maryrosesatonapin

When I watched Osipova/Clarke in Giselle I thought 'it can't get any better than this'. Then I saw Morera/Bonelli and although they weren't 'better' they touched me in a way that will stay with me for ever.

Yes! I and my companion both thought that. He was adorable!

I actually preferred the BRB's latest version of Don Q. The RB one seemed to have unnecessarily clunky scenery - although of course looking back to the partnership of Acosta/Nunez is a wonderful memory, never to be forgotten. They had real chemistry. I put it down to them both naturally having such warm, 'southern'/Latin temperaments. I wonder who would be the best Basilio out of the current crop of male principals? I'm thinking of Cesar Corrales or Reece Clarke maybe. As this was a new and doubtless expensive production I should imagine BRB will revive it before too long. I'd certainly love to see it again asap!

I didn't think you were allowed to at Sadler's Wells, which is why I didn't take any. I've seen people getting told off before! But you got away with it Dawnstar It's nice to be reminded of the beautiful costumes.

I was at last night's performance when the weather in London felt more like Spain. Momoko Hirata is one of my favourite dancers of all time but I did wonder what kind of a Kitri she would make, given that she is more Odette than Odile and her best role IMO is Giselle. She seems so sweet and the nearest thing to a fairy that any human being could be! However she was a very stylish and flirtatious Kitri who filled the stage in spite of being so tiny. Other stand-outs were Brandon Lawrence and Sofia Liñares. I thought the windmill scenery the best I've seen. There was a lot of reference to Don Q's rather lost, pitiable state and although one doesn't expect to get moved during this fun ballet I did feel his character was given more depth than it often is. The audience were very appreciative throughout. Well done BRB, well done Carlos Acosta (who again was in the audience, not far from us).

I agree he was outstanding - I didn't mention him because I wasn't sure who he was.

I don't normally like 'modern' ballets but I just loved loved loved this production. I left thinking 'I wish I could see it again'. Everything was just right as far as I was concerned. The music by the appropriately-named Peter Salem was incredibly atmospheric, at times hauntingly beautiful and at other times terrifying. (I found the cello particularly plangent and sonorous, soaring out at appropriate moments.) The lighting was an important and very clever part of the mood, and used to great dramatic effect. I loved the ominously looming shadows that appeared now and then, especially in the spooky woodland scene. The costumes were great - period-appropriate yet easy to move in. And talking of movement, all the dancers moved beautifully, especially the always-super Devernay and totally convincing Shoesmith, and the fleet-footed Rishan Benjamin. The scenery was very clever too - simple but effective. Altogether an immersive, coherent and memorable production. But my greatest accolade goes to the choreographer, Helen Pickett, whose work was strikingly original yet never gimmicky; there were some tender pas de deux and I loved the way the group of girls bourréed together to give the effect of being terrified. Unusually, there were some little whoops and cries from the young girls playing in the woods - that was a surprise, but a charming one. And most importantly, the story was told clearly, with great pacing. There were no longueurs. It all moved smoothly and ominously towards its stunning conclusion. The only negative for me was the lack of my favourite SB dancer, Christopher Harrison, but he deserves to retire after many years of beautiful service to the company and has some worthy successors.

I am hoping that the fact Laura Morera doesn't appear after 23rd November doesn't mean the approach of something I dread....

I was unable to go to the screening on Thursday evening so we went this afternoon. The part I enjoyed most was the short film about Lauren Cuthbertson - the choreography was gorgeous, and it was lovely to have an insight into the human being behind the glittering on-stage swan. And I thought Lauren's long limbs were particularly swan-like. Nearly everyone on this forum seems to love William Bracewell, so I will probably be unpopular when I say that for me he isn't ideal in princely roles. He's more of a very sweet boy-next-door. (I thought he made a terrific Romeo.) His dancing is graceful and accurate, but he just doesn't have much stage presence and nor does he exude very strong characterisation. He spent a lot of time on the film just looking vaguely worried, especially during tricky areas of partnering. I am not suggesting he actually WAS worried - he is too capable a dancer for that - but that's what his expression conveyed to me. I felt Cuthbertson would have been better partnered by (for example) Reece Clarke, who is also of a more suitable height for her. Ducking for cover....

