Jake

Wow, sublime, in tears more than once.

Have loved many individual performances of O/O and Siegfried down the years but can’t recall one where both were so perfectly matched in every possible way.

Thank you and congratulations to them both! As many have already said, how difficult for others to follow that. Can’t think of anything else to say, overwhelmed!

Instead, a few random thoughts. Enjoyed Valentino Zucchetti’s Benno, perhaps not as ‘flashy’ as, say, Alexander Campbell, but very clean and appropriate and no hint of upstaging the Prince. Lovely routines from the sisters, smoother and more polished than they sometimes can be. Or it may just be the angle from which I saw them. Different sections of a ballet seem to make more of an impression depending on where one is seated, I find, and this was I think the first time I’d been in the balcony.

Always interesting to see the relative status of Siegfried and Von Rothbart (what exactly is his role at court?) in act one. Matthew made Siegfried seem very much intimidated by the malevolent Rothbart - Vadim seemed more irritated in a surly sort of way! How does von R exert this seeming authority apart from through sheer scariness?

Lukas B-B is making quite a speciality of the villains! What presence he has and just just because of his height and looks.

Had forgotten how much more beautiful is the lake in the theatre than on the cinema stream.

Wasn’t too worried by the applause etc for the special pas de deux. In act two it helps disguise the change of mood to the twee cygnets and in act three Fumi stayed beautifully in character, Odile accepting the approbation as if it were her due which of course it was!

Sure it’s been asked before - the distinctive music to which Benno and the sisters dance near the start of act three, immediately after his solo - is it Tchaikovsky and has it always been there? Not sure I recall it from pre-Scarlett versions.

Many exciting and eyecatching dancers in the variations at the ball. This time it was the Spanish dance which held my attention most. Anyone know which was the male dancer third from left?

A combination of train times and lack of nerve has held me back from ever going to the stage door, much as one would like to show one’s gratitude beyond Instagram or a forum like this.  Almost plucked up my courage last night, particularly in the hope of asking Vadim if he would kindly sign his book, but in view of the special dedication of the evening felt it might have been a shade intrusive. Another time, perhaps. From all that I’ve read on here, what a wonderful friend and support to the dancers Linda must have been, and performances like this, not to mention the fascinating book and the contributions to this forum, are a tremendous legacy.

6 hours ago, jmhopton said:

Personally, I don't really connect much to any of Wheeldon's ballets though like others, I struggle to say why I'm riveted to Manon or Onegin but not to Winters Dreams or LWFC. Perhaps he tries to do too much with adapting very complex books, perhaps the music is bland or the choreography uninspiring (for me at any rate). Whatever cast you see you can never question the commitment of the dancers that's for sure. With Winter's tale I always feel there's too much angst in the first act (could be doing with being at least 5 minutes less). The second act I feel is too full of 'samey' dancing (again at least 5 minutes less) whereas the third act seems to be far too rushed with all the plot ends to tie up and could do with at least 10 minutes more. I'd hoped after the first run these things would have been rectified but I take it nothing really has changed. Of course, this is only my opinion and Christopher is presumably happy with the lengths of the 3 acts!

Couldn’t agree more regarding the timing. The act one angst and the act two frolicking are wonderful in their way but perhaps a shade too much of a good thing while the resolution of the story seemed to me not quite detailed enough. At least that was how it seemed a few years ago. Will be interested to see if it has changed at all. 

Do wonder if sections arguably going on a little too long is a Wheeldon thing. Felt the same about some parts of Alice, and similarly with American In Paris when it premiered in Paris. By the time it got to London I had the impression it had been tightened up a bit, to its benefit. 

7 minutes ago, zxDaveM said:

Have to say, I really enjoyed Sarah Lamb's dancing last night, particulalrly her Odette. Such effortless grace. When she first joined the company it wasn't long after I first started going to ROH, and she always looked like how I'd imagined a ballerina to be.

Didn’t get to see her in Swan Lake this time but that’s exactly what my husband and I used to say about Sarah Lamb - she’s just how one would envisage a ballerina to be! Always so exquisite. 

Yes, forgot to mention that the prologue did seem a bit strange with the two people bearing no resemblance. 

