Meetmeatthebarre

Logged on just before 09:00, and got all the tickets I wanted for the performances I wanted after 5 minutes waiting (RBS, Morera's retirement, Carlos, Jewels and Dance with the Royal Ballet). It's been a while since I've been so lucky!

I could have written this! Are you, perchance, quite tall as well? The same - especially enchainments where there's no time to think. I used to find the most consistent doubles I had were where I aimed for a single on a good floor and then just let myself go round another time. But... I've landed nice triples on a handful of occasions, and there's just not enough force from my previous method to get round that extra time. (I'm really not a turner though; on bad days, even my singles are sloppy.) I am, part of it is history (I was probably more exam-ready a year ago than I was when I took it for various life reasons) and had already taken a term of Adv 1 which followed on from the Inter class I took. A related reason is timetabling. But a main reason is that I'm quite a nervy dancer - my weakness is transitions or losing technique because I panic, rather than lacking the technique to tackle steps in isolation. So I think I'd get a better end result by spending double the time on Adv 1, than AF and then Adv 1, if that makes sense.

Whilst awaiting results, it's been so nice to go (back) to the Advanced 1 syllabus! For me at least, it's such a demonstration of how liking/feeling inspired by a piece makes dancing it so much lighter.

London-region and yes, iPad in my case. It's been a little over a week now, but I have a lesson tomorrow and the school is quite traditional (forced to wear the bun flowers - I secretly loved them, however). I'll keep this thread updated!

Does anyone have insights to share about how long this term's RAD exam results are taking to come through? I finally took my Inter recently. I can't wait to see the back of that syllabus, so rather desperate to have confirmation that I can leave it behind!

I tend to have a word either before in the guise of "if I'm in your way, do tap me..." - the side tickets do get booked up so quickly but they might get transferred on to people who don't know "the code" - or during the interval. Only once in many years did I have a seatmate who loved to lean so far forward, elbow on the barrier, chin on hand, who refused to move. I suppose that's the gamble taken.

Just before Friday's Turandot, a series of events unfolded which started off like a prime candidate for this thread, but with a rather touching ending. For background, this production starts with curtains opening, and the chorus slowly one-by-one taking their positions even before the lights dim. This was in progress, when across the mid-amphitheatre comes a very loud shout. Some turned heads, some grumbles. And then it happens again - it's a woman's name. It's only on the third time that we realise what is going on - two older ladies (sitting in the row behind me) waiting for their friend have seen her, but at the wrong door! The ushers spring into action, swiftly escorting her to the right door and up to her seat, but not before her walking stick catches in the wrong place, she stumbles on the stairs to some gasps (but is OK), and almost everyone in her row and the one in front try to assist as she shuffles into the end of the row (the angle of the seating there is quite steep!). So if you heard some commotion and then a ripple of warm applause that night, it was the excellent work of ROH staff, and one very happy opera-goer delivered to join what was a spectacular performance with her friends.

What a lovely story, JohnS. I'm sorry for your loss. I had thought that this morning's announcement was perhaps timed to avoid speculation/questions at tonight's Insight (which I am gutted to not have been able to attend). It was just over ten years ago when I was converted into an uber-fan after her Tatiana and vowed never to overlook her on casts lists again. And I've appreciated the interpretation she has brought to everything I've seen since. I'm glad her final company performance will be in Month, though sad that I won't be there in Japan. I've double-booked for her Cinderella, however, and will fight high waters to be at her final Anastasia.

If it's of any consolation, I've rarely seen comments to the ES reviews, let alone ones which are so decisively critical of the critic. My viewings of the RB's Beauty alone must run into the teens, and I still can barely wait for the late runs for which I have booked (O'Sullivan/McRae and Takada/Sambe).

You're entirely right, from someone who lived in the region for a few years (and was introduced to this tradition in a rather terrifying way - a surprise whipping on the bottom by two young boys in devil masks and broomsticks - rather alarming if one has no heads-up or context!)

A very belated thanks for this - really appreciated!

Would you happen to have a link? All I can find online is Issue 2 from June, which doesn't appear to cover this. I'm looking to take Inter in the spring, so would very much like the reassurance (as well as not having to pay for new soft blocks and a tutu!) Thank you so much!

It's been a while since I took Anna's GEN class, and I only went a few times, but I found it was very much suitable to adapt for beginners/advanced beginners. I don't recall there being many pros.

Another vote for Wear Moi, but also Grishko. Their fabric and stitching is incredibly generous with stretch. They also wash beautifully and look pristine after tonnes of wear. Bloch/Mirella are also a good option, but down to the cut, rather than the fabric. Sonata, Capezio, and especially Ballet Rosa, unfortunately, don't work in my experience for long torsos.

All I have to add to this thread is on Month. It's always been my favourite one act, perhaps tied with Marguerite & Armand. Yet normally when a piece and a performance scale such giddy heights as Saturday night I rush out to book again, I hovered over the confirm button with both of Monday's performances in basket, then finally did not buy. I wanted to savour the memory of Saturday, put it into a glass box, and not risk its perfection being compromised by further viewings that would invariably fail to match. Without going into detail, I've recently had personal circumstances which, though not the story, have brought up similar kinds of emotions. Laura was Natalia Petrovna, but as the piece built to its inevitable end, so was I. It's so hard to think of Vadim inhibiting a malicious character having taken class from him and seen how utterly lovely he is in person, but even aside from that, I felt his characterisation was of a young man clueless rather than thoughtless or reckless. The last scene, where he rushes in and cradles Natalia's sash, had tones of innocent longing and brought up thoughts of Giselle cradling Bathilde's silks. I lost it, and to anyone who heard the loud, uncontrollable and ugly sobs before the music even ended on Saturday night, I am sorry! On a totally different note, I am rather amused that Ms Osipova's patronymic is... Petrovna. So she is literally Natalia Petrovna (Osipova)!