JNC

Yes please report back onemouseplace and anyone else who goes. Exhibitions are so expensive now I only go if I know it's going to be very substantial and what I am interested in!

I too am rather shocked at the number of available tickets for this. Interestingly I don't think it's gone to student standby as with the timing of Friday Rush it didn't seem to work out (Student Standby tickets have to be purchased by midnight the previous day). I hope this doesn't mean empty seats though, would be a real shame and wouldn't want to put ROH commissioning such one-off gala/celebrations in future. I have to admit I was hoping for Naghdi in Firebird too (as I've already seen Menzibal this week) but if this means she can do something elsewhere I can't complain too much as I'm not missing out (seeing her in Firebird next week!). I am sightly curious as to whether gala/celebrations usually do a full one act ballet rather than a full mix of divertissements. I do wonder if they are only doing the whole firebird (rather than select firebird extracts) because the company has a lot on (to be fair to it) and because this seemed to be a fairly last minute scheduling and firebird happened to be showing at the same time. But perhaps this is a little unfair/cynical of me, and I look forward to tomorrow night immensely, I hope it will be a very special evening.

I note they haven’t posted castings for the Enigma mixed bill online though other castings are up. Come on ROH!

Oh good to hear there was some good stuff, sad I missed this! Hope there will be another one at some point!

So interesting reading all the diverging opinions! I made a quick note of what I thought of an excellent evening last night! The firebird My first time seeing this and wow, it was stunning. Yes it’s not a classical ballet in the sense of a lot of pointe work, but you can see how Ballet Russes were shaking things up. The costumes and sets were stunning, and I was glad to hear the orchestra were on good form, and I’ve never heard the whole score live yet so that was an experience in of itself! I thought Mendizabal was a fantastic firebird - even up in the amphi her expressions (her eyes!) were brilliant and she did the ‘trembling arms’ fantastically. She looked so light and airy as she flitted about, but brought that steel and determination in the static poses. Having said that, I wish some of the jumps were a little higher with more of a perfect split in the air - I think Naghdi will deliver this. But this was a minor thought for an overall stellar performance. Calvert was good as the princess - some may find the apple throwing and other non pointe scenes not to their taste but I loved them - I thought the choreography was magical with the patterns created by arms and the movements really told a story. I much prefer this style of non-pointe work as I think it is clearly not naturalistic style movement as you get in MacMillan’s crowd scenes, and more contemporary dance with clear lines/patterns. I don’t think I’ve explained very well but was pleased to see that despite others not enjoying firebird as much due to the lack of ‘pure/classical ballet’ I found it an absolute delight. I’m very much looking forward to seeing what Naghdi will bring to the role, and Watson of course as I’ve not seen him before! A month in the country was absolutely lovely. I have to confess; I wasn’t a huge fan of two pigeons and AMITC got off to a bit of a slow start. I saw Osipova/Hallberg in RJ and their famed partnership didn’t quite reach the level of passion and chemistry I expected. But after a bit of a hesitant start, they brought it here in devastating waves. Osipova was brilliant as Natalia, the pure emotion and drama. I was worried she may ‘overact’ it but I thought it was spot on. Her technique was flawless too. Hallberg was much more suited to Beliaev than Romeo, all light air and dandy, not requiring the aggression and heat of Romeo. Whilst his technique was near flawless, sometimes it did feel as he was only bringing/able to bring 80% to the role, and I wonder if his injury has affected him or if perhaps he was still warming up to the role, it being his first live performance. Having said that, when he clutched Osipova’s hands at a crucial pause the spark was lit, and their second pdd brought it in spades. I could feel the famed partnership igniting and understand all the platitudes now. Shame it didn’t quite happen in RJ with all that potential but so glad I saw it here. Saying this though, I’m not sure if it was enough to make me book for them again which is odd as I did really enjoy their partnership here. Make of that what you will! I do think Hallberg is a very different dancer to other RB males which somewhat justifies his numerous guesting this season and next, but don’t think it justifies it enough in my opinion! Hinkis as Vera was good at showing pure puppy love and petulance, but I felt there was a certain depth of emotion missing which I felt Hayward would have brought. It’s unfair for me to compare as I’ve not seen Hayward though, and Hinkis made a promising debut, though it’s certainly not there yet. Acri was similar - a lot of potential but some elements of technique etc need a little more work. He brought good ‘character’ though and projected well. The end was utterly heartbreaking and I’m so glad to have seen this ballet and Osipova/Hallberg’s pure emotion - and so excited to see what Cuthbertson and Muntagirov will bring to the roles, and absolutely keen to see O’Sullivan as Vera. Onto Symphony in C. Absolutely delightful! I was sorry to miss this in the Autumn so glad it’s getting a second showing. I think it showcases the talent across the RB. It wasn’t perfect but it was near enough! Kaneko was lovely, her brilliant smile and absolute elegance reminded me of Nuñez and I think she’s definitely on track for principal at some point. Of all the first soloists I imagine she is best places in my opinion for Odette/Odile. Muntagirov was absolutely stunning; what more can I say. Pure perfection. Nuñez brought it too, I always forget how good she is technically, and she has great stage presence. Not much for Hirano to do really, so can’t comment much but I think he partnered effectively. It was nice to see Campbell back on top form, again I was reminded of how good he is and he brought out some additional flair and grace with some of the arm movements. It would have been brilliant to see Takada; but well done to Choe for stepping up. I admit she wasn’t quite as graceful and technically assured as Nuñez/Kaneko/Naghdi but when you’re playing at this level, few are. Naghdi was spot on, I don’t think Zucchetti quite had the same level of stage presence but I suppose having 8 out of 8 star performances is probably too much of an ask, even for a stellar RB. I’m more than happy to settle for an superb 6/8, with excellent work from the corps too. Overall, what a night!! Despite the late finish I felt so energised after and all three ballets were so different and yet excellent - this is what mixed bills should be; why should we always accept one (or two) will be a bit of a ‘filler’? Really made me feel so lucky to be able to see the RB in a time where they have such great talent across all levels of the company. I’m very much looking forward to round 2 next week, and the sheer brilliance of the mix makes me so glad I decided to get a last minute ticket for the Fonteyn gala on Saturday.

