Jamesrhblack

The evening show was enhanced by splendid seats in the Grand Tier, courtesy of my artist singing Katharina Schratt. I could quite see (!) why the ballet staff choose to sit at that level, although my preference has invariably been for the Balcony Stalls. There has been a lot of anticipation regarding Steven McRae's debut as Rudolph, especially as he was cast as Sarah Lamb, who seemed an unlikely choice for Vetsera. In the event, her injury brought Akane Takada in for an unexpected debut and it proved a thrilling and moving evening. McRae is such an astonishing technical dancer that none of Rudolph's choreography, even the most extreme partnering, seems to cause him any difficulty at all, itself a remarkable achievement, especially given his relatively modest high and slight stature. It was a real pleasure to see solos which have caused other distinguished dancers executed with such ease, and an ease that doesn't bring superficiality but enables him to explore character unhindered by the need to concentrate on execution. I don't think all his choices convince me: the strutting walk in Act One seems petulant, the drunkenness in the Tavern scene surely overdone (as an experienced drinker, wouldn't he be able to hold his liquor better than that) and I missed those elements of tenderness and charm that Bonelli had so memorably given the role. I don't know that I was moved by his plight but I was hugely impressed by his achievement and, as I have written above, am confident that further performances will enable him to find greater variety and pathos. We mustn't forget that this is a colossal role and that no artist will ever have all the details down for their debut (which makes the achievement of Bonelli and Morera even more remarkable). Takada was unbelievably good. As with McRae, her technical precision enabled her to articulate very movement with dazzling clarity (that delicious falling over her feet with excitement moment in the Card Scene, those whirling downstage turns as she approaches the gun at the end of Act Three Scene 2) but it was her total immersion in the drama that, if it's not too strong a word, stunned me. A convincing child, almost shy under Rudolph's appraising gaze outside the Tavern, girlishly infatuated, intrigued by the skull and the gun (Larisch had taught her well as those "grooming" moments of choreography show us) and then finding it almost all too easy as her recklessness in the Act Two Bedroom scene turns to boredom. She caught that praying mantis moment at the end of the Act with ferocious glee and then grew almost into compassion and womanhood before the frenzy of the end willing both herself and Rudolph to the climax. There were good things elsewhere too, and a word of praise for the orchestra which played so well under Martin Yates at all four performances I attended. Kobayashi was a slightly pale Larisch (up against vivid memories of Lamb and Cowley, to say nothing of Collier, Park and Rosato, as well as Mendizabal in the afternoon) and Paul Kay a more Music Hall - rumbustious (if that's the way to describe it) Bratfisch. McNally was a cooler, perhaps less varied Elisabeth than Arestis (who had actually knocked Mendizabal in to the desk in her fury in the afternoon) but I'm always impressed to see these more senior, usually characer cast ladies still elegant and fluid en pointe. Crawford lacked presence as Mitzi but seemed much surer technically than on the last couple of occasions I had seen her (Lilac Fairy, Mistress) even if the Officers (led by Zuchetti) rather over powered her. A special word for Johannes Stephanek, formerly a lovely Lensky who never seemed quite to get the opportunities he deserved, waving farewell as Bay, having partnered Elisabeth most elegantly in their pas de deux. I don't think this was the most moving performance of Mayerling I have seen but the achievement of McRae and Takada was surely exceptional in its way. So, looking back, is it invidious to make comparisons between the various casts, allowing for the individual nature of perception and the unique nature of each performance? For me, the most satisfying cast was Bonelli with Morera and Cowley, Two superb dance actresses (with Morera seizing a late chance so strongly that it made it all the more surprising the opportunity had not previously presented itself) and a natural Prince showing an unanticipated flair for dramatic presentation and created what was for me the most rounded portrayal of Rudolph (all the more remarkable in a debut). The first night, perhaps over anticipated, didn't quite make the expected effect. Am I alone in finding Watson's actual dancing less satisfying and his portrayal almost too one dimensionally haunted and angst-ridden? My reservations over the last matinée are detailed above and the final show made an impact that was completely unexpected. Favourites? Campbell as Bratfisch brought the most humanity and maturity to the role and seems incapable of making a movement that doesn't convey character but the other three were all terrific too. Mendizabal just edged it for me as Larisch (even over Cowley and Lamb) with the greatest variety of expression, the most vivid involvement and a sense of scheming brought out of desperation to maintain control. Yanowsky rises effortlessly over the others by sheer strength of dancing and personality, as well as having a pained, haunted quality all her own (which can be seen in her son too) although Arestis also brought something very particular to the role, whilst Avis has the most natural authority as the Emperor (as well as the most charm as Bay). Hayward and (possibly surprisingly) Choe brought something more to Stephanie than just timidity and fear (why did Maguire not dance this? There was no announcement on the cast sheet and she isn't injured as she danced a lovely Louise). Nunez would be the pick of the Mitzis for glamour and technique, although I also very much liked Stix-Brunell. Some superb work from assorted Officers (Ball, Campbell, Edmonds and Zuchetti in particular stood out for me) and a sense that here was a company at this top of its form for this particular repertoire. Idle speculation: I'm not always bothered with literal chronology but as it was flagged up earlier it seems to be there is something odd going on in Act 2. Rudolph is interested to Vetsera after the Tavern scene which is followed by the Card Scene and Vetsera's letter, which is delivered by Larisch in the following Birthday scene by which time Stephanie is heavily pregnant, which she wasn't in Scene One (so, despite how it reads on stage, there has to be some time lapse between outside the Tavern and the Cards). Idle speculation 2: there have been several comments as to these performances marking Watson's last Rudolphs. Even if the ballet is back in 18/19, will Bonelli and Soares still be dancing the role and, if not, who might be (or who might be in addition)?. McRae has shown that if the dancer is strong enough as a partner height and stature needn't be a hindrance, which would open the way to Campbell's superb dance technique and intelligence (and he partnered Mendizabal extremely well in Two Pigeons) and I'd also be very interested to see Nicol Edmonds, who has impressed me very much on the last few occasions I have seen him both as dancer and presence.

