cjp

I completely agree with you on this - the live performance of DD had a far more powerful impact on me than the cinema showing too, for whatever reason (though both were excellent). The casts were different but I don't think it was because of that - I think that as you say, sometimes the close ups meant that the viewer missed the bigger picture, all of which added layers and built atmosphere. It was such a wonderful triple bill though, I just wish I could have made it to an Encore screening but am hoping it might eventually make its way onto the streaming service? Now looking forward to the Ashton and TWT and wishing we'd be getting a cinema showing of one of the Ashton triples, but it seems you can't have everything!

I saw Yasmine dance Mary Vetsera to both Vadim Muntagirov and Matthew Ball's Rudolfs during Mayerling last season and had wondered the same then, but she pretty convincingly demonstrated, to me anyway, that she could handle the more morally ambivalent/'minxy' characters, with as much conviction as she does the more conventional heroines and classical roles. Her pas de deux with both partners were just electrifying and I found her characterisation intelligent, thought-provoking and nuanced, just as with her Manon. I wish I had been able to see Yasmine dance last night, as I loved her (and Willliam's) debut performances on 20th January and remember how compelling I found the Act II brothel scene. It felt to me that she absolutely owned the stage, not just in her own variation but the later dancing with the ensemble of men - such an effective moment in the ballet, conveying so much and one of those moments of genius from MacMillan in this ballet. I agree with you re Leo Dixon, who is always eye-catching and it always seems to me that his enjoyment in dancing shines through, whatever he is doing on stage. He was very good in the performance on the 20th, in fact all 3 'dancing gentlemen' were terrific and very well synchronised, the other two being Harry Churches and Joonhyuk Jun. If Leo is ever given a Lescaut, or one day Des Grieux, I hope I'll be able to see it. Then the rest of the cast, from Luca Acri's rascally, amusingly drunk but ultimately tragic Lescaut, Anna-Rose O'Sullivan's comedic flair and beautiful dancing as his mistress, Gary Avis's gaoler (absolutely chilling, my goodness..) the list could go on ..the entire cast was brilliant, as usual. So rich and layered, a story being told wherever you looked. Just wish all the casts could be filmed and streamed, if only to fully appreciate all the details ...I can dream!

I thought that Sophie Allnatt and Leo Dixon made for a very engaging Clara and Hans Peter last night, with some beautiful dancing from both and a lovely, natural connection between them which was very convincing and took us (or me anyway!) on the magical journey with them. Leo Dixon has lovely classical lines and light, precise jumps, while Sophie Allnatt's dancing was fluid, delicate and seemed, to my eyes anyway, technically assured. David Donnelly did a great job as the Mouse King, but then I always enjoy watching him no matter what he's dancing! Anna Rose O'Sullivan and Marcelino Sambe danced with with sugar-spun poise and authority as the Sugar Plum Fairy and Prince - their trust and ease with each other shone through all the time they were on stage and I loved every moment of their performance - it felt like a Christmas gift to the audience as I think I remember Lesley Collier saying when coaching Francesca Hayward in the role a few years ago - very apt. I thought the whole cast, as well as the orchestra, fantastic, and loved seeing the full number of snowflakes back on stage. As usual the interviews and clips were interesting, though Darcey's presenting isn't always the smoothest but she is very charming and gives so many little insights. It was interesting to see her coaching O'Sullivan and Sambe as SPF and Prince. She seems a sympathetic but exacting coach and the performances they delivered repaid her in spades. The sound faltered a few times, but managed to get back on track and I'm so glad it did as I won't be able to see the Nutcracker at the ROH this year, or anywhere else for that matter! Thank you to all the very talented people who contributed on and off stage, it was a lovely evening.

Just very quicky - what a wonderful performance by Matthew Ball last night. I was absolutely drawn in and wrung out by the end! Such beautiful dancing all the way through and he completely 'became' Rudolph to my eyes. Those last scenes in particular seemed so raw and real and he and Yasmine worked so well together, that you would never have guessed the short notice. Likewise the last minute substitution with Anna Rose O'Sullivan worked amazingly well - the pas de deux between them was utterly chllling and yes, I also worried for Anna Rose at one point as she got thrown across the floor (likewise Yasmine later on)! Another performance I wish had been filmed as woulld love to see it again. I think it has been an amazing run of Mayerling by the Royal Ballet, this year is the first time I have really 'got' it and I have loved every minute.

