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  1. 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!
  2. 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
  3. 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.
  4. 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!
  5. 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.
  6. I really appreciated the varied programme yesterday afternoon. I was most looking forward to seeing Enigma Variations as I have only seen it once before, nearly 50 years ago, with mainly the original cast, and it made an indelible impression on me. I wasn’t disappointed but there were one or two performances in it that could have been a little bit better. As others have said, Arestis, Avis & Whitehead were on top form, Campbell also. The other two pieces were new to me but I did enjoy Concerto - lovely music and piano soloist- despite the fact I am not MacMillan’s biggest fan (with the obvious exception of Romeo and Juliet and also Song of the Earth). Melissa Hamilton was superb, although not quite as successful in her Raymonda solo, in my opinion. I am hoping to see the programme again at my local cinema!
  7. I really enjoyed this BRB Giselle production yesterday evening. I haven’t seen it for many years and had forgotten the lovely scenery in both acts ( the Bastide-style gateway which gives the first act a real French countryside feel and the gothic church style in the second) but I hadn’t forgotten the horse! Both music and dancing throughout the company was excellent as was the orchestra. I think this may be my favourite production. I was just a little disappointed that Marion Tait wasn’t in last night’s cast - I gather she was on Friday from comments above. The principals both performed well, especially Mathews, who made the madness and death of Giselle very convincing. Both acts ended on the right emotional and dramatic note.
  8. Thanks for mentioning this. I listened to it on the BBC app.
  9. I read about her in a little book of famous dancers I was given as a child, over 50 years ago - and the book wasn’t new then! When I visited Havana with my daughter in 2011 we went to a performance of the Nutcracker and everyone in the audience stood and clapped when she took her place in the auditorium. She was a great legend of ballet for sure.
  10. I agree entirely. Yoshida’s Sugar Plum always lives in my memory. I also saw her dance Lise in ‘Gardee’ with Mukhamedov as Colas at Covent Garden and will never forget the perfection of their performance together. It does sound like it was a wonderful gala.
  11. I also noticed the absence of Le Tricorne. Massine apart, isn’t de Falla music and Picasso designs enough to make something a great artistic work of the 20th century? I would also put in a word for Spectre de la Rose by Fokine. Yes, it is very short, but I would hate to see that lost. I could also make a case for Miracle in the Gorbals (Helpmann) - maybe a bit dated, but of historical importance with a score by Arthur Bliss. I found it impressive when BRB revived it a few years ago with Gillian Lynne’s help. Finally, a couple of comic works which I think need preservation: Ashton’s Facade and Cranko’s Pineapple Poll.
  12. Since no one else has left a comment about Friday evening’s show, I will! Firstly, the orchestra deserves full honours, as do the dancers for keeping up with it! For me the standout among the principals was Zakharova, who not only had fabulous technique, but also was utterly convincing as Aegina. I don’t think this will ever be my favourite ballet (maybe Giselle is?) but I am very glad to see performed live at last. Our seats were front row side of the amphitheatre so we missed a little of the action in the corner of the stage, but at least the price was reasonable. I treated myself to the dvd with Carlos Acosta as Spartacus so am now watching it and finding out what happens in that corner!
  13. I agree with every word of this, except that my very first Swan Lake was an early Festival Ballet version from the days when Beryl Grey was artistic director. My second one was RB in the late 70s. But currently ENB proscenium version is my favourite. I also have great memories of their arena version from around 2013 when I saw Muntagirov and Klimentova together. I am certainly tempted to go next year as the entrance of the swans en masse in Act II is quite a spectacle. But it really is hot on the heals of the RB one - not to mention BRB.
  14. I have a full set of the books (collected since childhood) and have always taken it to refer to upper school and company. In the later titles the theatre could be Covent Garden, but of course the company was still called Sadlers Wells even after the ROH became its home.
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