Thoroughly enjoyed the live stream last night in a pretty full cinema (as usual I suspect that in my mid 60s I was one of the youngest there…).

The segments around the costumes and the interview with the delightful conductor only added to the occasion. A slight transmission glitch early on made me fear for a repeat of Danses Concertantes but thankfully all was soon more or less well. Felt the lake scenes were once again a bit too dark and in one of Yasmine’s solos I wish the camera could have stayed solely on her. The sumptuous costumes and acts one/three sets remain as magnificent as ever.

Yasmine has such amazing confidence in addition to her technique and for that reason must surely be a very reliable choice for these broadcasts. Loved her portrayal of Odile with her deceptive flirtatiousness and glances back to her father particularly obvious in close-up viewing.

Interesting to read other posters’ thoughts about her and others’ interpretation of Odette - must be a difficult character to know how to play, compared with her more flamboyant doppelganger.

As ever the camera understandably loved Matthew and he is so good at portraying emotion, from the sulky prince to starstruck lover to someone devastated and ashamed at being so easily fooled. Felt the one slightly clumsy finish to a solo was scarcely noticeable in the context of his overall performance.

For some reason, perhaps just the choice of camera angles, I felt the finale made more sense than on previous viewings. Still prefer it when Odette and Siegfried can ascend to heaven together, though.

Hadn’t previously seen Joonhyuk Jun in a major role - what gorgeous fluidity and lightness of touch. It was good to see his sheer joy in dancing - certainly didn’t detract for me especially as Benno surely doesn’t need any particularly complex characterisation.

Talking of joy, just loved Leo Dixon and Isabella Gasparini’s Neapolitan dance - well done to her for standing out in both the two most recent cinema streams.

Can’t say I was too bothered by the applause after the solos - what always does grate a bit is following the gorgeous act two pas de deux with the very much out-of-place cygnet dance. Talk about ruining the mood…

Immaculate performances by Thomas Whitehead and Christina Arestis completed a lovely evening. Can’t wait now until Fumi and Vadim…

As aspects of the ending seem so universally disliked, is there any chance that it could be revised one day, or is the choreographer’s ‘vision’ sacrosanct?
With whom would the ‘copyright’ lie, I wonder? Liam Scarlett’s heirs, or the RB which commissioned the version?

A very well balanced triple bill, I thought, with three such contrasting moods.

Didn’t find the strange headdresses in Danses Concertantes as distracting as I feared, though it’s slightly frustrating that it’s so hard to put names to faces for the male dancers (not that the cast sheets issued at the cinema were much help throughout the evening!).

Very much a period piece but none the worse for that. Some of the music at the start did seem somewhat avant garde - silly me didn’t realise until afterwards that was merely a technical glitch!

Beautifully performed by the entire cast.

Had rather been dreading Different Drummer after a lot of the comments here but must admit I was spellbound! Perhaps it benefits from the closer focus a broadcast provides, and certainly it was helpful I’d had a quick read-up of the story in advance. A bit more explanation from the presenters wouldn’t have gone amiss.

The dichotomy between the often gorgeous music and the devastating scenario only added to the emotional ‘hit’ as far as I was concerned. Thought Sambé was amazing, visibly seeming to diminish before one’s eyes, complemented superbly by Hayward, and I can’t wait to see Serrano again in meatier roles - wow!

Macmillan’s genius in creating a form of beauty out of the deepest despair is surely unique.

As for Requiem - perfection, or very close to! The contrast between Hamilton’s long-limbed athleticism and energy with Lamb’s exquisite serenity (not for the first time I felt she is particularly well served by cinema viewing) added to the effect. And each time I see Bracewell I appreciate his special artistry more and more.

OK, Latin subtitles wouldn’t quite be the thing but it would be very helpful to have the ‘lyrics’ on the cast sheet plus a translation and an explanation of their significance in context of the mass - it would add a new level to one’s understanding of the piece beyond simply revelling in the fabulous music and dancing.

Good to learn a little about the mechanics of notation and about the filming process. Am I right that the lighting of the recent ROH broadcasts is considerably improved?

It must be very difficult for the presenters to strike a balance between aiming for a specialist audience and the more casual viewer. Thankfully Petroc is so smooth and professional and appears genuinely interested which I’m sure he is.