Well, after seeing Mayerling twice in one day (through slightly unexpected circumstances), my most over riding reaction is what a strong and moving piece of dance theatre it is. Yes, there are grumbles about the construction and the perceived padding, and yet over two consecutive shows (as well as a Friday/ Saturday matinee at the start of the run), I wasn't conscious of any longeurs at all and continued to see new details in the characters and presentation. I wrote at (too much?) length of my impressions of the first two casts so will keep this briefer and concentrate more on my reaction to performance as opposed to content. At the matinée, I seem to be in a minority for not having been as taken with Soares and Cuthbertson as many others. Although he is a strong partner, his dancing seems to be in technical decline and were some real struggles. That first solo is hard for everybody (but see below) and I'm usually not overly judgemental at that point) but other exposed moments also seemed to cause strain and I found his characterisation (again in contrast to many others) seemed one dimensional which disappointed me as I'd expected more (and I was on the front row of the Stalls so close enough to see and register). Cuthbertson (an artist that I really like) also disappointed me. She seemed too mature and sophisticated for Vetsera, and much more of a natural Larisch. I never felt that she was being swept away on emotions she couldn't perhaps really understand The rest of the cast impressed me: Mendizabal was a splendidly scheming and detailed Larisch (it really is a good role) who really did move the drama along at crucial moments. I'd never before noticed Larisch picking Vetsera out at the Wedding celebrations.... Gary Avis is surely one Emperor to rule them all (a pity he can't be cloned to dance Bay as well) and Arestis was an interesting Elisabeth, in that she really melted with Bay and seemed mildly amused at presenting the portrait, so the contrast with her coldness towards Rudolph was strongly etched. She's such a fine artist and I wish I knew how the system could reward her years of service promotion wise. Choe was an unexpectedly feisty Stephanie and I rather liked her fighting back, only to find that Rudolph was, of course, stronger than she was, and her disdain in the Tavern scene was palpable. It was lovely to see Tristan Dyer back on stage and he was a delight as Bratfisch, fluent, engaging and concerned and there was good work from the officers (led by Hirano). Calvert was a pleasing rather than memorable Mitzi - I didn't sense Nunez's technical exuberance or Stix-Brunell's more infatuated affection (she was great as Louise in the afternoon and a dancer who I always like to see). I should stress that my criticism of Soares is entirely my own view and I have nothing but admiration for any artist able to master this ferocious role in the first place.

The Mayerling programme is certainly newly printed as it contains Polunin but omits Hayley Forskitt who seems recently to have left ...

Yes, that really was a lovely memory and I'm sorry that there wasn't more follow through for him in such solo opportunities....