I can only echo all the comments above. I am so glad I managed to make this performance in the end - having been bowled over by their debut perfomance I had to get a ticket and they certainly didn't disappoint. Once again Vadim totally inhabited the character of Rudoph and appeared so lost and desolate by the end that his suffering was almost painful to watch. Mayerling isn't a ballet that usually moves me because it takes something special in an artist to engender much sympathy for Rudoph (for me anyway) but by last night I was on the edge of my seat, completely immersed in the unfolding drama charting this man's descent into hell. And it wasn't just Vadim but Yasmine as well who showed a whole other side last night - her Mary a compelling siren who veered between teenage passion and commitment to her Rudolph, precocious mastery over him and some fear occasionally of the path they were on, the pas de deux between them electric. Fumi also danced beautifully as always and was completely convincing as Larisch, her face when finally ordered to leave Rudolph, showing her world collapsing around her.. I agree that Isabella Gasparini is a wonderful Stephanie, her shock and terror so clear yet eventually finding some courage to resist as well. David Yudes also, wonderful to watch - in fact to sum it up, pretty much everyone on stage nailed it last night, the drama expressed with such beautiful dancing. I would have given flowers to all of them and it is such a shame it wasn't filmed. If there was another performance by this cast I would be finding a way to get there!

I haven't seen all other responses yet but I just wanted to say - wow, what an exceptional and riveting performance. I loved it and was deeply moved by the end. Vadim was an absolute revelation as Prince Rudolph and I thought Yasmine Nagdhi's Mary Vetsera complemented him beautifully, in fact I thought this character fitted her more naturally than that of Marie Larisch (not to fault her performance as Larisch). The rest of the cast too, all sensational, especially Fumi Kaneko, David Yudes, Isabella Gasparini and Hannah Grennell as Princess Louise. Beautiful dancing all round and although some nerves were apparent here and there, it caught fire and the tension and tragedy of the final scenes was palpable. A wonderful evening and I wish I could make the next performance of this cast as there is clearly so much potential for things to get even better as they settle in. Thank you to all involved.

I completely agree with all of the above re Yasmine, when it comes to booking she is always my first choice as well. Her Giselle with Matthew Ball was outstanding and an absolute highlight of the season for me. I wouldn't have missed Fumi Kaneko's debut in Swan Lake either, one of the best performances of Odette/Odile that I can remember and an astonishing debut. I am kicking myself that I didn't book to see her R&J with William Bracewell! I loved the inspired Ashton Triple Bill, especially for a rare chance to see Scenes de Ballet performed and also the touching pairing of Laura Morera and Vadim Muntagirov in Month in the Country. It is a shame it didn't run for longer as I would have liked to see all the casts and it wasn't possible within the 10 or so days it was on. The corps de ballet has been a joy to watch at every performance, particularly in Giselle, though their Swan Lake ran it close! Leticia Dias and Leo Dixon stood out for me in many performances but I was also impressed by many of the other younger dancers and the character artists. Congratulations to all the company on such a successful full return to the stage. Thanks to all for the contributions to this forum and to those who run it. For those of us who can't make it to as many performances, the reviews and discussions are very informative and much appreciated.