No mocking of the Bournemouth Winter Gardens, please! Saw my first ever stage performance there in the early to

mid ‘60s - Tony Hancock was the star turn and I seem to recall Susan Maugham too. (Sorry, totally off topic!) 

Thoroughly enjoyed Fumi’s Manon. Such an interesting role in terms of characterisation, to bring out how torn she must be between her ‘true love’ and the promise of riches and jewels.

She risks losing much of our sympathy if she (all too understandably in the conditions of the time, and bearing in mind how young she is) goes too enthusiastically for the latter option. I felt Fumi brought out her dilemma particularly well, especially at one point where she couldn’t bring herself to look Des Grieux in the eye.

And what beautiful lines she and Vadim created in their duets; can only hope to see this partnership in many further roles in the future (yes, I’ve booked for their Swan Lake).

Must agree with others that in his maturity Vadim has taken his dramatic abilities to a different level.

As my only other Manon this time was the cinema screening it’s probably unfair to make too many comparisons based on just two performances, though as ever Gary Avis is for me in a class of his own in the ‘nasty’ roles. Felt Campbell’s Lescaut brought out the ‘charming rogue’ side of the character whereas Sissens had rather more of the ‘rogue’ especially in his interactions with Des Grieux at the end of act one.

Re act three, one aspect that Muntagirov really brought out was a sense of liberation, of at long last being worthy of Manon’s love, when Des Grieux finally rose to the occasion and saved her from the gaoler’s ghastly intentions. Whereas what I loved about Osipova’s act three was the sheer sense of exhaustion she portrayed. Of other Manons I’ve seen, only Yanowsky had quite the same impact for me in the devastating finale.

Can I say a big thank you to Rob S for his invariably wonderful curtain call photos, always so much appreciated. Wherever I’m seated, my iPhone efforts are always abject failures as the attached demonstrates all too well!

Best of luck to Mr Campbell in his future administrative endeavours. Have always enjoyed his performances since he and Francesca Hayward made the most endearing partnership as Hans-Peter and Clara. 
Like others I’ve wished he could have had more opportunities in the ‘big’ roles but he adds so much in whatever part he’s given. Even if I’ll miss his farewell Des Grieux it was good to watch his superb Lescaut in the recent cinema screening. 
And in his interviews and as a presenter he’s invariably a great ambassador for ballet - sure that will continue!

Great to see our cinema full last night. If it was booked solid for Manon, I’ll have to remember to book well in advance when Swan Lake comes around.

Can only echo what others have said. A thrilling performance by Osipova, wonderful to see that her dramatic intensity is as strong as ever. Thought she brought out Manon’s internal conflicts superbly.

She is obviously so secure in her partnership with Clarke. I don’t find him the most expressive of actors but he looked superb, gave it his all in the third act and his despair at the end was tragically convincing. Poor Manon must be so tired and weak by then and it must be difficult for the dancer to show this aspect at the same time as coping with the ultra-dramatic choreography - thought Osipova managed that compromise particularly well.

Campbell, Magri and (I mean this as a compliment) Avis inhabit their roles so perfectly and the latter now has a rival in nastiness in the gaoler’s role in Braendsrød. 

With such a ‘busy’ ballet it’s good to pick up new details every time you see it, which is where the broadcasts really come into their own. Especially noticed the usually so regal Elizabeth McGorian having a ball as ‘Madame’.

Now can’t wait to see Kaneko and Muntagirov live - always feel he’s the ideal Des Grieux and have the highest of hopes for her. Judging by comments here, only sorry to have missed Naghdi/Bracewell. Aren’t we fortunate to be able to see so many outstanding actors?

What lovely, inspirational words from Alessandra Ferri during her presentation. And also later from Darcey Bussell. 
A question for those who follow other ballet competitions (I’ve watched only the last few years’ PdLs) - do the male dancers generally appear to have an advantage?

Difficult to know what to say about La Strada. But will try.

Firstly, so pleased to see the magnificent Alina and Johan once again, having enjoyed - and at times been quite terrified by - so many of their extraordinary performances during their RB years.