Brilliant thanks! Whilst this is great news I'm now wondering if they are so 'cheap' as to incentivise more people to book so I won't get a ticket anyway ha! I'd rather this though then them being overpriced so luck of the draw on booking day! In some ways it may be a relief as I'm already looking to spend far too much on the Autumn season anyway!

Slightly disappointed not to see Hayward as Nunez/Ball are the only pairing I'm not seeing! However delighted and excited to see O'Sullivan! The rehearsal photos on social media etc look stunning. I look forward to reading reviews tomorrow of those attending tonight!

Thanks! A lot of TBC though...also intrigued that they are doing two performances an evening, wonder why this is. Perhaps not enough free evenings in the Linbury, surely not? I'd like to go but not sure about ticket availability once general booking opens, plus would be interesting to see the prices. For a 45 minute performance I'm hoping it will be cheap, I wouldn't go if it was priced similar to a mixed bill on the main stage!

I have to say I do find it surprising ROH do paper ticket still as a default, especially with free postage. I'm not complaining and I actually do like a paper ticket (a good way of remembering seats for performances without consulting your webpage), but if e-tickets become the default (and or paper tickets come with postage costs) then I do find it understandable. I only hope this means they will lower some ticket costs (wishful thinking!) or at least put the money into new productions/dancers' salaries etc rather than other ventures. I for one actually find the ROH in the minority nowadays in not charging a booking fee which I really respect and hope they stick with. However I have noticed that they do automatically put a donation of £3 in your basket which you have to actively remove which I find a bit annoying. Bur rather this than a booking fee I suppose, although I always wonder how many people actually donate through this method. I especially hate those booking fees which charge you more either per ticket or charge a higher booking fee if you've booked a more expensive ticket - so please never introduce these ROH!!!

I too feel like I've learnt so much more since joining this forum! Thanks to all those who have provided reviews

I'm hoping it's a bumper edition with lots of gorgeous pictures and hoping for interviews with dancers to justify the additional cost! I am excited though.

