FionaM

would be super if this, and other archive Cinderella recordings , could be released on the stream.

Truly annoying as I had a travel backpack and a coat. I was told I could put them under my seat . Which then doesn’t lift up for others in the row to get by. And … I don’t want my coat on the floor.

I’m hugely disappointed in the casting of so many of the older ballerinas in this. For me the quintessential was Alina Cojocaru and her fresh faced young self seems the ‘right’ sort of casting for this. I think RB management have made a big mistake seemingly relying on box office names. Coppélia is an interesting comparable … Marianela’s Swanhilda was safe but uninteresting compared to Yasmine Naghdi’s sparkle and musical dynamics. The technical challenges of this role would be easily mastered by the new younger principals … Magri and O’Sullivan. Better than some existing principals. I’d be worried about Morera, Hayward, Lamb. And why is Yuhui Choe not cart? She has performed this role so many times beautifully before? She may be older now but still youthful looking on stage and technically secure. My top choices of what has been offered are Takada, Naghdi and Kaneko.

looking forward to this … loved the rehearsal I attended with Centra” Ballet School students where Mthuthu created on the spot. So spontaneous and creativity oozing out of him.

After the poor sales in the UK for Giselle including star names as the lead … I’d be surprised if they bother trying again in the UK

Partnered by Alina Somova, Mariinsky principal

agree. Delighted to see James in the ‘For Four’ piece alongside principals Ball, Sambe and Muntagirov. He impressed me. Anyone know why he is replacing Corrales who was originally cast in this?

That should say … Christmas 2003

Interesting thought the cost of living issue … I note that umpteen Nutcrackers are fully sold out at eye-watering prices at ROH. I’d rather see this one-off special live and then the cinema relay of Nutcracker. And yes … you and Ivan can count on me to give extra enthusiastic applause 😉

I just adore this ballet … there are so many complex roles for all the leads. And really tricky choreography in all the pdds and solos, to be over layered with the characters. It really is a masterpiece. I’ve seen it many times and each time I see something new in an interpretation or the way a dancer performs the choreography. Highlights for me: - Matthew … he is superb in this role. He has all the dramatic range and then the beauty to gain your empathy, and, more than enough technique for some wow moments. There was an enormous entrelace at one point (I may have exclaimed aloud 🙊) - his heartbreaking final solo (the one where he pulls his legs). He put EVERYTHING into this solo and the final duet that follows. - thrilling duet with Meaghan as his wife. Those jumps where she runs at his back and he catches her leg ‘without’ looking were out of this world. I like her awkwardness at the wedding and quickly terrified portrayal in the bedroom. - superb Bratfisch by David Yudes - divine, sexy and alluring Fumi as Mitzi Caspar in the brothel - lovely debut by Gina as the Empress. Those eyes and her carriage! She says on her Instagram that Gary Avis was a late substitute as her lover and I had noticed (but will forgive in the circumstances) some unusually poor partnering. - super debut by Mayara as Larisch. Lots of nuance and desperation to rekindle their love. Exquisite use of extension and music. Cunning complicity in the card scene - impressed with Mica Bradbury as Princess Louise (as I had been by Leticia Dias in the cinema relay). Both have such strong technique that they can use tempo of movement of their legs and arms to accentuate the meaning. Unusually I did not ‘get’ Laura Morera’s Mary. Maybe it’s my problem, as I kept seeing her excellent Larisch in my head. I’d much rather have seen Mayara as Mary and Laura as Larisch.

The Cojocaru/Kobborg recording broadcast on BBC at Christmas 200 I think, can be found online from time to time

I really hope last minute ticket sales pick up … there are still 900 seats unsold. It’s a travesty for such a fabulous and interesting programme performed by some of the best dancers of this generation.

Shout out for David Yudes who I thought was hugely impressive as Bratfisch tonight. Extraordinary control and wonderful technique in every move. He really pulled at my heartstrings when trying to distract the duo from their death pact.

“José Martinez will devote himself exclusively to his activity as Director of Dance at the Opéra national de Paris, thus renouncing his activity as a choreographer, with the exception of two commitments made previously in Bordeaux in June 2023 and in Stockholm in October 2023 where he will accompany the revival of his ballets.” I do hope he is not stifling his obvious creative side to take on this tough managerial role.

Ah! Thank you

Where has my long review gone ?

