AnnabelCharles

I'd like to echo the plaudits for Sarah Lamb. I thought her Giselle was gorgeous - ethereal, subtle and very moving. For me, she never disappoints. Other highlights - Fumi Kaneko and William Bracewell in Romeo and Juliet. It was my first time back at ROH and I wasn't at all sure it was a good idea to be there. This performance convinced me it was - it was like seeing this wonderful ballet for the first time - a beautiful and very moving experience. I enjoyed three performances of Swan Lake in particular - Fumi Kaneko and Federico Bonelli - stunning debut and glorious farewell; Swan Lake for Ukraine - an unforgettable, inspiring and unique evening and Lauren Cuthbertson and William Bracewell in the live screening - the most convincing, nuanced and coherent interpretation, that really benefited from being seen up close. The modern triple bill - an exhilarating breath of fresh air, showcasing the athleticism and versatility of the company. Liam Boswell and Nicol Edmonds caught my eye in The Weathering - as did Matthew Ball and Gina Storm-Jensen in DGV. A Month in the Country - a perfect gem of a ballet in every way. Like Water for Chocolate - Yasmin Nagdhi and Cesar Corrales absolutely sizzled in this intriguing work - and thought this whole cast developed the roles most fully and convincingly of the three. (I really enjoyed preparing for this work too - reading the book and watching the Insights - though still not sure I fully grasp what 'magical realism' is...) A mention for Meaghan Grace Hinkis who always emanates such joie de vivre in her dancing - very much enjoyed her portrayal of Clara, Siegfried's sister and Gertrudis. But it feels unfair to name particular dancers when it is the talent, artistry and commitment of the whole company that contributes to the impact of each performance; I thought it was a really varied and interesting season which certainly gave me a huge amount of joy in troubled times. Thank you to the Royal Ballet!

Went to the matinee on Saturday and had a wonderful afternoon - came out with a huge smile on my face. Don Q is a real feelgood ballet - and BRB a terrific company. Thought Miki Mizutani and Lachlan Monaghan were absolutely delightful as Kitri and Basilio - and the rest of the cast zinging with energy, dynamism and character. I preferred the BRB version to the RB one - I thought Carlos had Carlossed it a bit more to good effect. Loved the Act 2 pas de deux and the casting of Amour - got the impression there was a bit more clapping, stamping and shouting - which also worked for me. Liked the simpler sets, gorgeous costumes and atmospheric lighting. Can't wait to see BRB again in the autumn! PS Shout out for Sadler's Wells - membership gives you 20% off tickets and I got a fab first circle seat for £36 (mind you I spent what I saved, and more, on Prosecco in the interval....)

I finally got to see the streamed performance of Swan Lake on Monday and thought it was wonderful. (Apologies - this is rather a belated contribution.) William Bracewell’s Siegfried was a lost soul, who didn’t want to be a prince. He loved his sister and his friend, Benno – but had no connection with his mother and no interest in court life. He was living inside his own head, a shadow that slipped around the edges of the action in Act I. When Benno gestured to him to join in with the dancing, he refused – and indicated that Benno should take his place in the dance – and also in a way, as prince. This made sense of his lack of involvement in the opening act – and made the heartfelt solo bridging Acts I and II even more poignant. The slow extensions at the beginning seemed to represent his trying to find and express himself – and then, in the series of leaps and turns, pouring out his feelings of loneliness, isolation and longing. His portrayal was complemented by Lauren Cuthbertson’s terrified, nervy Odette. It wasn’t just that she had been captured and turned into a swan but that she was deeply damaged by the experience and could now trust no one. This coherent development of the two characters gave a particular intensity to the pas de deux in Act II, which I found heart breakingly beautiful. Lauren Cuthbertson, delicate and controlled, used small details – a deliberate pause, a shake of her head, a quiver of her hands – to add subtlety to her portrayal – while William Bracewell threw the intensity of his yearning into his graceful and passionate partnering - he had found his kindred spirit – a soul as lost and lonely as he was. In Act III, Lauren Cuthbertson was poised, assured – completely confident that she could captivate and manipulate the prince – in collusion with Van Rothbart - and relishing playing with Siegfried. He, fired up by his fascination with Odile, became much more princely in his bearing, now he had found what he believed to be love. You could feel the energy burning through him and fuelling his dancing, especially the solos. He was never going to be able to withstand Odile’s wiles, however; you could see him being drawn ever more tightly into the net cast by Odile and Von Rothbart, unaware of what was happening and shattered at the end when the truth is revealed. The physical collapse of the palace and the invasion of the black swans represented the complete destruction of Siegfried’s hopes and dreams. Because the narrative and characterisation were so strong up to the end of Act III, I found Act IV even less satisfactory than usual. The final pas de deux was moving – the terrible acknowledgement of the betrayal, and the reconciliation (agree that the second lift didn’t look quite right) and the protective concern of the swans – but Siegfried lying at the front of the stage and Odette, leaping off the back, just seemed clumsy – though the final image of Siegfried holding the body of Odette, now a princess, was, as always, haunting. In the introduction to the screening, William Bracewell talked about Siegfried and Odette being two broken people – and that was absolutely how they were portrayed. William Bracewell’s dancing was lyrical and graceful and flowed in a way that almost seemed effortless. Lauren Cuthbertson was controlled, sensitive and nuanced. Both are wonderful dance actors, slightly understated in style – who seemed to inhabit rather than perform their roles, with total engagement to emotional veracity and to each other. The rest of the cast was very strong too – Luca Acri was an excellent Benno – conveying a clear sense of his friendship with Siegfried – but also his enjoyment of life. Isabella Gasperini and Meaghan Grace Hinkis were charming as the sisters – and I particularly liked the interaction between them and Benno – highlighting the contrast between their youthful cheerful mood and the darkness enveloping Siegfried. Gary Avis was chillingly menacing as Von Rothbart – and while all the character dances were good, I also particularly noticed Nadia Mullova Barley in the Spanish dance. As always, the swans were feather perfect. It’s fantastic to see Lauren Cuthbertson on such excellent form, no mean feat after returning from maternity leave, an experience sensitively explored in the short film Step by Step – and William Bracewell promoted to principal, so incredibly well-deserved. I very much hope ROH release a DVD as it was a performance I’d really like to see again. (I write as someone who loves ballet, but knows little about the technical side of it, hence vague references to ‘leaps and turns’ so these are very much my ‘uneducated’ opinions/reactions!)

