in every way and there is so much beauty in their dancing and their artistic and emotional connection.

They truly have the magic chemistry.

I share your wish to see it again! The RB has not shown DB the respect he merits, I feel. I would rather watch Tombeau than any one of the new 1-act works produced in recent years. I think it could look scintillating on the present company.

The sales for this programme tell an important story. There has been some very poor decision-making by the RB, both artistically and commercially. It would have made more sense on both fronts if the RB had belatedly honoured David Bintley and danced Tombeau (cancelled in Lockdown) and a Balanchine piece in recognition of his anniversary and to mirror POB and NYCB, as one of the leading companies of the world acknowledging this special event. This programme is simply not of the calibre that the RB should be dancing on this stage. It may well work better and sell better in a smaller setting, but not on this stage. Currently, the ticket sales for the Dante Project rather mirror this problem, but that may deserve a thread of its own.

It was an exceptionally enjoyable performance and the partnership is very special indeed. Bracewell seemed visibly more relaxed so everything worked better and had more aplomb, including the single handed lifts. He seems to really enjoy this role. A delight all round.

Likewise.

Ticket now acquired.

If anyone has a SCS they wish to sell for tomorrow night’s performance I will happily buy it!

It’s only a matter of time!

That is an interesting fact about Merle Park! The advantage with the later debut is all the experience and stagecraft début the dancer brings.

Indeed - does that not prove the point? 32 is relatively late to make a debut in Don Q BUT he is approaching his prime, and I am hopeful he will stay there for many years.

I have only seen yesterday’s matinee but I was reminded that this is such an anaemic version after the full-blooded versions we used to see from the Bolshoi and the Mariinsky (the best production imho). That is not the fault of the dancers, however. I really enjoyed the performance: it was a balanced cast who played off each other to delightful effect. I have total admiration for Will Bracewell, not a natural Basilio under any circumstances and having to produce some pyrotechnical tricks at a relatively late stage in his career. However, he is a real artist, whose stagecraft and magical partnership with Fumi (divine) worked for me well enough. Sometimes it is confounding when a dancer is cast against type, as here, and perhaps no one would have batted an eyelid had Vadim gone into the long balance and arabesque to start the wedding pdd solo, whereas it was totally unexpected from Bracewell. I also loved his «Spanish line ». Fumi is stellar as Kitri - crystalline technique and such charisma (especially in this partnership).

I agree that the Linbury is not a great venue - some of the sight lines are very poor.

I think the use of the word "collaboration" in this context requires considerable caution. And as for your proposition that balletomanes here are behind the curve if they don't welcome Western dancers sharing the stage with artists still working for Russian companies, well possibly those balletomanes take a principled position on such naive gestures.

Zenin was not in London. His other student Aaron Oh is here atm but presumably they can see each other in St Petersburg…

Yes - very surprised to see him at the ROH given his proximity to the Putin regime. I am wondering who invited him…