maryrosesatonapin

Maybe they haven't finished negotiating yet, @Dawnstar

I do hope Hirano is OK. Having said that, I have booked to see Morera and missed my Bonelli performance (with Cuthbertson) so am kind of thrilled and sympathetic at the same time.

I saw the very first performance of this run and two of the dancers were completely out of time. I remarked it at the time. I am very happy that the latest iteration are so good as it is those I will be seeing this weekend!

I was watching Francesca Hayward in a rehearsal for something else and noticed how even then she so gave herself to the role emotionally that it was quite mesmerising. I'm looking forward to possible tears when I see this pair on Saturday!

Maybe you're right, Alison - I don't have time to re-watch at the moment but I doubt it was the only time he sought such feedback.

Sold

There was so much of value and interest in this documentary. I think a lot can be learned from Sir Fred today. For example - it was emphasised, more than once, that he gave dancers roles that suited them. Every dancer has strengths and weaknesses, and if they are given roles at which they can excel it's win-win for them and for the audience. I feel that in the RB today, artists are often just given a 'turn' at every role whether they are ideal for it or not, when they might be better in a different role. Some of the men, in particular, are ideal poetic, romantic heroes whereas others are better at less emotional, more showy roles. (Of course, some can do both!) Another thing that was said is that when choreographing a new ballet, Ashton would bring in a number of different observers during the early stages to see what they could understand of the intended story. What a good idea. Something that I feel is not always done in new, modern works. And how staggering that Benesh notation takes 8 hours to record one single minute of dance! I had no idea. All in all a fascinating film. The only thing I wished is that they had put the names of the various speakers on-screen when they first appeared rather than at random later points. I recognised them in any case but I would like to think newer ballet-goers could enjoy this film to the fullest extent, so I hope they correct that small detail.

Were the audiences full? I do hope so. It sounds like the kind of work that might draw in new ballet fans.

I hope not. That's the only time some families sit down and watch ballet on TV and it might put them off for ever.

I do hope s/he recovers quickly and sympathise about the withdrawal symptoms.

I just wanted to comment on how impressed I am by Jeannette's knowledge of Drigo's music. Kudos! I really liked the music but had little detailed knowledge of it. I vaguely recognised the Corsair sections.

And not very satisfying for the people who took hours and hours to photograph the view from each seat.

Phew, thank you, that's a relief!

I read this phrase with horror. I've never sat in the balcony before, but am booked to do so this coming Saturday. I knew I had booked 'loose seats' but didn't realise they were bar stool type seats! Are they high off the ground? I often find it difficult to climb up onto actual bar stools. Eeek. (M seat number is B59)

When that one corps member turns their head the wrong way....

Ha ha, excellent! I love artists who are willing to join in fun and not take themselves so seriously.

Well done them!

That is amazing! (I haven't time to watch tonight but will give it my full attention tomorrow.) I remember seeing this company in London a couple of years ago and they were lovely to watch.

I agree with most of what you say here, @FionaE, except I don't think inappropriate giggling is ever appropriate. The person behind me during the Osipova/Clarke Giselle giggled when the Wilis came on and I very nearly strangled them!

The music to 'Giselle' is pretty but shallow, with banal harmonies and musical sequences. That's the only reason that 'Giselle' isn't my absolute favourite ballet, as the story and choreography are exquisite.

Oh Dawnstar, don't feel guilty! There are many and various reasons why one might feel moved during a performance. It could be just your frame of mind at that moment, or maybe the performers just didn't touch your soul that day. I am always taken by surprise when I shed tears during a ballet - it isn't planned or expected, it just happens (or not). Then again, enjoyment doesn't necessarily involve tears.

Simply awful! There should be a 'match ballet buddies' thread on here for people to team up for journeys - to commiserate, or share driving, or something!

Yay! We were all sending you good zen, @Dawnstar!

Oooh, yes! Thank you @FionaE

FWIW I just had trouble with my Ocado order due to Chrome cookies. It is possible to just clear the cookies of one particular site, not the whole lot. You go into settings (three dots top right of Chrome window) then 'privacy & security' then 'cookies and other site data' then search for the site that's giving you problems and just cancel their particular cookies. I hope this is clearer than mud, and please excuse me if you know all this already!