maryrosesatonapin

I agree that it's likely to be an American article, but you do get high schools in Scotland - which is currently part of the UK although possibly not for much longer

Ah yes, I remember her! I always feel sad for dancers having to give up the career they love at a relatively young age, but Elisha describes the change in a really positive way that I hadn't thought of before: 'We have an opportunity to have a whole other life after ballet'

I actually thought Matthew Ball made a great Apollo recently. Of course, his dancing although good was not the best, but he has that noble godlike appearance that very few RB male dancers have. What a profile - displayed multiple times to excellent effect in the recent streamed production. But Nureyev really was a god IMO.

Are you telling me he WASN'T Apollo?

Exceptional pictures! Thank you so much for sharing. I almost feel as though I were there

I agree that the manner of performance has changed - but the notes and musical directions are there in black and white, clear to see. Is the same true for ballet notation? I genuinely don't know but from what I have seen it appears to be more vague.

I just watched the gala on-line. To be honest, I found most of it disappointing (but was very glad to contribute to the good causes which were its purpose). I must be officially an old fuddy-duddy, as the only segment that truly enthralled me was the BRB duet – I saw the whole ballet on Sunday and this is definitely the best part of it. Hirata and Morales were, and are, beautiful and worth the price alone. It was good to see some of Valentino Zucchetti’s choreography (and admire the grown-up Viking beauty of Lukas BB whom I still remember as a little boy!) I look forward to seeing more work from Zucchetti in future. I did enjoy the wit and self-mockery of New Adventures, who can be forgiven their dreadful costumes given that this is apparently a joke men’s underwear advert. But it had made its point about halfway through, and would benefit from being shorter. There is no excuse for some of the other troupes’ costumes though, some of which barely seemed to fit! And don’t get me started on some of the music. Curmudgeonly of Essex

Goodness, I didn't know that. Very disappointing!

A point about opera vs ballet: in a way it's almost more important for great works of ballet to be regularly performed in a timescale that allows for authentic interpretation to be handed down, generation to generation. Although there are, of course, fashions in operatic interpretation, it is my understanding that performances can be more easily retrieved from the printed page than is possible for ballet. I am familiar with musical scores but my remarks are based on having seen and not fully understood ballet notation, which always looks somewhat vague to me. So maybe I am wrong. If I am correct, the case for proper preservation and production of historically important ballets (including of course those of Ashton and Tudor) is even more important. And who is more responsible for this than the RB? (Thank goodness for Sarasota Ballet.) cf the Royal Danish Ballet's cherishing of Bournonville.

You can imagine how delighted I was to see a live ballet performance for the first time in over a year on Sunday. The ballet itself wasn't one I would have chosen, as I am not a fan of Bintley, but the leading couple are amongst my very favourites and they did not disappoint. Momoko Hirata was as magically light and sparkling as always, and César Morales was his usual elegant self with superb and considerate partnering, although the choreography didn't stretch him and sadly there were none of his delicious entrechats to enjoy. Birmingham Rep Theatre had a fairly small and rather shiny-looking stage (causing one poor corps member to skid to the floor, with an adroit recovery). I was particularly impressed with Hirata's acting ability as she really did seem transformed into a different person after the fairy godmother's visit. I had trouble with the on-line booking system so bought tickets via the telephone which I was warned would not have a good view as they were below the level of the stage, but that was the best available. They only cost £35 and they had the best view ever! Not below the stage at all. So if you are ever going to that theatre, I recommend the middle of row B! The orchestra played live but from a different room, being shown on screen and presumably seeing the dancers on screen in their room. It worked well and they sounded good. https://maryrosedouglasuk.wixsite.com/ballet I can't wait for my next live ballet experience, which will include my other favourite dancing partners, Núñez and Muntagirov. Ooooh, life has become exciting again!

That's interesting - I didn't realise Ball was short (ish). I only saw the on-line version and thought Ball was perfect for the role mainly on grounds of his being so handsome. I agree that Muntagirov is a far superior dancer, and I adore him, but he doesn't have an 'Apollo face'.

I just read in the 'Dancing Times' that Casalinho wanted to join the Royal Ballet, but unfortunately they were 'not hiring from the Prix de Lausanne'. What a shame.

