San Perregrino

That’s what I said

As I said in my previous comment, there is no right or wrong per se, there are conventions. Ultimately, the determination of the amount of applause given and when it is given, is in the hands of the giver (if you’ll excuse the pun) be it enthusiastic or smattered.

And that is a very subjective topic which we are discussing. There is no right or wrong per se.

https://nutcrackerinhavana.com Carlos Acosta’s brand-new production Nutcracker in Havana explodes onto its debut UK tour, featuring new choreography by Carlos Acosta CBE performed by more than 20 dancers from his Cuban company, Acosta Danza. Set to an exuberant Cuban newly-commissioned version of the magnificent Tchaikovsky score, arranged by Cuban composer Pepe Gavilondo, the timeless story is brought to life with ballet at its core, enriched with Acosta Danza’s unique style and with Cuban dance traditions beautifully woven throughout the much-loved and joyful family tale. Join Clara in her humble home in Havana, getting ready to celebrate Christmas with her family. The beer cans are on the tree and Cuba is suitably hot. When Clara is gifted a Nutcracker doll she embarks on the journey of a lifetime, to defeat the Rat King and travel into the world of the Sugar Plum Fairy accompanied by her Nutcracker Prince. With spectacular video projection and set design by Nina Dunn (9to5 Musical, Bonnie and Clyde, BRB’s Don Quixote), Cuba collides with the Land of Sweets, bringing snow to Havana. With lighting by Andrew Exeter (Oti Mabuse: I Am Here, The Full Monty UK Tour, Johannes Radebe: House of JoJo) and costumes by Angelo Alberto (costume designer for Goyo Montero’s ‘Imponderable’ and Raul Reinoso’s ‘Satori’ with Acosta Danza) Nutcracker in Havana is a visually stunning spectacular treat for all. For dance fans around the globe, Carlos is an international superstar of the classical ballet world. Born in Havana and trained at the National School of Ballet in Cuba, he went on to dance professionally with the world’s most prestigious companies, with London’s Royal Ballet becoming his home. Having tackled huge titles throughout his career, from Carmen to Don Quixote, Nutcracker in Havana is an opportunity for Acosta to fuse this festive treat with a little Havana heat.

London’s Southbank Centre along with regional theatres will have Carlos Acosta’s ‘Nutcracker in Havana’

I don’t think anyone is talking the performers OUT of applause but rather discussing when, during a narrative tale, it is appropriate to break the silence. A ballet isn’t a play, an orchestral concert, a rock concert nor a sporting event. Ballet has its conventions which seem strange when one first encounters them but which I have come to accept particularly if one understands that it is a way of catching one’s breath before continuing.

Isn’t applause & acclaim at the end of a performance enough? Perhaps one’s viewpoint depends on why one has gone to see the production in the first place, whether it is for the whole or just for the highlights. If I am particularly moved by a difficult slow section in say act 2 of Swan Lake is ok for me to express my appreciation by clapping and catcalling loudly at that point or would my reaction be judged as inappropriate by the very same people who clap and catcall at the end of 32 fouettés?

There’s also a revival of Pite’s Light of Passage included in the season.

Can anyone shed any light on why Red Riding Hood was wearing orange?

a revival of the Kate Prince/Zoo Nation production that sold out in the Linbury in 2014? https://zoonation.co.uk/productions/the-mad-hatters-tea-party/

Apologies for any confusion, I read your comment as wondering why they had not been selected as a pairing to be screened at the cinema this season hence my observation that they are a new and untried ROH combination perhaps to be enjoyed on-screen in the future. Reflecting further, it must be incredibly difficult to decide who should be cast in the cinema screening. Vadim is 1 of 8 current male principals (Fumi is 1 of 10 female principals) in the ranks and before this year has had a fair amount of screen time with different partners at the RB. It would seem only right that others are given the opportunity to be filmed, broadcast to, and become known to the wider world outside London too. As I say incredibly difficult to decide.

There are still tickets for sale on the ROH website

Prof Brian Cox is bringing his show to the ROH. PROFESSOR BRIAN COX AND DANIEL HARDING: SYMPHONIC HORIZONS WITH THE BRITTEN SINFONIA 30 JULY–4 AUGUST 2024 Explore the secrets of the universe with Professor Brian Cox and Daniel Harding in this special event combining ground-breaking science with the power of the orchestra.

Hayward & Bracewell. What a delicious pairing and one to treasure. I was entranced by their engaging, nuanced and confident performances on Saturday evening. There were no “look at me for the sake of it” moments. Every movement had a meaning, every look or gesture came from within conveying the feelings and emotions running through Odile/Odette/Siegfried’s bodies be it fear, yearning, infatuation, love, loss or grief, among others. The fragility and vulnerability of Hayward’s Odette contrasted with the strength, cunning and steely determination of her Odile. She stayed in character throughout, not exiting the stage to return and take a bow during Act 2 as other dancers have done at that point but simply acknowledging the applause without breaking the spell and moving on. Bracewell’s Siegfried suffered torment at the hands of Von Rothbart and his struggle between doing his duty to Queen & country or his heart could be seen to be tearing him apart inside. Moved by the plight of Odette in Act 2, in Act 3 his jaw literally dropped at the sight of Odile and his mouth stayed open for so long he might have been “catching flies” as my grandmother was wont to say. Meaghan Grace Hinkis was note perfect dancing one of Siegfried’s sisters. Taisike Nakao having danced a fantastic Benno in the matinee performance followed this in the evening with a scintillating Neopolitan in partnership with Ella Newton Severgnini. A very satisfying evening that received a standing ovation from the House.

When planning was being done for the cinema season I suspect that Fumi Kaneko & Vadim Muntagirov had not yet made their debut together at the ROH. They only debuted together in Manon at the end of February. Their Swan Lake is on the horizon.

Nothing fancy

I spoke to Front of House when I arrived at this evening. Curtain call photos are permitted.

First Circle Side Gallery oppsite you. I chatted to the security chap after. He was very pleasant. His briefing was no cameras. I suggested that this might not include curtain calls and that both he and I might better inform ourselves before tonight’s show.

I got told to put my phone away at the curtain call.

I totally agree with you on all points. It totally irks me when dancers stop the action and step out of character to smile and take prolonged bows mid story. It’s another form of distraction. Coming from a theatrical background it makes me start wondering how invested a dancer actually is in becoming a character and living his/her truth if they can turn it on and off so easily. But, theatre and ballet are different art forms and perhaps I expect too much.

Perhaps because they dance extracts at so many galas they are used to applause at the end of a sequence where in the context of the complete narrative it makes no sense at all? My observation is that Nunez and Muntagirov are the couple most likely to step out of character to take a prolonged bow mid-ballet be it Swan Lake or Don Quixote. However, these are complex technical and emotional sequences so on a practical level, for dancers of any age, let alone those more advanced in their careers, an opportunity to get one’s breath back is probably most welcome.

https://www.roh.org.uk/tickets-and-events/43/swan-lake-by-liam-scarlett/cast-list/54729

Humming bus conductors, that takes me back

Sorted thanks

and, might I be so bold as to suggest that, once upon a time, the people who might now consider themselves to belong to the above categories might well have started out as ‘fanboys/girls, relatives and newbies' , their enthusiasm and curiosity for ballet subsequently engaging them so they added to their experience and knowledge over the course of time. IMHO an opinion is just an opinion. an interesting opinion is supported by rationale. the opinion of a fanboy/girl is equally as valid as that of someone who has spent a lifetime watching and studying something provided that the context is given.