I think as long as the conversation is about those who watched Polunin's dancing for those who are interested in reading such comments it's a valid topic for the forum? Those who aren't interested don't need to read it surely (I don't mean this in an antagonistic way). As long as reviews are honest and written by those who have genuinely attended they are entitled to their opinions. I haven't seen the show so can't comment, but wouldn't rule out ever watching him live if the programme appealed to me (and if I felt I could separate his politics from his art which I'd like to think I could but I don't wish to re-ignite that debate!). Therefore I'm somewhat interested in hearing what others have to say about his dancing/programme. To conclude - let's stick to the topic of dance and encourage those who have watched him to comment so others who are similarly interested in either going to the performances themselves, or just simply following a well-known figure in the dance world and their artist output are able to access a diverse range of opinions, not solely the professional critics' reviews. If the conversation goes off topic etc I trust the mods to step in as appropriate. Anyway I'll shut up now and won't comment further as I haven't seen this show - let's reserve this thread for those who have, and those who would like to engage in discussion on Polunin's dancing and this show generally.

Wonder who will replace her if not for a Month in the Country with Hallberg? Nunez or Cuthbertson, or perhaps another (do they usually have a back up 'understudy'?). I hope she recovers so this would be a moot point anyway!

Anyone have any idea about timings for the Gala? Managed to snap up a ticket on the ROH website (there's still a few going, albeit the more expensive ones) because I'm willing to take a gamble (though it does mean three firebirds in a week!). I guess this sort of thing doesn't come round very often so felt it was worth the risk, and I've never seen a gala before so there's also a new experience at least!

Is casting for the Linbury usually announced in advance? Curious as to who will be in the Monotones mixed bill. With only four performances I feel I am probably unlikely to get a seat though! Do Linbury performances get included in Friday Rush or not?

Rob - I think the whole point of the forum is for people to share their views (of course only if they wish to do so!) and agree with annamk that I enjoy reading reviews. I personally don’t have a good technical knowledge of ballet and wouldn’t be able to describe particular movements/positions, which whilst certainty they can add additional detail for those who do know (or those who want to find out more), it doesn’t detract from anything if you don’t! (If that makes sense!). I for one find it really interesting the different responses people have (eg Osipova/Hallberg seemed to have a lot of contrasting reviews, and one person was brave enough to say they didn’t enjoy Naghdi/Ball as much as the others had despite the countless glowing reviews). Dancers are all different, and we as the audience also have different preferences and notice different things and that’s part of what makes it so interesting!

Osipova was a marvellous Juliet - very 'bouncy', youthful exuberance, such energy! Even up in the amphi you could feel her emotion. I always forget how high she can jump (Bolshoi!) and that there is great technique behind the energy. Hallberg was very clean and elegant and yes, a bit more reserved. There were a few moments where their partnership came alive through their closeness in the pdd but they did seem a bit mismatched at times (Osipova coming from the angle of young crazy love and all over the place, and Hallberg seeming a bit more serious). Hallberg was good - you could tell he's got fantastic technique and is incredibly elegant. However, I felt he seemed to struggle with some of the earlier higher lifts (they just didn't look effortless and he seemed conscious of Osipova's weight - not that she would be heavy! - and or not dropping her). You could tell the immense respect they feel for each other in the curtain calls, which in some ways I found more moving than in the ballet itself (not sure this is a good thing...). Overall I enjoyed it and glad I was able to see their partnership live. I also saw Hayward and Corrales and I think I preferred their version of young passionate love (although I went to see their debut which was incredibly promising but I felt one of their second or third performances would have really been better to go to as that's when it seemed to have really ignited!). Also Hayward and Corrales had the excellent supporting cast of Sambe/Ball etc which I think added an overall element of a fantastic performance. Perhaps I always feel I'm missing something a bit with RJ because it's not one of my favourite ballets - I find there to be not enough 'pure dance' (I prefer Manon or one of the classic ballets in this respect). I don't think it necessarily helps perhaps that I'm also up in the amphi which means I struggle to catch a lot of facial expressions which makes me feel that I often miss certain nuances etc. I am going to try and catch the live screening of Ball/Naghdi as this may help me feel the passion being able to see their faces! Coincidentally I am also going to see Osipova/Hallberg in A Month in the Country so it will be interesting to see them again for comparison - I didn't book for them but it will be interesting. I doubt I'd necessarily book to see Osipova/Hallberg again in future as I have other casts that I prefer but I wouldn't rule it out and think perhaps Hallberg would be suited to other types of roles the involve more princely/elegant characteristics rather than the young fiery passion of Romeo, so perhaps Sleeping Beauty or even the 'good' and pure Des Grieux would play to his strengths more.

