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  1. I got an error message in the email which was entitled ‘booking confirmation’ when I made my booking. Has this happened to anyone else?
  2. Thank you for sharing this,Jan. I first saw Marion Tait in 1968 in a cut-down version of Giselle performed by the RB touring company, as it was then. I still remember it well - she was my first Giselle, a year before Fonteyn! This article/ interview gives a great summary of Marion’s career to date. I think she’s a real treasure.
  3. Yes, I gave it another go when it was shown on television recently, and although there are parts of it I *quite* enjoy, overall it doesn’t really work for me. But I keep trying!
  4. Sorry to hear you missed the end! Just down the road in Maidstone we had the whole thing. I have been to several of the screenings there now, and there have never been any problems, I am glad to say. it must be very annoying when it is cut off.
  5. I have just booked to see this when it comes to the Marlowe in Canterbury in Easter week. I saw it previously during its first Sadlers Wells run and enjoyed it enough to give it another go. So far I have avoided the Swan Lake because I am such a devotee of the classical ballet that I am not sure how much I would really like it. But in my view the Red Shoes film is better source material for a show like this. After I booked, a trailer for the show appeared on my Facebook feed which amused me since it was a group of celebs effectively describing the Red Shoes as ballet, ‘but don’t worry folk
  6. I thought Nuñez gave a great performance last night, remarkable when one realises how little rehearsal time they must have had. She is such a versatile dancer - I have seen her in many different roles and styles. Her characterisation was convincing to me. I don’t think Onegin will ever be a top favourite work of mine, but it was an absorbing evening nonetheless.
  7. Mine was about £2 more for exactly the same seat as for last week’s Corsaire (in the upper circle.)
  8. My first highlights were in 2011 - a Cuban National Ballet Nutcracker and a mixed programme from BRB of Checkmate, Symphonic Variations and Pineapple Poll at Sadlers Wells. I also appreciated their revivals of Daphnis and Chloe and of Miracle in the Gorbals this decade. 2013 was a big year for great performances for me. I was entranced by an ENB Swan Lake - the leads were Klimentova and Muntagirov. Then in the autumn I bought a ticket on a whim for Acosta’s new Don Q and suddenly I was back into going to the ROH after a gap of about 10 years! I haven’t stopped since. Acosta’s farewel
  9. My children used to call it the Grand Tigger when they were young, after the Winnie the Pooh character. I think it was due to a misreading of a sign there!
  10. Thank you for posting the link. However not all the performances are on this list - I have a programme for 28 December 1968, but that isn’t on there. It featured Diana Vere and Keith Martin in the principal roles and Lesley Collier was one of Swanilda’s friends (I think). My daughter says we also saw Coppelia in the early 2000s - perhaps one of the performances in that long run!
  11. I agree with much of the above. Osipova did a great job with the rose adage and vision scene, and Hallberg was a convincing lonely prince. I am seeing a different cast on Thursday so it will be interesting to compare. I would add that the ‘fairy group dance’ (for want of a better term - pas de six maybe?) in the prologue was beautifully done. Unfortunately I could write an essay for the ‘audience behaviour’ thread on the basis of what I saw in the stalls circle yesterday evening, especially re mobile phones
  12. I do agree, although I was a bit put off last year when I bought a Mayerling programme and found it contained a reprint of the article in my 1979 programme of the same ballet! But this time, like last night’s performance itself, the programme was right up my street. For example there is an article about Ninette de Valois, one of my greatest heroes. I can confirm the synopsis in the programme is more detailed and explains the wheat ear part.
  13. I also bought a programme (I obviously don’t get them all the time with ballets I have seen a lot recently) and I must say it was really good value this time - articles by Judith Mackrell and Alastair Macaulay (both writers I enjoy reading) - and more. Agree with others about the performances, with Act II really special. The exaggerated mime was just great for me in row N of the amphitheatre since I had forgotten to bring my Opera glasses!
  14. I just thought the Concerto choreographic style suited her better. I certainly didn’t find her unsuccessful in Raymonda- perhaps I worded this badly- it was more that I thought she was so good in Concerto and had been raving about her performance in it during the first interval, that the Raymonda didn’t quite hit the same peak.
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