Fantastic news - really well deserved! I am thrilled for both Reece Clarke and William Bracewell - two fabulous dancers who have worked so hard this season. I agree they bring styles and strengths that are in some ways different from other male principals (and from each other), which is to be welcomed, in my opinion. I don't feel comfortable, though, with the view that they fit some notion of the danseur noble type, while other principals don't - or at least would suggest that this assumption might be based on a dated and questionable stereotype of what is 'princely'. I see all the male principals as princely, in different ways - and love the differences.

I'd like to echo what others have said about this wonderful evening. I was a little worried beforehand that it might have a circus vibe - or be a bit of a dance off. But as others have said, the story and the performance became more important than who was dancing each role to such an extent that I felt I was experiencing Swan Lake for the first time or seeing it with new eyes. Occasionally I noticed and enjoyed the differences in style - but it was the heartfelt commitment of the whole cast to demonstrating, through their artistry and team work, a sense of unity, humanity and hope that had most impact on me. It was an inspired idea, executed with brilliance and heart, and I felt privileged to be there.

I absolutely loved this triple bill. I knew very little about any of the pieces and didn't buy a programme - I just went along and experienced them as dance, putting my own interpretation on each one. To me, they were all about the connection or otherwise between people - and I could see links between them, but also a development through the three which contributed to an emotional coherence for the whole programme. For me The Weathering was playful, quirky and tender, with standout performances from William Bracewell and Fumi Kaneko - I found their duet particularly touching. I also enjoyed the sections with Liam Boswell and Joshua Junker - and the fact the piece was a showcase for male dancers. The moving lamps created a simple, but I thought very effective setting. I had seen Solo Echo before - but only onscreen - and the dark costumes against a dark background did make it difficult to see. On stage (and I deliberately choose a seat near the front), the snow against the dark was stunningly beautiful and I found the choreography both compelling and very clever. The teamwork of this as an ensemble piece I thought was particularly strong. I couldn't identify particular dancers that stood out - it was their commitment to working together to create an extraordinary sense of the interconnectedness of people that was noticeable. DGV was an exhilarating finish - with the urgency of continuous movement sometimes coordinated, sometimes not, creating a sense of momentum - interposed with extraordinarily complicated and exciting lifts - and some more leisurely moments of reflection. Matthew Ball and Gina Storm-Jensen and Marianela Nunez and Ryoichi Hirano stood out in this piece, I thought, though again, the impact lay in the collective performance. Overall, I was impressed - as always - by the versatility, talent and commitment of the dancers. I love the fact that in contemporary pieces like these, it is more about the ensemble than the individual dancer and the piece rather than the performers. The minute it ended I wanted to see it all over again.

Relieved I wasn't the only one who had problems booking - thought it was my incompetence. I managed to make two donations without securing any seats! A very helpful person sorted it all out for me - and have the two seats I wanted. Agree - in awe of the people organising and those dancing. Also very grateful for the opportunity to support them and the cause.

It's not about being easily offended or not being willing to get on with things and not take things personally - it's about sensitivity to changing attitudes and awareness that some culturally embedded assumptions, practices and portrayals are offensive to some people and should be questioned, examined and if necessary, changed. 'Cancelled' like 'woke' has become a way of suggesting that such changes are somehow oppressive of free speech and common sense. People are entitled to regret the changes to the Arabian dance - but others also have the right to be pleased to see the 'harem' format replaced, without being belittled as 'easily offended'.

Anna C has just put into words what I wanted to say about Saturday afternoon. I think R&J is a wonderful ballet and I have enjoyed watching many other dancers, but I was moved by Fumi Kaneko and William Bracewell's performance in a way that I haven't been before. I thought it might just have been me but the unaffected grace, beauty and connection between them seemed so real and so heart breaking that it was as though I was seeing the ballet for the first time.

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.

It's a perfect post lockdown pick me up. I enjoyed every minute and left with a huge smile on my face.

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.

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.

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.

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.

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.

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.

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.

I found this expressive and moving.

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.

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.

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.

I completely agree - a wonderful evening, topped off by Carlos - who still has it!

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.

Loved this Gala - so many interesting, well-chosen excerpts from ballets I hadn't seen before - which were well sequenced and combined with video clips. I like the slightly more relaxed atmosphere at the Coliseum - though it is a bit crowded during intervals - and thought my £46.00 seat in the upper circle was an absolute bargain. I don't normally buy programmes - I rely on cast sheets - but loved the programme too, stylish and informative. The evening reminded me how much I enjoy watching this company - and to make sure not to miss their shows in future.(Is it just me or are the ENB men super charged?)