EVWS

5 minutes ago, Candleque said:

I used to see everything the RB did at least once, out of respect for the dancers. But after too many costly and disappointing evenings, finally decided I didn't have to suffer through work I didn't enjoy.

My sentiments exactly, which is why I'm giving this triple bill a miss - much happier to have finished my RB season with Cinderella & The Sleeping Beauty. Very jealous of what they're getting to see in Japan - if only we could have had some of that to finish the season off! 

It was going round on some of the Instagram accounts that I follow over the weekend (it was on stories, so can't share as they will have expired) 

1 hour ago, Kerfuffle said:

Dancers often use the applause to give the other dancer time to recover

I agree in between variations or at the end of the PDD, wKathryn Morgan also mentions during this video when Marianela has just finished her variation, but when you have a pause in the coda between fouettes for applause/bows/curtsey's etc., it does completely break up the momentum/story/excitement of what you're watching.

She says that it's a good thing that Marianela & Vadmin/at the Royal Ballet they run straight through both fouettes and keep going until the end of the coda.

Fascinating, thank you! 

40 minutes ago, jmhopton said:

I also asked about the Ashton stream (again!!!) and was just told to watch the new streaming information.

Fingers crossed they bring it out soon - I'll be furious if it just disappears into their archive never to be seen. Like the Cinema relay of Jewels that they did several years ago! 

40 minutes ago, Balletfanp said:

Purists are entitled not to enjoy them, but many others will (and do!). I find it very sad to see the constant and detrimental comparisons of today’s wonderful dancers to “the good old days” when in fact today’s dancers bring something new and equally good in different ways to the table.

Hear Hear! 

I've listen to the first couple of episodes - finding it very interesting so far 

17 minutes ago, capybara said:

Christopher Saunders doesn't seem to have been closely involved in the mounting of Cinderella.

I think he's been in the US working with ABT on Like Water for Chocolate which opened at a similar time to Cinderella 

1 hour ago, oncnp said:

Cuthbertson announced her retirement?

No, she's currently on maternity leave after having her second child 

Yuhui Choe has put on her Instagram story that she'll be rehearsing (I'm guessing Bluebird PDD judging by the picture that she's put up) with Joonhyuk Jun

11 hours ago, alison said:

Incidentally, looking at the Cojocaru/Kobborg recording, I notice that Hayward does that manege - and the chainé turns round the Prince later on - in the opposite direction to Cojocaru, and I think most, if not all, of the other Cinderellas I've seen thus far in this run.  Certainly in the opposite direction to what I saw Nuñez doing in the cinema broadcast a few nights previously.

The direction you do your manege in depends on whether you are left or right turner - Marianela is a right turner and Francesca is a left turner. It's the same with the men when their variations end with a manage or series of turning jumps around the stage.

I think right turners are more common, so if you're seeing different dancers in the same role, a left turner stands out more as it looks slightly different to what you've seen before. 

1 hour ago, Linnzi5 said:

I'm still waiting for Lauren Cuthbertson's Swan Lake, Ashton Triple Bill and the most recent Nutcracker. If those are added to the stream I will be so happy.  

Seconded, especially the Ashton Triple Bill!! 

34 minutes ago, Richard LH said:

On the Ballet/Dance  News & Information Forum we had  some discussion about  Cinderella's entrance. In the Sibley DVD version, and also in the broadcast Cojocaru 2003 version,  she comes down the stairs with  a long transparent train attached to her shoulders, partly at least on pointe for which she  aided by the Prince, although she  forwards in wonder without being  aware of him. She then  bourrées a long way forward on her own (the Prince walking admiringly alongside) to the front of the stage, all this time still staring forwards as if in a dream. Only then does she "come to" and acknowledge the Prince. It is a lovely passage.

 

Fonty found that this had been changed in some later You Tube clips  (I am not sure which versions) to have her engaging  with the Prince earlier, on the stairs, which I would think may remove some of the magic.

 

How is this wonderful  moment being handled now…the same as the original, or changed at all?

  

On Monday night (and at the General), Marianela did exactly as above - went down all the stairs on pointe (aided by Vadim), with a long train attached to her shoulders, then bourrées to the front as in a dream with Vadim walking next to her 

5 minutes ago, capybara said:

How completely typical that is. Especially when he hasn't seen her dance Cinderella, it borders on unkindness to other RB dancers.