I'll write more in due course but I didn't initially find him dramatically convincing: his flashes of rage seemed more petulant, as in the scene with Stephanie. However, he is technically such a superb dancer that nothing in the demanding choreography seemed to challenge him at all (contrast with the matinée) enabling him to explore a variety of dramatic options that will no doubt settle in to something more coherent as and when he gets further opportunities to perform the role. I felt that the drunken freedom in the Tavern Scene was overdone but as the screw of the drama began to turn and as he was joined by a remarkably passionate Ms Takada he seemed to settle and if not as moved as I was by Bonelli I did feel sympathy as well as revulsion by the end.

Had an unexpected double day at Mayerling yesterday and will write at greater length in due course (still collecting thoughts) but, to answer Sim's question, Takada was outstanding: I had no idea she could dance in such an uninhibited, passionate manner and even under the circumstances of a last minute debut she built the character from infatuated girl to passionate death seeker with terrific precision dancing always with beautiful detail and mesmerising fluency. She absolutely seized the moment.

One shouldn't speculate but not only, as previously noted, is there no Matthew Golding casting for Autumn 2017 but Hikaru Kobayashi isn't down for Nutcracker....

Sorry, my wording was probably injudiciously chosen. I think it's clear that Hayward is regarded as a very promising and accomplished dancer who has been given some terrific opportunities and an appearance in a principal role on a broadcast under these circumstances might seem an appropriate response even if an alternative solution was found for the later performances. I'd hoped that the partnership with Campbell would be further developed but have no objections to that with Sambe either as they seem to work very well together too.

Didn't Osipova dance this last time? Could also see Hayward being promoted to first cast as she's physically right for MacRae and a principal broadcast but also suit management's raising of perceived status for her....

I rather liked Collier in this: she was rather smug and self satisfied which worked. I agree that Lamb is excellent in this role but also thought Genesia Rosato was outstanding. Very much liked Olivia Cowley this time round too....

It was mentioned in The Times interview with her that she was learning the role, admittedly as understudy ....

Indeed, but no sign of Golding....

I absolutely agree. I'd always enjoyed his work, but this was something quite other. I do hope he will be back next season.

In, for exampe, The Netherlands, all performers (male and female) are presenetd with flowers. As a performer (in opera and concert not a dancer), I remember liking that very much ...

Surely with Melissa Hamilton. Sarah Lamb's public debut as Vetsera (apart from the General on Friday) was this afternoon... Was Emma Maguire replaced as Stephanie?

Although I doubt I will get to see this cast (and still reeling with Bonelli and Morera), I can imagine that McRae's highly intense stage presence, properly harnessed, could prove fascinating in the role. He has become an exceedingly strong and capable partner with a variety of ballerinas and is an intelligent artist. I've not found his stage presence ingratiating of late but that's not necessarily an issue with Rudolf (although Bonelli's flashes of charm and unexpected gentleness brought a new and unexpected side that worked for me) and within a strong acting frame he will, I am sure, surprise his detractors and thrill his supporters.

Thank you for your kind words.

