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.

I think that any seats in the orchestra stalls should be good quality at the prices they are charging for Swan Lake now! I hope your wife enjoys her lovely surprise.

I agree with the comments above about last night's performance. It was really nice to see Itziar Mendizabal dance a main rather than supporting role and I thought she easily demonstrated why we should see it more often, with some beautiful dancing and very convincing acting. I was with someone who hadn't seen the ballet before and by the end of the mirror pas de deux she was in tears already! Thiago Soares was in full command here, as others have mentioned, and I thought he gave a detailed, thought provoking performance. For instance for the first time, in the 'tearing of the letter' scene, he managed to make me feel that Tatiana had to some extent put him in a difficult position, whereas usually my focus and sympathy is all with her because Onegin is generally made to seem so cold and cruel here. Soares managed to convey an almost-hesitation and at least consideration of the impact his rejection will have, as well as how to deliver it, that gave the scene a distinctly different impact for me. We both fell a little bit in love with David Donnelly's Lensky (always my favourite character anyway). He looks so much the part, acted well and his dancing was just glorious. Meaghan Grace Hinkis is also very suited to Olga, her portrayal just that little bit more callous during the ballroom scene where she flirts with Onegin than some others. I thought she and Donnelly danced very well together, with a shared musicality that made much of the nuance of the beautiful music, and he made her appear to practically float during their pdds. I am very glad I had the opportunity to see this cast, as well as the couple in full evening dress - behind them in the extremely long queue to retrieve coats! I was wondering if we might be treated to a bit of a Fred Astaire number while we waited!

Dawnstar I agree you should see Takada live if you possibly can. I was unsure what to expect of her Manon a few years ago and thought she was a revelation - a very unique interpretation and one of those performances you keep thinking about afterwards. She has been superb in anything I've seen her in.

I couldn't agree more with all the glowing comments about Yasmine Nagdhi’s Tatiana last night. Her characterisation was acutely observed in every detail and her despair and anguish at the end were palpable. I was fairly close to the stage and as Xandra Newman has said, could see that she was emotionally drained and so immersed in the part that she still appeared to be in tears as the curtain came back up. Her precise drawing of the character’s arc from sensitive, bookish young girl all the way through to the wise, mature and beautiful (though heartbroken) woman at the end was amazing to see, not one expression wasted in telling her story. She and Anna Rose O’Sullivan as Olga had a great rapport and gave us a very sweet, believable sisterly relationship. Towards the end her love and tenderness for her husband shone through with such conviction; the contrast to the passionate attraction she still feels for Onegin crystal clear, and her loss and heartbreak in the final scene were pretty devastating. Federico Bonelli was also superb. I saw him in the last run of Onegin and it is a long time ago now to compare impressions, but I thought that the coldness had been notched down a degree and his nuanced performance teased a glimmering of sympathy in me by the end, something that rarely happens for me with this character. His realisation of what he had done in killing his friend, the enormity of it hitting him suddenly, was very well done. I would also agree that he and Yasmine were wonderful together. Elsewhere, I thought that Anna Rose O’Sullivan inhabited Olga in every gesture and expression, her playful radiance at the beginning a powerful contrast to the way we finally see her, broken with remorse after the duel. Joseph Sissons’ dancing as Lensky was very beautiful to watch, and his solo before the duel was really moving. Ultimately I did feel that they were more secure in their individual performances than as a couple, the only slight reservation I had. Bennet Gartside gave us a very sympathetic performance as Prince Gremin, he and Yasmine’s Tatiana a perfect foil to her relationship with Onegin. In fact it was a wonderful performance by all the cast, including some gorgeous dancing by the corps. Basically I was so immersed in this performance that I wanted to ‘fast forward’ through the intervals, the same feeling as with a book you can’t put down. It was nice to see many people were standing in the stalls at the end, it was so well deserved by everyone, but for Yasmine in particular - just wow.

I was sorry to miss Lauren, especially as her Aurora was a highlight of the last run of SB for me. Fumi, however was absolutely magical last night, and repaid Kevin O’Hare’s confidence in her in spades. Her Rose Adage was superb, unrushed and secure and she looked as though she was enjoying every moment well before the end. I loved the way the filming gave us close ups of her colleagues basically holding their breath for her and willing her through, and the focus of the princes in supporting her through the balances especially – though they need not have worried of course! One small detail I really appreciated was the way Fumi took the time to acknowledge each of the princes at points throughout the Rose Adage (and later, her prince). That touch of graciousness helps create Aurora’s persona as the young princess she is supposed to be and makes the Rose Adage somehow more a part of the overall story, continuing the narrative, rather it being more a stand alone set piece. I think this point has been raised before – I was in total agreement then and was very happy to see it yesterday. I particularly loved Fumi’s variation in the vision scene in Act 2 as well, so delicate, remote and dreamy (shades of Viviana Durante for me here, no higher praise). Federico Bonelli was every inch the prince and their dancing complimented very well, especially given the lack of rehearsal time they must have had. Yasmine Naghdi and Matthew Ball, as Bluebirds, just shone in the final act and for me they alone were worth the price of admission (sorry to the poster whose transmission cut at that point, really bad luck!) I just wanted to add, without getting into the details of this particular performance (though I didn’t think it a bad one from Gina SJ) that I really dislike the lilac fairy variation. As others have said, hardly anyone can perform it really well and even when they occasionally do, the choreography isn’t particularly attractive, though I can see it fits the difficult timing of the music at this point. There must be another way, as it becomes an ordeal for the audience and dancers alike - or maybe that’s just me! I remember thinking that even Marianela appeared to approach it with extreme caution. In summary though, for all the other lovely performances, the night belonged to Fumi Kaneko - a total star. Darcey at the end seemed to be bursting with pride in her and I think we could all understand how she felt. So many congratulations.