He needs to go to Specsavers !!!!!

And if, as appears to be the case recently, he only books for Hayward's shows, how does her know????

 

[Of course, I mean no offence to Francesca, who is a lovely dancer - but really........!!!!!]

I have to say that I agree with all of the above!! 

Beautiful and magical new production. For those who were concerned that it would be a modern take on the ballet have no fear! It felt like a ‘traditional’ ballet but made use of modern stage tech & lighting. 
 

Wonderful dancing throughout. Especially love Fumi and Yuhui & also Gary and Luca as the step sisters - very funny but not too much (if that makes sense!) 
 

Marianela and Vadim were wonderful, Marianela on a whole other level especially in Act 2. Can’t believe that she’s been with the company for 25 years and still dancing like that, how lucky we are to have her here in London. 

Cast list for tonight is here: https://static.roh.org.uk/digital/cast-sheets/Cinderella/Cinderella-27.03.23-v5.pdf

Looks to be the same as for the General Rehearsal 

The Guardian has got some pictures of costumes / rehearsals 

https://www.theguardian.com/stage/gallery/2023/mar/24/you-shall-go-to-the-ballet-cinderella-at-the-royal-opera-house-in-pictures?fbclid=PAAab4bAZTrJsluB9opltrq6JGEqm09WQzx1ip-_OUAXz7PLbGKI4LDh8N8KI

2 hours ago, oncnp said:

I'm booked for the 30th and this soon-to-be-ex Friend did not receive the offer.

Me too! 

I didn't receive the first survey, but was sent the second ('Friends only') one on Friday. 

Like previous posters, I said that I missed the discounted booking packages and that prices across the board are now too high to see several casts, which (I imagine) is what a lot of friends like to be able to do. 

I'm not entirely sure how much of the actual detail they will read/take on board from these surveys, but I also mentioned that they should put more casting info out earlier i.e., Lilac Fairy, Carabosse etc. 

I understood it that the casting was for the most part decided by the Director, but if a ballerina's scheduled partner was injured/needed to be replaced last minute, then the ballerina had a say in who she would prefer to step in as a replacement. Understandable given limited rehearsal time etc. 

16 minutes ago, oncnp said:

Interesting - I am subscribed to all available options on the Contact Preferences page (which does not include "marketing e-mails") and did not receive the survey. 

Me too! 

Perhaps someone should send the ROH powers that be a link to this thread and they might get more of an accurate understanding of people's feelings on pricing! 😉

1 hour ago, Blossom said:

I still haven't seen it! 

Neither have I!! 

I agree absolutely with everything that @emmarose wrote! One of the better Sleeping Beauty's that I've seen in a long time (even Act 3 which I do often find can drag a bit until the final PDD...)

Marianela & Vadim were subline in everyway, so lovely to see two artists with such strong, controlled technique which really then allows them to be in the moment and almost 'play' with their musicality and phrasing. What a treat to be able to see them both! I may be wrong, but I also thought that they were dancing at a faster tempi compared to previous years, which I think is a good thing - it adds a freshness and excitement to what you are watching on stage. 

Loved Fumi as the Lilac Fairy, radiating such warmth and benevolence all evening. I thought Claire Calvert as the Woodland Glade & Yuhui Choe as Golden Vine were the standout fairy variations in the Prologue. Joseph Sissens and Isabella Gasparini were fantastic in the Bluebird, I've long admired both of them and it was lovely that they were given this to dance for the opening night. 

Special mention to Kristin McNally as Carabosse - wickedly fantastic! 

I definitely agree about the lack of snowflakes - given the size of stage it does look very strange and lacks impact etc. I think I recall someone mentioning last year that KOH and the Royal Ballet thought that when they cut down the number of snowflakes for the Covid version of the production the scene looked better, and the choreographic patterns were more clear to the audience...to me it looks like, a light dusting of snow rather than proper snowfall/blizzard! 

But that's a minor niggle it what is a magical and fantastic production!! 

Just an observation as well but I've also noticed that all the Sugarplums have a different crown on than previous years - much more tiara like