Still reeling from the experience, I am trying to formulate why this afternoon's performance moved me so much more despite the presence of three debutantes who might, realistically, be thought to lack the knowledge of Watson and Lamb in performing their roles or Osipova's world class presence and technique. Admittedly, my seat was better (front Balcony as opposed to front row Amphitheatre sides) but as soon as the curtain went up I was gripped in a way that had eluded me last night. Initially, Bonelli's rather set face of misery seemed cod and unimaginative, and his technique fallible in the opening solo with its difficult turns of direction and yearning arabesques, but as soon as he turned to the seduction of Louise a roguish charm emerged that was undoubtedly winning and without any costume issues this delectably seductive duet (with a beautifully articulated Emma Maguire) was able to be all it could not be last night. However, it wasn't just these two. The amused look on Olivia Cowley's beautiful face said it all - "Oh, here he goes again." And from then on I was helplessly drawn in. Alexander Campbell's panache and power as the First Officer were as spell binding as you'd expect from this treasurable artist and Bonelli began to relax. There were some awkward moments in the partnering as Larisch hurled herself at him and yet there was an emotional honesty too. Crowley's ravishing arms and legs curled seductively in his arms with that wonderful combination of knowledge of what to do allied with spontaneity of execution. Laura Morera, en debut as Vetsera, was almost unrecognisable as a Child, face seemingly scraped clean of makeup and feet skittishly tripping, more interested in her friendship with Valeire at this stage. Tara-Brigitte Bhavani's stage presence may be less imposing than Zenaida Yanowsky's but her beauty is absolute and, as with Cowley's reaction to Louise and Rudolf, her colleagues enhanced her - I'd never seen before so clearly expressed the references to Sisi's famously slim waist (and, having seen it in the Hofburg, I always like to see her exercise ladder). Whether through pacing or inexperience, Bonelli was less frenzied than Watson here. You felt he really wanted to gain rather than enforce his mother's affection and his agonised pressing of a hand to his forehead as he exited with her looking the other way prepared the way for the following scene, as well as clearly referencing an idea that becomes more prevalent as the ballet develops. Meaghan Grace Hingis doesn't have Hayward's strength of personality and her much blonder stage presence reads perhaps less dramatically but her terror seemed real as Bonelli's almost initially playful behaviour with skull and gun, however disordered, became more sinister. Both dancers had absolute confidence and, strangely, it came across as more frightening than last night. I'll expand my theory on why these things suggested themselves to me later. The Tavern Scene was great. James Hay is delicious as Bratfisch, lighter and more boyish than Campbell, and sweetly winning as he tries to get Stephanie to paricipate (Hingis' gesture of morning sickness when he did so was another detail new to me) and Beatriz Stix-Brunell made a sweetly seductive Mitzi, perhaps less realistically experienced than Nunez's portrayal last night and slightly keener on her Prince. Today's only wardrobe malfunction that I noticed was her inability to get her arm down her sleeeve as she exited with Taaffe. Bonelli's handsome, smiling charm really worked here and he was beginning to dance with far greater freedom and abandon. Campbell's thrilling attack and powerful projection were enough to have my brother-in-law who is a visual artist with an ambivalent approach to classical ballet asserting that he felt he could in time dance Rudolf. And then it happened. Vetsera emerged from the coach and the ladies set off in matchless, perfect unison, united in purpose and as one in thinking. It gives me shivers thinking of it (and I've seen wonderful dancers in these roles, most memorably Benjamin and Galeazzi as Vetsera and Morera and Rosato as Larisch). This then carried over into the Card Telling Scene. Cowley conveyed inevitably the sense of orchestrating a situation and the precision of her timing as she produced the card was a real, "History Changed Here" moment. I appreciate that the scene is an invention but the intention (which in some ways can be as true as any historical happening) was superb. Morera fell over her feet with excitement and the trembling of Cowley's beautiful extended foot as she bade farewell showed a sense both of elation and foreboding. Perhaps I'm projecting my own wishes on to what I saw? It read so clearly I can see it now in recollection in a way so specific that I'm pleased to have the opportunity to articulate it. Bonelli's growing misery in the Birthday Scene was moving not just frightening. You sensed here was a man who was beginning to be driven by things he couldn't control, the rocking moment redolent both of confusion and ambivalence of decision. Cowley's glamour, lightening the mood, and her quasi maternal embrace at one point were almost irresistibly seductive, except that Rudolf had moved beyond her control now. In his apartments, Bonelli seems less morbidly obsessed than fascinated with the skull, a reflection on our own mortality. Morera took a very long time to remove her coat and the tension was more than palpable. Bonelli's Rudolf seemed fascinated by this extraordinary creature who made straight for the skull and treated it as a friend and who was reaching for the gun as his touch had her arching her back in erotic abandon. Her desire to get back to the gun and her turning on him with it as well as the shot (which worked this afternoon) was jaw dropping. Throughout the scene, it was she who seemed in control, pulling a hand to her breast, leaning back seductively so that her moment of boredom (this was too easy) was truly shocking. As Rudolf's head began to pound, her incomprehending naïveté was expressed perfectly as she pulled his hands away and the curtain came down just in time. It was astonishing. The Shooting Scene came almost as light relief, Larisch's waning power being absolutely articulated. I'd never understood why Rudolf and Stephanie are suddenly briefly dancing together in harmony here: with Larsich no longer pertinent, he has Vetsera and he'll put up a public front, as will she to endorse her own position. His face after the shooting was totally aghast: something had snapped. Things moved swiftly in the Hofburg, Cowley's misery was acute and Bonelli so addled he could barely see her. Comparisons are odorous and perhaps the confrontation of Elisabeth and Larisch was less fiercely compelling than last night but Vetsera's arrival changed everything. Suddenly Rudolf had purpose, Vetsera too. That extraordinary moment when she sits child-like on his lap was deeply touching (of course, we have seen Rudolf having a positive relationship with at least his younger sister so is this a family he has missed) but as the bells began to toll, incipient frenzy took hold. Here was where both dancers' pacing of performance told. Things really moved up and gear and that whirling turn with arms that Vetsera executes as she moves down stage was perfectly articulated at full speed by Morera. The "breaking of her neck" moment was really horrific (Rudolf, "So, I AM going to kill you") ... By now, the entire audience was absolutely hushed and involved. Bratfisch' attempts to cheer the troubled pair were almost childlike and Rudolf's farewell almost paternal. Bonelli moved in to the closing stages with absolute command, his eyes blank, his lines extended, his efforts to find a way forward (moving his own legs) fruitless, and they both captured that moment of ambivalence before the final pas de deux when they walk around the chairs to perfection - do they really want to do this? Bonelli's strength and opening up of character and passion were in full flow by now, but Morera went to a level in some ways beyond what I have ever seen another Royal Ballet ballerina achieve. She threw the kitchen sink, the utensils and the plumbing at it in a performance of thrillingly uninhibited commitment that had the audience holding its breath. It wasn't just bravura although it was beautifully and eloquently danced. I'd never noticed before a moment just before the final crisis when it looks as if Vetsera will renege on the pact. She moves towards the wings, stops a moment and then turns back: it is decided. We have all, in our lives, had these decision moments (I'm sure) when we determine we will do something even if it is something we know that we shouldn't. I've never seen her dance like that and it seems, on reflection, such a terrible waste that this opportunity should come so late in her career. Even if she wasn't going to be doing Beauty or Swan Lake, our experience of her artistry would have been incomplete without this breathtaking performance. These dancers' trust in each other, their commitment to character and choreography and to presenting this to the audience is something I feel moved and privileged to have seen. After the first shooting, Bonelli's slow emergence around the side of the screen was redolent of regret at what he had done, his decision to take his own life a frenzied reaction to the emergence of the others. The curtain came down in silence. It was one of those performances that had gone somewhere none of us could have anticipated. Of course, that's ultimately a tribute to Sir Kenneth MacMillan but I was trying to understand why a debut cast at a Saturday afternoon had moved me so much when a perhaps starrier, established cast hadn't. I don't think it's just down to expectation. The only explanation I can produce (and I'd welcome thoughts from other people, perhaps especially those who were less impressed than I was) is that in their freshness of execution, their occasional clumsiness and errors, their determination to present a truth that they couldn't always perform perfectly, there was nothing routine, safe or "managed" in what was done. The emotional honesty was laid bare.. I've written at much too much length. It was a performance that moved me very much.