I thought the whole company was on great form and performed superbly last night, as did the orchestra. They deserve so much credit for continuing to produce such strong performances in a variety of works and over such a short space of time. Special mention to the two leads, Yasmine Naghdi and Matthew Ball articulating beauty and emotion so well through their dancing that they always transport me into whatever story or even abstract piece that they are performing, whether separately or together (but especially together, I think). A truly stunning and triumphant Rose Adagio from Yasmine, but as someone mentioned above, she never appears showy all the same, always sweetly serene and seeming very touched by the reaction she inspires - a prolonged, thunderous reaction following and even during the R.A. yesterday. The soloists and corps were excellent throughout and Beatriz Stix-Brunell particularly stood out for me with her beautifully expressive arms among the fairy variations in the Prologue. I enjoyed Ashley Dean's interpretation of the white cat and I hope we will see more of her in solo roles, especially after her strong performance in Tuesday's triple bill. Francesca Hayward and Marcelino Sambe were a treat in addition to all this as Princess Florine and Bluebird - luxury casting indeed, in costumes to match (the RB has a very talented costume department, I am constantly admiring the skill that goes into them!) Bravo all round, for this as well as the excellent triple bill broadcast on Tuesday.

There is a clip on YouTube of Darcey dancing Gamzatti (Temple Destruction scene) which is just about perfect and my standard for other Gamzattis! Those long, sinuous extensions which seem to last forever, just so fitting the part and driven turns, some of them seeming to leave the signature of the movement in the air. I tried to insert it here and couldn't make it work but it isn't difficult to find. I am lucky in having persuaded my brother, who had a DVD writer at the time, to record her last performance (Song of the Earth), at the last moment. Symphonic Variations, which was the second ballet of the triple bill that evening, was also very special, in fact my favourite of the three. Some of the dancers were Roberta Marquez, Belinda Hatley, Laura Morera, and Stephen Macrae. I think it was also Belinda Hatley's last performance; the audience certainly got an evening to remember on that occasion!

I also saw the Campbell/Hayward matinee performance yesterday and was completely captivated by it. Francesca always manages to move me no matter what I see her in and her dancing is just so beautiful to watch. She has a lovely connection with Campbell and, although I felt his dancing lacked a little power at times, it was always eloquent and elegant and overall his performance was one of the best, most deeply felt Des Grieux I have seen so far. Corrales was a complete revelation as I hadn't seen him dance before. What a talent! His drunken pas de deux was genuinely funny, danced with flair and impeccable timing with Mayara Magri. As with all the best performances I am still thinking about it this morning! I didn't see the Osipova/Hallberg performance but I echo the comments of the poster above regarding Macmillan's powerful portrayal of Manon's plight and the more general situation of women at that time, as well as the cleverly selected music for the score. I find the use of the light and airy music (from earlier in the ballet?) as Manon lies broken on the floor of the gaoler's office particularly haunting. Given Francesca's fragility of appearance anyway, and her vivid characterisation throughout yesterday, it particularly moved me as underscoring Manon's journey. Although I didn't see Osipova/Hallberg last night I am enjoying reading the comments on their performance and all the other performances I haven't seen, it is what makes the forum such interesting reading. I find it really fascinating to read so many different perspectives on one performance - and vive la difference! It just goes to prove how great an art form ballet is.

Regarding the R&J cinema broadcast I can only say that both the performance I saw from Naghdi/Ball in the ROH on 1st June and then in the cinema on the 11th were performances I will always remember. To me they made Romeo and Juliet flesh and blood and the story unfolded before my eyes. I didn't have any attention to spare for the condition of their shoes given the beauty of the dancing and what was being conveyed. It is interesting to read comments that Yasmine has become too technical or regal, in her portrayal of Juliet - I just can't see that. To me she perfectly encapsulated Juliet's transition from a young, sheltered and innocent young girl, stuck by the coup de foudre of first love and almost bewildered by it, to the maturing though to womanhood and her desperate fight against her fate, all her choices narrowing to that tragic conclusion. Tears by the end for me! What I like about this pairing is the interaction between them on stage - neither just projects 'this is my version of Romeo/Juliet', they seem to read and respond to the other's performance so well. This might sound obvious but in my experience it doesn't always happen! It makes all the difference for this story because even a very good supporting cast will not make the ballet work if the central relationship doesn't convince. Am I right in thinking that Yasmine hasn't danced Manon yet? I hope to see her in more Macmillan and dramatic roles generally. I have hardly been able to see any ballet this year sadly - catching up with comments on this forum, it sounds as if the Hayward/Corrales R&J was something very special, as well as Anna Rose O'Sullivan/Marcelino Sambe and Osipova/Hallberg. I hope these will be considered for future broadcasts and yes please to the DVD of the broadcast on the 11th! In the meantime I am loving the clip of the balcony pdd!

Thank you, I prefer this excuse to it being a senior moment!