I’ve written to my preferred local cinema who also didn’t show it

(EDIT: The following are reactions to the cinema broadcast) (I took photos/video of the cast list at the end) The show was fabulous! The new production is so much better, vibrant energetic and full of colour, than the drab RB version. And thank goodness none of those moving houses that crowd the ROH stage. New sets, new lighting, new choreo and new costumes. In the second interval there was a short piece about the new production including an explanation of digital printing of the costumes. This made a huge difference to the matador costumes for instance, which are sleek and still appear ‘rich’. Sadly the RB matadors are not flattered by the heavy red velvet and thick embroidered panels on their costumes. On to the dancing … which was truly fabulous from everyone. It was exciting and full, even the new graduates were 100% into it (Jack Easton particularly noticeable) 👏👏👏 Momoko Hirata as Kitri shone from the first moment. Impeccable technique and wonderful characterisation. Ably supported by Matthias Dingman who was especially amusing in the stabbing himself scene. Their final pdd was sparkling! Especially impressed by the height and ballon in Momoko’s split jetes in Act 2 dream scene. Just glorious! Yu Kurihara was really good as Mercedes especially in the many tough pirouette sequences in the first act solo. As ever, Espada draws the eye and Brandon Lawrence was oozing charm, winks and sly looks, along with his gorgeous technique. Bravo for the best costumes I’ve seen for Kitri’s friends … same style but different colours. Thank goodness … no one in any era goes out wearing the same dress as a close friend. They are both super dancers though Yaoqian Shang drew my eye more often than Miki Mizutani. Loved the male Cupid by Tzu-Chao Chou. The speed of all those moves … just wow. I’m converted by this gender change. Ryan Felix and Emma Price were rather delicious as the lead gypsy couple. Though I did think this scene rather dragged on with 3 or 4 windmill interactions for Don Q. Two is enough. Ryan and Emma also led the Fandango in the final scene which I always find is an unsatisfactory filler. The dancing was fine, but the choreo wasn’t and there doesn’t seem any point to it. As for the filming … Ross MacGibbon has been directing these cinema relays for umpteen years now and I really do not think they have improved. There are cuts to one side of the stage that miss key action elsewhere, filming of dancing from wrong angles, and this was not a live relay. He’s an ex-dancer, how can he get this so wrong? I think he should be retired as a film-maker of dance. However … I am very grateful for the close-ups in the cinema recordings … they reveal the details of the dancers’ interpretation and that is unmatchable in the theatre itself. Bravo BRB … a great show 👏👏👏

Any ideas where I can get the full cast list?

Booked for Vue cinema in Bristol. My friend and I are in need of something fun and uplifting!

United Ukrainian Ballet are currently performing Swan Lake in Australia. Kate Chebykina (war exile from Mariinsky) is participating as Odette/Odile https://amp.theage.com.au/culture/theatre/look-out-there-s-another-show-asking-you-to-keep-secrets-20221018-p5bqov.html?fbclid=IwAR3zSGe0pXugG2VsM4Nk-h3a9fMJupxfNBDsbMQ9QPyoe0SVOBRMN3A8i-w

Later today these words came to me … “humanity reconnected” That’s what this ballet said to me … where is our humanity. Let’s find it and reconnect.

Thank you for this last paragraph @Emeralds this is what I was trying to say … there were plenty of classical moves underpinning the choreography, not only beautiful fourth positions and ports de bras, but also arabesques en fondu, developees, pirouettes and jumps (I’m sure I saw Calvin horizontal in the air doing a supported jump with legs spiralling around the same as we see in the new Chinese pair of Nutcracker) They are incorporated into the more flowing movement of this piece and are less noticeable maybe, as they are not as posed (pause for photo!) as in classics.

In reply to @Fonty … I’ve noticed two very modern choreographers trend towards more classical dance moves in some recent creations. I’d argue Wayne McGregor’s Dante Project has more classical ballet moves in it than previous works. Ditto recent works by Juliano Nunes in Norway and Julier Tower. And I personally would prefer these over Christopher Wheeldon’s works which for me are veering into light musical theatre entertainment in the style of Matthew Bourne.

From my first viewing of Flight Pattern I view the coat baby as a mental health issue. This woman has lost her baby previously and this scene, to me, depicts her mental struggle with the loss. Maybe she believes the coat is the baby. It’s why the closing scene of Flight Pattern is so distressing and touching at the same time for me. Here is a man who is clearly in torment at their situation, yet he is able to control his own anguish after a time and give comfort through the hand on her shoulder to the woman still cradling the coat baby.