So, I'm home and trying to compose my thoughts which may be even more rambling than usual as I'm still rather knocked out by this afternoon. Were expectations set too high last night? Don't get me wrong, it was as it developed a powerful and moving performance of a work that I think has great merit for all the perceived weaknesses of construction and choreography. To sit through two performances in less than twenty four hours attests to that, or at least to my own response and perception. The first scene seemed slow to catch fire and not just because of the appalling costume mishap suffered by poor Romany Pajdak which completely knocked the stuffing out of any initial dramatic build up. Edward Watson seemed tense (understandably on the first night of a much anticipated revival in a key role of ferocious difficulty) and his dancing by no means impressive. However, one of the strengths of the ballet is its construction (so it seems to me) and the fact that each act builds in its own arc that eventually becomes a powerful triptych in recollection. The arrival of Sarah Lamb, glamorous yet slyly observant, began to lift the tension and her and Watson's experience in dancing these roles together over what must be nearly ten years paid dividends as did the arrival of an almost unrecognisable Natalia Osipova as Mary Vetsera as a Child (does anybody know when the principal dancer took over this role which was originally for a younger dancer). Those early signs of Larsich grooming Vetsera became ever more disturbing as the ballet repeats such moments and this led to the Empress' bedroom scene where Zenaida Yanowksy's glacial beauty almost slices into Rudolf's face except when, more often, she turns away from him. Things were improving now and the Wedding Night scene was as upsetting as it meant to be with Francesca Hayward's unusually feisty Stephanie actually trying to fight back until over powered. MacMillan's whores have their critics but the change of tone and energy at the start of the Second Act is always a lift and when Alexander Campbell's Bratfisch erupted in to his Show Dance the thrill was palpable. I'll not repeat the econiums I and others have expressed for him above (and on other occasions) other than to repeat that he is a truly special artist as well as dancer. With Hirano leading the Officers with thrilling panache (good to this role as well as Stephanie, Mitzi and Bratfisch cast at principal level as in 1978) all was set for a thrilling Mephisto Waltz with Nunez at her most insouciantly seductive (does anybody know why she isn't cast as Larishc this time round?). Rudolf then emerges for what I find one of the most thrilling scenes in the ballet, his meeting with (slightly more) grown up Vetsera. That moment when the women set off across the stage still moving as one raises the temperature every time for me. Rudolf may be in charge through his position but these ladies are determined to find their own way to dominate him too. This sense of mirroring returns for a final time as Larish visits the Vetseras and sets the tragedy in motion. Lamb and Osipova's faces read so clearly in this and the release into Vetsera's moment of first independent dancing was terrific. After this scene, Vetsera is on her own course and her movements no longer copy her mentor's. The Birthday Party scene is long but it seems necessary to flesh out the adulterous yet almost accepted relationships of Rudolf's parents and their hypercritical stance on his. I also enjoy Katharina Schratt's song (and not just because it was beautifully sung by my velvet toned mezzo Catherine Carby) because it acts as a point of stillness for all of us to gather our thoughts in the way that advanced interlude might do in an opera. Watson captures Rudolf's incomprehending misery almost touchingly here and Gary Avis' acute stage craft makes the kissing of the palm of Elizabeth's hand denied to the courting officer an elegant but decisive moment of possession. Osipova's physical recklessness pays dividends in Mary's first visit to Rudolf unless you think that by moving into full gear immediately she forfeits some development. I know that her performances seem always to develop so one can't take this as her final thoughts on something still very different to her training but there was burgeoning passion and mutual fascination, even with a malfunctioning gun. I enjoy the first Scene of Act 3 and not only because the costumes are so beautiful. It shows Stephanie beginning to reassert herself, Larisch beginning to lose her dominance and the accidental shooting always resonates in my mind as a cracking of Rudolf's final hold on reality as the next time we see him he can barely assert himself. Watson's emaciated red gold presence reads really poignantly here and Lamb is superb in her moments of compassion. There's another mirroring as she and Elizabeth take off at speed in their quarrell - is there an implication that the older Larisch may have had elements about her of the maternal tenderness that Elizabeth cannot show, at least to her son. The mounting frenzy of the suicide pact was powerfully conveyed by both dancers and led us to a final scene of abandon yet compassion. Neither of these characters is inherently good or even likeable and yet they are not simply monsters - if they were we would not care other than vicariously about their fate over a hundred years later and it is testament to MacMillan's genius that he makes us understand this. It was an ever improving, ultimately satisfying performance. I'd been expecting to be blown away but perhaps I was expecting too much and then came this afternoon...

