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  1. I really enjoyed this streaming last night - and more so because of your detailed and enthusiastic reviews, Jan. I felt I already had some knowledge of the characters and the storyline. It did look as though it might be tricky to follow but a summary was helpfully displayed at the beginning of each half - and in fact it was mostly clear what was happening. I too found myself on the edge of my seat - the whole performance was intense, claustrophobic and completely gripping. I thought the choreography, especially of the duets, was simply stunning - with some spectacular lifts, which weren't just for show but always reflected the dynamics of the particular relationship. Mostly the filming worked - but I generally prefer not to have unusual shots or too many close ups. I like to see what I would see in the theatre and choose what to focus on. In this case, much of the show was presented as a film of a ballet rather than a film of a live performance of a ballet. It was only really at the curtain call that the audience was apparent. I was very impressed by both the dancing and the acting ability of the cast - I immediately looked at the Northern Ballet website to see what else I could see, where and when. Sadly there were very few people there - I hope this doesn't put cinemas off such screenings - as it is fantastic to be able to see a wide range of productions - ballet, plays, opera - locally and relatively cheaply.
  2. It's a perfect post lockdown pick me up. I enjoyed every minute and left with a huge smile on my face.
  3. Being 'woke' means being sensitive to social and racial issues, especially injustice - something to be aspired to, I would have thought. It's used freely and derogatorily as an easy way to criticise anyone deemed overly 'liberal' - or just for having 'different' views, and closes down respectful and constructive debate. I respect other people's right to have all kinds of views - and other countries' right to have all kinds of cultural norms - but that doesn't mean I respect all those views or those norms.
  4. Completely agree - what a fantastic evening. In a strange way, having excerpts really showcases dancers who might not otherwise get the limelight. So pleased to see Valentino Zucchetti's piece too. Always love Within the Golden Hour and I was in tears watching Francesca Hayward and Cesar Corrales. Thought their pas de deux exquisite.
  5. I loved it - enjoyed it even more than when I saw it live with The Cellist. I agree all the dancers were superb - and there was such a team spirit about the performance. (William Bracewell did catch my eye, though, perhaps because I haven't seen him in much else except Romeo and Juliet beyond words). Yes, it was poignant - I felt both uplifted and moved by the end. I am so pleased that I will be able to watch it again, probably more than once, in the next couple of weeks.
  6. I agree - I liked the thank you. It felt personal and touching to me. I realise I am out of line with a number of people on this forum - but I love pretty much everything about the Royal Opera House and the Royal Ballet - and find what sometimes seems like constant criticism / moaning rather depressing. I like reading reviews of performances, finding out about what is going on and learning about ballet from people who know a great deal more than me - but I don't like the negativity, which sometimes seems to me to be petty, repetitive and unnecessary. For the record, I love the fact the beautiful Opera House building is open to everyone, I am thrilled to be able to watch wonderful ballet (and opera) for less than the cheapest seat at my local theatre and fully appreciate the free cast lists, free cloakrooms, plentiful loos and helpful staff. I find the dance programmes varied, stimulating and enjoyable - think Kevin O Hare is an excellent director and the company as a whole just marvellous. The odd time something hasn't been quite right - an overpriced seat with a terrible view or a dodgy glass of wine - I have had a speedy and satisfactory response to my feedback. During lockdown I have much very much enjoyed the streamed performances and the live shows - and often watched them more than once. I miss going there enormously - can only imagine how difficult it must be for everyone who works there - and long for the day when the house can open its doors again.
  7. I agree with FionaE that pared down productions might be one way forward, and although I love theatricality and opulence - gasp-inducing scenery and gorgeous costumes - the dance is the most important thing. This was brought home to me watching the three live concerts from ROH when the dancers performed on a bare stage, with the simplest of costumes - and the starkness allowed you to focus completely on their movements and the music. - I also agree with Sunrise that BLM is prompting widespread reflection on issues and practices related to racism, diversity and inclusivity. I was interested to read this on the ROH website - https://www.roh.org.uk/news/statement-black-lives-matter - which prompted me to watch Marcelino Sambe's performance and listen to Joseph Sissons' poem again - both of which are thought provoking and moving.
  8. Thought both couples - Matthew Ball and Mayara Magri and Fumi Kaneko and Reece Clarke - absolutely gorgeous and enjoyed the whole programme very much. So looking forward to being able to go back to the Royal Opera House in person. Hope it won't be too long before it's possible.
  9. I have just watched the Sun is God and In Her Hands and thought both of them stunning. The documentaries about the making of the films were very interesting too. It was good to see Valentino Zucchetti in the role of choreographer.
  10. I agree with previous posters. I saw this at ROH in February and enjoyed it then - but was completely blown away watching it again tonight. The piece really benefits from being seen close up and I thought the filming was particularly good. Lauren Cuthbertson is, I think, one of the best dance actors at ROH and she completely inhabited this role to devastating effect. Matthew Ball and Marcelino Sambe are also very strong dramatically, as well as being powerful and compelling dancers, and I thought the combination of the three of them was just stunning. I too was in pieces by the end.
  11. I've had all my refunds from ROH, including two where I had clicked on credit note by mistake. When I asked if they could change the note to a refund, I got a very prompt and courteous response - and the money appeared in my next credit card statement. I was impressed - it must have been a huge operation sorting it all out, complicated by people like me who made mistakes / changed their minds / sent emails etc. It hasn't been nearly as easy to get refunds from other places.
  12. Yes, it's an excellent letter - well done for sending it in. I sent some positive feedback to the BBC in the hope we might get more ballet on the TV. I loved Mayerling - thought the whole cast was terrific. It is devastating, though.
  13. I completely agree - a wonderful evening, topped off by Carlos - who still has it!
  14. It's interesting how people have different views of the same ballet and the same performance. I too saw Onegin last night. I'd never seen the ballet before though I have seen the opera based on the same source. I'm with bridiem - I think it's a marvellous ballet, partly because it is so tightly structured - no additional variations / folk dances to give the principals a break and the corps something to do - but mostly because the narrative, music and choreography are completely integrated into a piece that is emotionally nuanced, convincing and moving. For me, all the main roles were beautifully danced - with the characters well developed and the relationships clearly delineated. In my view, Marianela Nunez is always a joy to watch - and I felt she inhabited the role fully. I had a seat right at the front - so I could see every expression - and her development from a gauche, bookish girl to a mature conflicted woman was extraordinary. Reece Clarke had commanding presence on stage, showed the contrast between his glacial haughtiness at the beginning and his broken despair at the end very effectively and was a strong and considerate partner. I agree with Motomum that Francesca Hayward brings 'a wonderful lightness' to every role - and she was effervescent as Olga - well-matched by Matthew Ball, who just seems to go from strength to strength. He has always had very good acting skills, but to me his technique has developed exponentially over the last 18 months - and he projects more confidence on stage. Gary Avis and Elizabeth McGorian were, as always, superb in their roles. I thought it was a wonderful evening. I am now hoping to pick up a last minute ticket so I can see the ballet again. I echo those who hope Onegin will be brought back sooner rather than later.
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