OMG I have never noticed that in R&J! I have emetophobia too.

Oh @Dawnstar, how rotten! And was this your first Swan Lake?

I saw the film, years ago, and seem to remember a pregnant woman's waters bursting all over the family's supply of salt which was then put back in the barrel for use in the kitchen..... I assume this will not be re-enacted in the ballet.

@Emeralds Loved your review - and I didn't know that Francesca Hayward played violin. I can imagine her doing that, now. Thank you.

I had the exact same thoughts. I feel that Laura Morera not only dances and acts superlatively, but her qualities also seem to enhance her partners. (I wonder if she gives them hints during rehearsal?) Much as I loved Federico Bonelli's performances before, I have never seen him better than when dancing Giselle with Morera - what a memorable evening that was. Likewise Muntagirov, always beautiful to watch, reached depths of characterisation hitherto unwitnessed by me. I am really curious as to why Morera hasn't been utilised more. I have never ever been disappointed by her; even in small roles she shines out and lights up the stage. I also agree that the lack of recording was remiss. I am hanging on to the memories as well as I can but the details are already becoming smudged into a kind of nostalgic impressionist painting hanging in the dusty corridors of my mind. I'm going to send Kevin O'Hare a link to this thread.

I was just so relieved it was well played this time. It isn't always, is it.

I'd rate him as at least a Rossini or a Reynolds. Not a Mozart or Michelangelo. But very wonderful and so delightfully witty, elegant and understated. (Well Rhapsody is far from understated, but you know what I mean.)

It was pleasantly uncrowded - no queueing and we even got a seat. But now I've seen my bank statement I am wondering if it's a franchise of some kind. I'd rather put money into the funds of ROH.

I generally sit in the Stalls Circle and use the downstairs cafe, but on Saturday we were in the Grand Tier and used the Dorfman Conservatory. When I buy drinks they usually show up in my back account as payment to ROH, but Saturday's money went to Dorfman. Does that mean ROH aren't getting profits from me? Does anyone know?

I went to last night's RB performance and it has filled my head and my heart ever since so that during my day of gardening I've been re-visualising the beautiful triple bill and humming bits of Chopin and Paganini (Stravinsky being not so hummable). Laura Morera was just perfect as Natalia Petrovna. She simply oozes character in whatever part she plays and I cannot praise her enough. Every nuance, every beautifully-performed step enthralled me. I also much admired Meaghan Grace Hinkis as Vera. I've not been much of a fan of Hinkis in the past but last night she was really delightful. Kate Shipway's pianism was good too. I love Rhapsody and have seen it several times in the past - including with Steven McRae in his heyday - and was so utterly relieved and delighted that his dancing was as stunning as ever. His athleticism was equalled by his elegance and wit. Anna-Rose O'Sullivan was superb too - again, I've not always been a particular admirer of hers but she has converted me with her lightness, delicacy and aplomb. Amongst the supporting males in both Rhapsody and Scènes de Ballet I thought Téo Dubreuil really stood out, although they were all pretty good, as were the crisp (but sometimes noisy) female corps. More Ashton please, RB! And more Morera. I can't get enough of her.

I agree 100%! Also, as Romeo, doesn't his Italian appearance just suit the role so well.

Sorry @ninamargaret! And how lucky you were. (Maybe I should explain I have a congenital heart condition so my comment was in the context of that!)

What a beautiful portrait of him. I have no idea of his business skills but am convinced that he will be a popular, caring and empathetic leader to Northern Ballet and will take them from strength to strength.

Whether it is or not.... how wonderful to see Bonelli/Morera again. I am still haunted by their Giselle. What a wonderful pairing they are.

I'd have thought Reece Clarke would fit the bill more than any of the other up and coming male dancers.

That's disgusting behaviour. Especially during wonderful 'Figaro'. My worst audience experience was at Sadler's Wells (can't remember which performance) where two Russian-speaking people in front of me both filmed openly with their phones throughout, and also didn't bother to rise out of their seats when other people were trying to get past! (Actually I think they might have been Ukranian but I'm not sure.) I did ask them to stop during the interval but they either couldn't or wouldn't understand English, and I also told an usher whom they ignored.