Just wish that there had been more opportunities this time for both to play to their strengths. Alina’s duets/trios with one or both of the ‘angels’ were lovely to watch (though I had to agree with the thought that at times her gorgeous lines were obscured by her partner) but just wish there had been more pieces of comparable beauty for her with either of the two leading men.

The subject matter could surely have lent itself for more of the exuberant ‘street’ type dancing we saw relatively little of - not least at the end of the first act which suddenly finished on the most anti-climactic of notes.

If it proves that my final memory of Johan is as a posthumous unicyclist plus wings, then so be it (and he did it superbly) - though his solo a few minutes afterwards was very touching - but can anyone explain its significance? It seemed to me like a sort of farewell - was that the idea?

Can’t say the changes of style within the score worried me - hardly the only ballet where this happens - but it did seem that a few pieces of eminently ‘danceable’ music were rather wasted, especially one where Gelsomina moped around in a distinctly unflattering brown coat to music which might potentially have accompanied a wonderful solo.

And it certainly made one appreciate a ‘real’ orchestra, though one understands the economics involved.

So, lovely to see once again two of my ballet heroes, and their excellent supporting cast, after so long but I hope the chance comes one day to revisit them in a less ‘bitty’ affair.

Sorry if this sounds overly negative - possibly it wasn’t a good idea to have booked for a ballet just a couple of hours after seeing that devastating film All About Us Strangers which left me something of an emotional wreck!

On a slightly different aspect, I’d be interested to hear from those who saw Fonteyn who is the closest to her among modern dancers in terms of elegance and refinement. Might it be Alina?

Really enjoyed the series, both the history and the various performances shown. What a wonderfully natural presenter she was, and with that immaculate diction seldom heard today (Petroc Trelawny excepted). Thank you BBC for this treat. Wonder what else is in the archives. 

Thank you to the mods for their hard work and tactful approach, and to all the contributors whose pieces are the next best thing to real ballet at a time when my opportunities to see the latter are rarer than in the past. Much appreciated, and always good to read a variety of opinion. 
Happy new year!

Thanks, wrong Peggy! Yes, Ms Mount would have been fascinating, though not entirely implausible, as Mother Superior!

Has never been quite the same for me since I learned that Peggy Mount didn’t actually sing Climb Ev’Ry Mountain!

Anyone know why Sky Arts is so useless with its dance programming? Missed the last ten minutes of The Sound of Music to turn over to An American In Paris, being told it was the wonderful Gene Kelly film. Soon became obvious it was the recent gorgeous Robbie Fairchild stage version.

No problem for me as I could happily see either any number of times, but must be frustrating for those with a preference for one or the other. Sky Arts’ PR department so often seems somewhat lacking…

Epsom cinema was pretty full and an almost seamless broadcast. All good except for the few who insisted on talking right through the intros and every time there was the shortest break in the dancing…

Weren’t Sophie Allnatt and Leo Dixon gorgeous? Had something of the freshness and youthful joy that I recall from Campbell/Hayward some years back now. His promise has been obvious for a while but I hadn’t seen her in a major role before and am sure she has a great future.

Even if Gary Avis remains the gold standard Drosselmeyer I enjoyed and was touched by Thomas Whitehead’s interpretation and he’s a beautifully competent cape-swirler.

Particularly enjoyed the Arabian and Chinese pairings.

Nice to see Anna-Rose O’Sullivan and Marcelino Sambé’s progress from Clara/Hans-Peter before their promotions to the principal roles this time. Even if agreeing with some of the previous comments I felt they did pretty well and the precision and neatness of her approach and his ease and fluidity had an appeal of their own.

Not a ballet I’d nowadays pay theatre prices to see but good value as a cinema treat.

Always interesting to see both a ‘real’ and cinema performance of the same ballet.

This time, felt there were different aspects to love in both Friday’s and Tuesday’s Don Qs.

Seemed that the cinema/special occasion cast was making everything that bit more emphatic which may not always be a good thing but surely is forgivable and indeed welcome in this of all ballets where subtlety is not the biggest priority.

Loved Ball and Magri’s cheeky characterisation (certainly no lack of ‘chemistry’ from where I was sitting!) just as the sheer charm of Bracewell/Kaneko’s approach had an equal but different sort of appeal. Richardson and Dias spectacularly confident and assured, beautiful dream sequence again, Avis as usual giving that little extra in what can be a thankless part, and Hay even more wonderful seen closer up. Among the others, I think it was Sae Maeda who caught my eye this time. Enjoyed seeing more of that remarkable horse, as well as the rest of the interviews etc.