So that's who he was. They had lots of local 'slebs' filmed with supportive messages. It wasn't at all a 'normal' gala - very little dancing - but enjoyable nonetheless, and I hope raised money for a good cause.

Did any of my fellow forumites partake of this tonight? I found it somewhat amateurish, charming and utterly compelling! There were technical glitches but real treasures too. For me personally - Marianela Nunez coaching Momoko Hirata - two of my favourites in one delightful episode - was memorable and also a real learning experience. The orchestra also had their moment. A long and delightful moment. I would go as far as superb. I've always appreciated the BRB orchestra, and feel it superior to many others. The insights and humour were much appreciated by me and others. Then we had the chance to chat to members of the company, and there was a thrilling auction (of which I still await the outcome teetering on the edge of my chair). All in all an inspirational evening. As Dawn French said, Carlos Acosta has taken a few tips from her in his time... 'good toes, naughty toes'.... I'm glad he paid attention.

They make such a lovely couple

Geisha was one of the performances for which I had tickets (in Sheffield) Was so looking forward to it!

Me too, me too! That ineluctable feeling of joyful anticipation....

Yes, yes, and yes! The dancers have given so much - how must they feel? I empathise with those at the end of their careers, probably truncated with a horrible and unexpected brutality; and with those who were just developing their full potential, who are now put 'on hold' instead of taking the expected step up; and all of those in between. Not to mention the non-dancers....

No Cathy Marston for me, thank you

So you've been to Georgia then? What did you think?

We stagger through the desert…. An occasional oasis appears, enough to sustain us for the next part of our journey; dessicated and half starved, we trudge on. Some of our companions flounder, weaken, die. News comes of other travellers expiring. However on the horizon we can see the glimmer of a theatre curtain. We feel sure it is not a mirage. A surge of hope floods our weakened frames. Yes, the opera houses and theatres will open again! What are you most looking forward to, post-covid? Will you continue to watch more on-line, thankful not to travel and pay large sums for obstructed seats? Do you have a particular performer or ballet that you are particularly looking forward to? Do you have any actual tickets booked? I have only one performance booked – Polunin’s Romeo and Juliet at the Royal Albert Hall on 6 May – it seemed a long while ahead at the time but now I fear it will be postponed again, or cancelled. What I long for: any live ballet performance, really! On these shores would love to see Muntagirov, Hayward, Hirata/Morales, Christopher Harrison, Cojocaru, Nuñez, Osipova, Lukas BB, Reece Clark and many others! And long to eventually catch up with my cancelled tickets for Danish Royal Ballet (Et Folkesagn) and Paris Opera Ballet. Whatever the first performance I see I fear I might burst into tears at the very joy of being amongst the live audience once again.

I agree with every word here. In fact, my partner said 'Her very presence jars'. I loved the way that non-dancing members of the RB were included in this historic occasion, just not the person chosen to do the presenting. I just cannot understand the choice of her, nor her choice of outfit, and hope there isn't some long contract with her that means we will have to endure her again. That was the only blot on a marvellous evening.

I looked for a topic to cover this, but couldn't find one? Please merge if I am mistaken. We just sat transfixed for three hours watching all our old friends back on stage - what an emotional performance. Just wonderful. I can imagine how difficult it would have been to ensure space for all the 'stars' and a good mixed programme for the (perhaps not all ballet savvy) audience. But they succeeded. I loved them all - was especially pleased to see Laura Morera in excellent form, and Edward Watson. Marianela was in peak form, as if she'd never been away from the stage. Vadim was so elegant... and Francesca so beautiful... Thank you, RB. More please! We balletomanes have been starving.

Although it isn't ballet, some might enjoy watching the original play. I received this from the Globe: Watch Romeo and Juliet for free on our YouTube channel from 7.00pm tomorrow. Don't miss the second of six productions that we are streaming for free on our YouTube channel, one at a time, on rotation every two weeks. On Monday 20 April from 7.00pm, you'll be able to watch our 2009 production of Romeo and Juliet directed by Dominic Dromgoole with Ellie Kendrick as Juliet, and Adetomiwa Edun as Romeo. Subscribe to our YouTube channel now to set yourself a reminder. Can't join us on Monday evening? The film will be available to watch as many times as you like until Sunday 3 May. Find out more