I am catching up with the fouettés discussion with interest and agree with the above, I saw Naghdi's Swan Lake debut at ROH in 2018 and don't remember any problems with her fouettés. I think the problem with the fouettés generally is that the music at this point demands something very dramatic, so if they are not performed, any alternative choreography needs to be suitable to the moment in terms of music and storyline to avoid a feeling of anticlimax, whether or not the audience is actually expecting the fouettés. Many of them may not be (in fact I am always surprised in hearing conversations around me how few seem familiar with even the story of Swan Lake, even a couple of acts in - the synopsis is freely available!) I don't particularly enjoy the fouettés as a spectacle in their own right, still less as some form of arbitrary test for a ballerina, but I think they arguably work in emphasising Odile's authority, her relentless assurance and total mastery at this point, as proven shortly afterwards in the denouement. She is literally spinning a spell over the court and the prince and nearing her moment of triumph. Unfortunately as they are now famous, or maybe infamous, this moment in the ballet must hang heavily over all ballerinas, especially debutantes, who I am sure routinely perform them without issue in class and rehearsal when there isn't such a stress attached. It does seem a good idea for dancers to have a plan B if the fouettés go awry, just because as others have mentioned, if it all goes wrong at this critical moment it does break the spell rather abruptly for the audience and dancer. Even if we can see something has gone wrong, at least continuity allows things to get back on track and so it won't ultimately spoil a peformance which has been wonderful apart from that one moment.

I agree with both you and AnneL - I didn't see the matinee by this cast (Magri/Corrales) but was lucky enought to catch their debut performance and felt similarly then. Act 4 was very moving, and in Act 3 I found Mayara's interpretation of Odile interesting and enjoyable. She struck me as mischievious, sparkling, playful almost - captivating more than emphatically evil - until the big reveal! It felt more natural that Siegfried might have been taken in by this more engaging persona and more of an excuse for what usually seems a pretty incomprehensible error on his part!

I couldn't agree more, Fumi's SL debut (and Federico's farewell) was one of those performances that will always stand out for me as absolutely magical and unforgettable, so the chance to see her dance it with William Bracewell, if it ever came along, would be pretty unmissable.

I agree and also the little 'ripple' that I seem to remember accompanies this in the movement of the arms of the corps ladies behind them, just beautiful.

I was taking it to mean a pun on 'down' ie, swan lake, feathers etc? It didn't strike me in reading the first post I must admit

I agree with all the praise for the performance broadcast in cinemas last night. I thought it was amazing, with beautiful dancing and a searing emotional journey from the two leads. They looked wrung out at the curtain calls, and I felt a bit that way myself! They lived and became their characters so completely and in turn made sure that we inhabited that world with them. There were so many so beautiful and moving moments and I thought that the bedroom pdd in particular was a testament to their chemistry and the strength of their partnership. Full credit to Anna Rose for nailing that very difficult passage in Act 3 when Juliet, having been left by her parents with her terrible dilemma, sits completely still on edge of the bed while the music swirls around her, the outward expression of her internal chaos. Anna Rose gave a heartrending account of this last night, a teenage girl overwhelmed by fast moving events and her own grief and desperation. Wonderful acting from her, not just in this scene but throughout, with so many well observed touches here and there to illuminate her Juliet for the audience. As others have mentioned, it was lovely to see James Hay on stage again, with one of the best portrayals of Mercutio I have seen; so individually realised and well fleshed out, often amusingly so. I would love to see him dance Romeo one day, though not too hopeful it will come to pass - maybe with Romany Pajdak as Juliet, who seems to me better suited as a potential Juliet than as a Nurse (not that there was anything wrong with her portrayal of Nurse!) I also enjoyed Gary Avis as Lord Capulet as I am more used to seeing him as Tybalt. I loved being able to see close ups of the small details, such as his clear frustration in places and seeming almost at a loss in knowing how to deal with Juliet, something that probably chimes with parents of teenagers down the ages! It made it feel so real and that his character wasn't just a one dimensional tyrant. Similarly Kristen McNally as Lady Capulet and the frustration she also seemed to feel at her powerlessness to help her daughter and at apparently being forced to fall in with her husband's wishes. Thomas Whitehead's Tybalt was the swaggering villain of the piece and I thought he made it work pretty well. All in all a spellbinding performance, well done and thank you to all concerned.

