maryrosesatonapin

I have been trying to see this at the cinema without success. I click on the link that Northern Ballet's email provided, and am given a list of cinemas, but when I try to book tickets it says it isn't being shown there after all. Has anyone else had this experience?

I just checked and you can get tickets for 3000 roubles at the Bolshoi - some are even only 1500.

She danced it well at the Ukranian gala last night. I think she will be more comfortable with Bracewell as partner!

The first section was the world premiere of ‘System A/I’ choreographed by Ludovic Ondiviela. Bearing in mind that I am generally, but not always, in a curmudgeonly frame of mind when viewing modern works, this was my impression: Bare stage with a few weird props – check Dull-coloured skimpy costumes – check Repetitive music overlaid with electronic beeps and clicks – check Impenetrable ‘story’ – check Good dancers doing their best and working hard – check None more so than Mayara Magri, Matthew Ball and Leo Dixon (who was standing in for an injured Ivan Putrov). Magri is so athletic and very good at this kind of thing – I hope she doesn’t switch to modern dance/ballet! An interval was followed by a long and varied selection of gala staples, interspersed with some lesser known (to me) pieces. First off was Magri once again, this time in Gskovsky’s comfortingly familiar ‘Grande Pas Classique’ in which she roundly outdanced her partner, Denys Cherevychko. I was impressed by Natalia de Froberville in an excerpt from Suite en Blanc, and also in her duet with ENB’s Frola in ‘Diana and Actaeon’. Frola was very good too. Only a few days ago I heard Marianela Nunez name the composer Astor Piazzolla as her favourite outside of classical music, and lo and behold we had a tango composed by him (choreographed by Has van Manen) and danced rather compellingly by Denys Cherevychko. Another dance that was new to me was ‘Forest Song’ choreographed by Vakhtang Vronsky and nicely danced by Yulia Moskalenko and Volodymyr Kutuzov. There was lots more, and the grand finale was ‘our’ Cesar Corrales partnering Christine Shevchenko in a dazzling display of virtuosity from Don Quixote, which was very warmly and repeatedly applauded. This is the kind of role in which he excels - a natural born show-off! This was my first outing to a theatre since ‘freedom day’ and I did feel slightly nervous being closely surrounded by so many strangers, but those near me were wearing masks and I had bought a special one said by Which to be incredibly protective to the wearer as well as those around. I drove in because Sadler’s Wells have a wonderful car park for the over sixties! So I hope I minimised risk to myself and my dear ones. It was a fun and interesting evening, and I saw quite a few dancers for the first time. The quality varied. There are a few pics here: https://maryrosedouglasuk.wixsite.com/ballet

Alina Cojocaru has only just turned 40 this May (40 going on seventeen!)

I would just love to see Cojocaru (but don't hope that I will, in this) - but Rojo is nearly fifty and the role is a demanding one....

I've always thought 'Raymonda' is visually sumptuous with a bit of a silly story. I gather the story has been 'improved' but worry this is at the expense of gorgeous costumes. Somehow a nurse's outfit just doesn't have the glamour. I wonder if bed pans and kidney bowls will feature?

I'm sure they would be 'gracious' and 'polite' but they are actors and I wonder if they don't secretly wish they could get home to rest! But I don't know any dancers personally so I might be wrong.

Oh, how lovely!

In all the times I have attended performances (must be hundreds!) I have never gone to the stage door as I always feel the dancers/actors must be fairly exhausted and anxious to get home. Do they actually enjoy people gathering to speak to them, during non-covid times? Maybe they are happy that people care enough to greet them. Just musing....

Hilary - how much time do you have between end of performance and getting to Paddington? There are always cabs after a performance, but sometimes you have to walk along a bit and wait around. If you have an hour or more that's safe, if less - could be tricky. You might also book a minicab in advance - eg https://www.londonminicabservice.com/ (I just did a websearch and haven't used them as I always drive in).

You're right, Lizbie. But this person was clearly in the wrong role.

When I tried to book on a Sunday (as an ordinary Friend) the website had a problem, so I rang first thing on the Monday and got a very snotty telephone operative. I'd chosen seats and had the current website plan of availability in front of me, but it differed greatly from what was actually available. Not only this but the person at the other end of the phone kept trying to persuade me to take different seats even though I knew from experience what I wanted! Exasperating to say the least. It's possible, but unlikely, that the Sunday computer glitch was related to my connection, but the manner of the ticket seller was inexcusable. I hope I don't have to ring her again before she gets the sack. Having said that, I am more than excited to be going to see the RB again and am counting the days!

Thanks for all the info, @FionaE!

I'd have thought Francesca Hayward would also have the right youthful, feminine appearance and joyfulness but I've never seen her in the role of Aurora. As Juliet she is perfect.

Interesting how we all see things differently. I found her rather over-careful and slightly wobbly, but maybe that improved with further performances. She just didn't look the part to me, at all.

If we compare any performances to Fonteyn's they are likely to be lacking. But our current dancers bring their own gifts to the stage and I think the two we were discussing re the fish dives are amongst the best in the UK today. Remember that this performance was part of a mixed programme, so it didn't have the emotional investment of a culmination of the whole (very long) ballet. Marianela and Vadim chose to dance in a rather expansive, 'largo' style and I think it worked on the night I saw it. I loved them both.

LinMM, the one really worth watching of those two was an old one of the French Opera Ballet, which is danced exquisitely and looks as though it is straight out of a Perrault fairy tale. Search for Dupont and Legris. (Of course, the still-beautiful Aurelie Dupont is now the Director of POB.)

