Bluebird

Forgot to congratulate Dave on his photos. I know the photographers were messed around a bit that day but it hasn't affected the quality of the photos. As always, they're excellent.

I think a lot of us missed the first night due to a clash with the Royal Ballet Dream/Song of the Earth Insight Evening. I went last night. I’d only seen Narcisse once before (when Tsiskaridze did it in a gala at the RAH). I hadn’t taken to it then but Sergei really impressed me in it last night. The piece that impressed me even more, however, was Maliphant’s AfterLIght, performed by Daniel Proietto. The music, the lighting, the dancing - in fact, everything about the performance, seemed quite sublime.

Just checked my father's Sunday Times which has yet another article on the subject. Hope it's OK to quote a bit from it: "...........his conduct at the Royal Ballet was exemplary until Tuesday when, according to an insider, there was an argument between him and the company after a rehearsal. “He was having a bad day — a bad rehearsal — when he took offence at something the coach said. It was a strop. He stormed to the director’s office, and I think the decision was maybe mishandled,” the source said."

A great evening overall but, for me, the highlight was Beatriz Stix-Brunell in Valentino Zucchetti’s piece, Brandenburg Divertissement. She brought to mind the first time I had seen her, as a 15 year old, in Christopher Wheeldon’s Commedia at Sadler’s Wells. That evening she was like quicksilver and the impression she made then has stayed with me ever since. People were saying, after yesterday's performance, that Valentino has the knack of bringing the best out of his dancers. I would agree with that and would say that, in her case, this was doubly true.

You're most certainly not the only one, Dave. It must be a very rare ballet.co reader who hasn't made good use of these links. Those who have been compiling them over the years have had a complex and time-consuming task. I can vouch for this as Ann Williams once spent a day training me to do them. I was able to experience for myself the dedication required. Unfortunately family circumstances meant that I wasn't able to make use of my training but I'd been made aware of the incredibly hard work and dedication involved. Many, many thanks to all those who've given up their time to provide us with these links.

I just had a look at the Period 4 prices. The prices for Metamorphosis: Titian 2012 are lower than those for Prince of the Pagodas EXCEPT for the price category which covers the rear and side amphi,row B in the block next to the stage and the Lower Slips. In these areas the prices are actually higher than those for Prince of the Pagodas. I've written to the Box Office querying this and they've replied that it's correct. Odd that they should 'victimise' one group of patrons in this way!

Melissa and Sergei had their second performance this afternoon. I was also at their first and I think I can say that things went more smoothly this time. Poor Melissa had to cope with a crying child throughout her variation but it didn't seem to affect her. Wulff mentions problems with turns. These problems are still there but, apart from the fouettés, I thought I could see some improvement.

I'll be really sad to see Francesca go. Like Alison,. I'll miss her Fairy Godmother. This was a role which suited her to perfection. Amongst her many other roles, she was a gorgeous big swan. Some time ago, at a Ballet Association meeting, she said that the role she would most like to do was the nurse in Romeo and Juliet! I have no memory of her achieving this ambition. A pity!

I'll second Meunier's comments. This is the best Christmas present you could have given us. Thank you! Let's hope we can all make it work.