On train home after truly memorable matinée with some terrific debuts. WIll try to formulate coherent thoughts but I can honestly write that I have never seen anything quite like Laura Morera's performance this afternoon: truly extraordinary.

In an interview, he has said that all his performances thus far were with Galeazzi...

I'm torn between writing on last night now whilst I'm still pondering or waiting until this evening when I'll also have seen the second cast with some interesting debuts. Hoewever, I wish to second penelopesimpson's comment on Alexander Campbell. I really think he is one of the most valuable and remarkable artists in the company with an emotional openness and empathy that reads so beautifully. His technique seems to be getting better and better. Those chainé turns in the third act solo were simply dazzling and yet everything is always character led. He is one of those dancers who seems incapable of giving a bad or disinterested performance and in my experience has always been one who has enhanced my enjoyment and understanding of what I am watching. Practical matters: the wardrobe malfunction was horrific and looked actually dangerous. At one point Edward Watson was actually holding up Romany Pajdak: it must have been an awful couple of minutes for her. I thought that my mezzo-soprano sang absolutely beautifully and was delighted that she received two bouquets on stage (proud agent moment). She has sung in opera throughout the UK and in Europe and Australasia and tells me that she has found the work ethic of the dancers absolutely inspirational.

And thrilled that my splendid mezzo-soprano Catherine Carby is Katharina Schratt :-)

Really enjoyed this: it's always such a pleasure to see Liam Scarlett working with his dancers and when he demonstrates his movement and intensity are still really beautiful (I'd observed that at the Frankenstein Insights Evening too). Big kudos to him for selecting Giacomo Rovero who was really impressive to watch. Very pleased to be seeing this next month.

Lovely interview with the delightful Alexander Campbell in yesterday's Telegraph... http://www.telegraph.co.uk/dance/what-to-see/alexander-campbell-interview-giving-cricket-sacrifice/