Thanks for explaining! I wonder if it would really be so odd for a female dancer to be taller than the male - would it really look *that* bad to affect casting? It would be interesting to see if anyone has seen something a performance where the female has been taller! Whilst I've never seen McRae and Takada perform, one reason I haven't booked is because I agree that I think they look a bit odd paired together. I feel Takada would work with almost any of the other principals! So I personally find it odd that height seems to dictate so much, and feel it's a bit of a shame when it may limit who dancers are paired with or whether they are even cast for certain roles. I actually really like Nunez and Muntagirov as a pair - because they are such happy, sunny dancers with excellent classical technique so I think they work really well together. Agree that it would be nice to mix up the pairings sometimes though!

Curious as to why this is? Is it a height thing, or is it simply because the dancers like working together and KOH (and possibly the audience) etc like to have set pairings? Or a combination of all of the above?

Penelope - I think I was typing my comment before I saw yours! As you can see I echo most of what you've said in my comments and agree that whilst it's nice to have some clear partnerships (e.g. Nunez/Muntagirov, Naghdi/Ball) I also think it's good to mix things up a bit - and this as I've already said should apply to Osipova as well!

I think this is my point - if he becomes Osipova's primary (or only) partner I don't really think that's in the spirit of guesting. Obviously if dancers have a great partnership (think Fonteyn Nureyev as the most famous example) that should be nurtured but at the same time surely Osipova can/should find a good partnership amongst all the RB's amazing male dancers? I think I'm happy to see him a few times a year as clearly they like working together but wouldn't want him to necessarily come back every season and have Osipova only partner him. Unless of course he does become an RB principal (not suggesting this is likely), but then that comes back to the point that he wouldn't only be expected to partner with Osipova! Also agree that if the standard of dancing isn't up to what we expect from RB and a dancer of this level generally (I think it's perhaps a bit unfair to compare him to what he was pre-injury) then yes, he probably shouldn't be guesting (or perhaps a very rare guest one or two performances every six months or so with Osipova if that's what they both want and they sell well?). Anyway I'm excited to see them tomorrow and whilst I except a very difference performance to the one I saw with Hayward/Corrales I hope it is just as good but in a different way!

John I agree that Anna-Rose is very much a dancer with exciting opportunities and I look forward to seeing her more and more (and clearly KOH agrees looking at Autumn's casting!). I saw her as Amour/Cupid in DQ and was astounded that she's 'only' a soloist - her technique was spot on. Very much hope she gets promoted as she deserves it!

I saw Magri in Two Pigeons as the Gypsy Girl. Great personality and flair, but she did miss a few steps/noticed her timing was out at some points. I think she's got great potential and know that everyone has their off days (I believe she was filling in for Laura Morera on this day in fact so appreciate that she stepped in last minute to do a show she wasn't originally supposed to do, although she had been in cast in the role she was probably a bit exhausted from all the shows!) and dancers are only human. However I feel she isn't (in my non specialist opinion) ready for principal level (at least not yet) and I'd be very surprised to see her promoted this year. I also felt a little disappointed with her Queen of the Dryads in DQ (again, I believe she wasn't supposed to be dancing that evening but there was a cast reshuffle) as similarity I saw great potential but something didn't quite work for me. Perhaps I just don't like her style (which is to take nothing away from her as a clearly excellent dancer) but we all have our preferences. I see her as a great strong character artist in future (not necessarily the rank, just that she seems to me to be suited to more dramatic characters rather than pure classic roles) and hope she develops her skills. Although I won't be seeing her in it I see her potentially doing very well as the Firebird with her fantastic expressions, will be interesting to hear what others report on this.

I think from instagram etc it looks like Mayara Magri will be replacing her (at least Magri is rehearsing for the firebird role). Agree it's annoying that we have to rely on social media (and this forum) for casting changes. I mean both the forum/instagram etc are brilliant tools for discussion and keeping updated on ballet but casting announcements should be coming from RB first and foremost rather than trying to scrabble around the internet looking for clues for them!

Xandra that is such a lovely description! I was lucky to see Hayward and Naghdi dance together in Within the Golden Hour recently and found them both exquisite though as you say, different, and I think you've described the difference very well! It's interesting as there are so many roles which I think they would both be perfect for (Aurora, Swanhilda, Giselle etc) but they would bring a certain difference to each role. That's the beauty of dance I suppose, the same movements can be translated in such different ways. I guess the only solution is to see them both as much as possible! I think we're so lucky to have so many talented dancers in the RB right now (although less lucky for my bank balance...)!