Yes, Fumi’s fabulous fouettés were in a class of their own but but the way Magri bounced instantaneously back and carried on smiling through meant that it’s the other 99 per cent of her thrilling performance which will linger in the memory.

Not sure that the gypsy bit is any better in close up than in the theatre, and always seems interminable. Why can’t the two main gypsies just do a really dramatic, show-stopping pas de deux, rather than all the noisy faffing around, as Len Goodman might have said?

But a lovely evening and thanks to all involved with both performances. Sorry not to be able to  see Osipova but perhaps best to stick with memories of her and Vasiliev…

Circumstances have prevented any visits to Covent Garden for the past 12 months (and allowed only one since covid), but withdrawal symptoms finally set in this week and when one single nice seat suddenly appeared on the plan for tonight’s Don Q with Kaneko and Bracewell, temptation proved too much in spite of the scary price. You only live once!

Glad I succumbed as Fumi (if I may be so bold) surpassed my very high expectations with her sheer joy and presence, not to mention the fastest fouettés I’ve ever seen.

Lovely chemistry with the always elegant and clean lined William who I felt came into his own in the final act with a beautiful pas de deux and an appealingly nonchalant approach to the final fireworks.

Special mention for James Hay and his deliciously petulant Gamache.

Is it just me for whom the windmill/gypsy sequence doesn’t really work? No reflection on this particular performance - feel the same every time I see it. But more than compensated for by the gorgeousness that follows immediately - thank you to Fumi, Hanna Park and Ashley Dean.

Will be fun to compare with Tuesday’s trip to the cinema - more high expectations!

Thanks as ever to the whole team for enabling us all to escape from grim reality!

Either or a combination. Especially interesting if videos exist of the older performances. 

During the ‘off season’ I wondered whether it might be worth having a discussion of which dancers readers feel gave as near as possible a definitive interpretation of specific roles.

There was an interesting thread of this type a few months ago regarding the various Rudolfs in Mayerling. What about other roles?

A few suggestions to start with, based mainly on performances at Covent Garden:

Kitri/Basilio - Osipova and Vasiliev (who could possibly beat that?). Espada - Hirano.

Des Grieux - Muntagirov.

Lise - many possibilities including Osipova, Nunez etc but Yoshida sticks in my mind.

Juliet - Cojocaru, and Hayward close up. Tybalt - Ball.

Giselle - Osipova. Acosta or Muntagirov as Albrecht.

Odile (and any other role she was in, especially Myrthe) - Yanowsky.

Onegin - Kobborg (with Cojocaru as Tatiana) or Cooper (and Vogel, judging by a stream I saw).

Drosselmeyer - Avis. Muntagirov/Nunez as Prince and SPF.

Would enjoy hearing other views, both regarding contemporary dancers and those from preceding generations.

PLEASE can Month be filmed! Was devastated to miss that cast in London. 

Not sure how to write about last night. After a ghastly year or so which led up to the loss of my husband with whom I’d shared regular trips to Covent Garden etc over more than 20 years, I wasn’t sure whether I should even attempt to go to the Beauty cinema relay.

But a last-minute decision was made and it was truly wonderful to be transported away from reality for three hours. Struck me as a magnificent performance all round with the whole cast contributing to the magic.

Kristen McNally deliciously evil, but with Mayara Magri spreading benevolence so beautifully the illusion that all is, or could be, well with the world was complete - if only that was the case in the real universe.

Matthew Ball everyone’s conception of the handsome Prince and so gloriously together with his Aurora.

As as for Yasmine Naghdi, a truly spectacular performance with such confidence, joy and aplomb - I was in floods of tears after act one.

It seemed to me that Jonathan Lo taking the wonderful music at such a cracking pace really encouraged the dancers to excel (as well as making less noticeable the occasional longueurs which one has to admit Beauty is subject to in places).

Thank you to all the above and to the rest of the team (what a Bluebird, what a Wolf, what a Queen and so many more) for an evening which did me at least more good than you will ever know.