The crudity of the phrase doesn't do justice to the skill and art of (some of) our dancers. Unlike you, @capybara, I only saw Núñez/Muntagirov but I did think their unusually slow pace in the fish dives gave a very grand impression, every moment savoured in its perfection. Of course these two are more than capable of performing at speed, as they have proved over and over again, but their artistic judgement was good enough for me. They were quite simply superb.

I was thinking of Bracewell too.

It's almost as though BRB have been listening in to another recent discussion on this forum - they also mentioned a de Valois ballet recently. At least it shows someone there is bringing such works to the fore of our consciousness, if not of the stage.

The Georgian State Dance company. They are quite wonderful.

https://www.facebook.com/watch/live/?v=596959681710676&ref=notif&notif_id=1626199405331870&notif_t=live_video

Last night was my first visit to the ROH in over 18 months. On the car journey there I had wondered if I would burst into tears at the sheer delight of being back in the audience, but until near the end, I found myself merely happy and enthralled throughout the long programme. Although I hate what covid is doing to the RB’s income, a bonus of the sparsely occupied seats is excellent viewing with no risk of a large person sitting in front of one. Well done to Valentino Zucchetti for composing ‘Animoi’ at what appears to be short notice! It was uneven in quality but some parts were quite striking, and I would highlight the stunning dancing of Taisuke Nakao whom I’d never before noticed. Although he doesn’t have the looks or build of a danseur noble I can imagine him filling roles such as Prince Siegfried’s friend in Swan Lake, with his brilliant combination of elegance and athleticism. The audience were greatly appreciative when the young choreographer took a bow at the end, wearing a very smart bright blue suit and an enormous smile. Laura Morera and Ryoichi Hirano looked good together in ‘Winter Dreams’ – it’s always such a treat to see Laura; she is one of my favourites, for her expressive projection of character. I’m not always keen on Hirano but Laura obviously brought out the best in him. My surprise of the night was ‘woman with water’. I normally don’t like modern works that seem determined to hide any message they might hold within a murky morass of seemingly vague limb movements. But although this work was a bit of a mystery in its strange ‘story’ it was quirky and compelling, and the dancers – Mayara Magri and Lukas Bjørneboe Brændsrød – were quite simply amazing. I couldn’t take my eyes off them for a second. The choreography looked difficult to me, but their performance was just superb. I’m running out of superlatives here. I loved it! (By the way, just as we were entering the ROH an elderly man was also coming in with a young, handsome companion. He was saying ‘they say they can squeeze you in somewhere, but you might not be sitting with the rest of us.’ Looking again at the young man I recognised Mayara’s real-life partner, Matthew Ball, looking even better close-up than he does on stage!) When ‘Voices of Spring’ erupted with an exuberant and playful Anna Rose O’Sullivan and Marcelino Sambé, it was a complete change of mood from the modern to the classical in music, costume and dance – yet there is no stale traditionalism in this work. Ashton’s usual restrained elegance was supplanted here by joyous ebullience seasoned with a dash of gentle self-mockery: a kind of sending-up of itself in the most delightful way, I thought. Utterly charming and a lovely contrast to what had gone before. To me, Ashton’s work embodies all that is best of Englishness: refined but not taking itself too seriously; somewhat bucolic yet sophisticated; beautiful and always entertaining. The exact opposite of that other, darker side of Englishness now so prevalent: the crass behaviour of some politicians and many football supporters. So much for the hors d’oevres: at last we came to the main course. When the curtain went up on the gorgeous scenery and costumes of Sleeping Beauty I felt as thrilled as a child on Christmas morning. At the moment that Marianela Núñez and Vadim Muntagirov appeared at the back of the stage I suddenly felt tears trickle down my cheeks, underneath my covid mask, which was uncomfortably damp for the next hour. They were perfect. Just perfect. Oh, I know that Marianela and her Vadream always perform impeccably, but to me they seemed on another level last night. It’s true that, out of the context of the whole ballet, that last act has less emotional impact as the sleeping princess finally attains her happiness. Bluebird James Hay had clearly been practising his entrechats. I thought Calvin Richardson seemed somewhat prosaic and earthbound as Florestan, but it must be difficult to shine when sharing a stage with Muntagirov. David Yudes and Ashley Dean were enchanting as the two cats (what a fun duet that must be to dance!) I think this programme was well-chosen, with something for everyone – dancers and audience alike. And the glittering finale, full of gaiety and colour of the kind which we have missed so sorely over the past many months, sent us all out into the warm summer night air with a smile on our mask-covered lips and a song in our hearts. Thank you, Royal Ballet! It was such a privilege to be there. You can see a couple of my photos here: https://maryrosedouglasuk.wixsite.com/ballet

Re the Hip Hop element: let's give him a chance. He could add an exciting element to the more experimental works of the RB. But I agree that 'real' ballet has to be preserved, in much the same way as a protected species of animal or bird. So if Toonga is an addition - welcome! If a replacement for classical input - not so good. Having seen Zucchetti's choreography on screen recently, and looking forward to seeing it live at the weekend, I think there is hope as although imperfect it has a great deal of charm and potential. On a brighter note, I was happy to see that Hannah Quinn has joined as pianist. I am hoping that in time she may give an accompaniment to 'Dances at a Gathering' more worthy of the beautiful dancers than the one that I cringed at last time I saw it.