I feel privileged to have been at last night's performance, it really was one that you didn't want to end and for the spell to break. The standing ovation at the end was well deserved. I thought that Yasmine Naghdi came pretty close to perfection with her Giselle, every placement of the arms, neck, and inclination of the head layered with tender nuance and emotion. I hope this performance is the one they choose to stream as I would love to see it again. I enjoy her Act 1 Giselle as she appears to be so youthfully joyful and brimming with life, making for a suitably satisfying contrast with her ethereal apparition in Act 2. Both she and Matthew Ball have such great stage presence, and together lit up the stage. They seem to have developed a depth of understanding which allows them to trust each other so that they can let go and develop the story, to the point that they live it and draw us in too. They had the audience riveted in Act 2; you could have heard a pin drop. One minor reservation I had with an otherwise powerful portrayal of Albrecht by Matthew Ball, came at the very end, where Albrecht is close to finally collapsing. This is a very dramatic moment of course, but I thought it veered a little too much that way briefly, to the point where the dancing seemed in danger of coming second to the acting. I know this is subjective and to everyone's own taste, but it is the way it struck me at the time. Maybe it will seem different on a second viewing, but for a moment I was wondering if we'd need a defibrilator! Otherwise though I thought his performance outstanding, as actor, dancer, partner. The tempo of the music at the Friday matinee I had found inexplicably (and annoyingly) slow in many places - last night I didn't think it quite as pronounced, however for the lifts in Act 2 where Albrecht holds Giselle perfectly horizontal above his head, the music was drawn out to the point that it must have been a real feat of endurance for the dancers. Huge credit to them for managing them so well - it seemed as if the audience was collectively holding its breath, but no need to worry, they made it all in a day's work and Naghdi was set back on the floor with dreamy lightness and control. What to say about Marianela Nunez's Myrtha! She completely owns the role and was dazzling in it - managing to be fierce, commanding, icy, queenly, and generally absolutely not what you'd want to bump into in a forest in the dead of night! All the time with the superlative dancing we've come to expect of her (and supreme mastery of 'panther feet' too). Elsewhere the Wilis maintained their run of excellence with apparent ease. The pas de six I thought was managed better than at Friday's matinee but did perhaps lack a bit of sparkle and flow. I am really enjoying this run of Giselle on the basis of my first two viewings (could easily have managed more if time and money allowed) and think it is a bit of a shame that we aren't having a full cinema showing rather than online streaming, to do it justice - the way the company are looking at the moment, the effect on the large screen would be stunning.

I agree with the comments above, Gina S-J sketched a wonderful Bathilde today; coldly contemptous and gracefully insolent. I also agree with another comment upthread on the impact of Takada's mad scene, which I found very moving. She seemed so lost - childlike and fragile, stunned and uncomprehending at the betrayal by one she had gladly given her heart to. Having said that, and I say this as someone who has been wowed by Takada on many occasions, this afternoon her Act 1 characterisation, except that last scene, didn't register strongly enough for me to really feel the depth of the tragedy of her Act 2, beautiful and ethereal though she was. Unusually, I also thought that she didn't seem 100% comfortable with some of the demands of the choreography in places. Given her calibre as a dancer, her performance was of course still wonderful and very well received - I am only comparing with previous recollections of her (somewhat fuzzy now given the length of time the plague put a halt to live ballet watching). I think that I also prefer her paired with Alex Campbell to Cesar Corrales. Although he gave a strong account of Count Albrecht this afternoon, both dramatically and technically (as far as I could judge) I didn't feel a particularly strong connection between them; they seemed more like very fine dancers dancing in respectful parallel but with no especial resonance or interaction. I enjoyed Annette Buvoli's Myrtha and she totally commanded the stage. She seemed to register a fraction of sadness alongside the relentlessness and that touch of humanity made for a more complex and interesting portrayal. For someone who has only just made her debut in this role, I thought it was delivered with amazing maturity and promise. Nothing previously said about the corps/Wilis overstated how awesome they were as far as I'm concerned; the beauty and synchronicity of their dancing brought tears to my eyes (been too long without live ballet for me!) They were absolutely chilling and managed - as one - to convey deadly implacability. Ultimately they were the stand out stars of the show. My main niggle about this afternoon though, as others have said elsewhere, was the tempo of the music. It was excruciatingly slow in places to the point that unfortunately it marred the flow of the performance for me, especially in Act 1 where it was sometimes glaring. Other than that, it was a very enjoyable performance and lovely to be back watching live ballet. I am really looking forward to the next couple of casts I'll be seeing.