Jamesrhblack

Thanks. I looked and even asked but didn’t see them.

Joy continued post interval. Muntagirov, solicitously guiding what seemed a nervous partner, showed yet again his meticulous technique and elegance even when negotiating Nureyev’s turning pas de chats in the Coda. I have vivid memories of Nureyev completely out dancing Patricia Ruane (with whose beauty I was in my teenage years rather besotted) at this point. His really is the art that conceals art. Bracewell, so musicianly and elegant was the only one tonight (or so it seemed to me) to show some of the emotional vulnerability, even ambiguity, that could be part of Nureyev’s stage personality. For me, Trusch, opposite a glacially imposing Cojocaru, was the only one seemingly subservient to his partner, perhaps not inappropriately given the scenario and it was good to be reminded of the haunting originality both of Neumeier’s choreography and Gluck’s music (the interpolated Victoria was very beautiful too). Finally, Corrales again at his most scene stealingly astonishing. As for the Ladies, “God bless them,” for me, Cojocaru made the strongest impression, although Makhateli and Hawes had charm in abundance. Naghdi glittered, although her foutées travelled in what I thought an uncharacteristic manner and not for the first time I was niggled by technical issues (a struggle with the high arabesque á la seconde, some awkward entrechats) from Hayward who floats through the technical issues of Ashton but can seem oddly unsure in the classics. Yes, the orchestra on stage could be a distraction; yes, the stage area was compromised; but it was still a wonderful evening and the spoken words of the dancers in the film after the interval made me want to revisit the legacy of Nureyev, both as dancer and man. Surely, a celebratory Gala should seek to do exactly that. Bravo to Kish and his team,

There were no announcements and no cast sheets. It was certainly Corrales for Sambé. Does anybody know if Emma Hawes was back?

In the interval of an absolutely joyous evening. Fittingly, in an evening celebrating Nureyev the repertoire is letting the gentlemen shine (and soar) and I thought Frola absolutely outstanding with a charm to disguise the difficulty, Ivenko charismatically charming and Corrales possibly closest of all to the hero of the hour with his shamelessly extrovert brilliance. Some have expressed disappointment with Parish and I did wonder if he might be just past his prime years but the strength and eloquence of his partnering (such attention to arms and hands with his ballerina) were exemplary and testament to his schooling and experience. Looking forward to Part 2.

I have booked three seats in the front row of the Upper Circle Box further from the stage for the premiere, which seems a bargain at £50 a seat, even if there may be a viewing restriction.

Absolutely. Antoinette Sibley's partnership with Anthony Dowell was legendary but seeing her with David Wall brought out something different in her (and there's a very dim video from the Met of them in the Manon Bedroom pas de deux that shows their extraordinary chemistry)...

Given the absence of some of the expected names (Cuthbertson, Lamb, Naghdi, Osipova, Ball, Clarke, Hirano for a start), it will be interesting to see how much scope there is for debuts when the later performances are announced. Does the plethora of Nutcracker casts suggest there could be some interesting new castings? It must be so disheartening for long standing First Soloists not only not to make the last leg of the promotional ladder but to find themselves uncast in principal roles that they had previously performed for a couple of runs.

I would prioritise Matthew Ball. There were outstanding reviews for his last minute debut last time around and he will be dancing with Laura Morera whose debut Vetsera with Federico Bonelli is seared into my memory as one of the most astonishing things I hve ever been lucky enough to see.

I am fairly confident that Leticia Dias’ Autumn casting to say nothing of the excellence of her recent performances suggests a double promotion is on the cards.

The love was palpable. An evening ever more memorable in memory….

yes, that was astonishing indeed.

Fumi Kaneko’s debut as Odette/Odile opposite Federico Bonelli’s farewell as Siegfried Laura Morera as Giselle (so beautiful I went back for the second performance), again with Bonelli Morera as Natalia Petrovna and Vadim Muntagirov as Beliaev Alexander Campbell as Romeo William Bracewell as Siegfried Claire Calvert’s debut as Odette/Odile opposite Nicol Edmonds, also en debut The gentlemen in Thieves / The Dante Project The ladies of the corps in Giselle and Swan Lake Leticia Dias and Joseph Sissens were consistently and joyously eye-catching

I remember Sergeant Martin in his top hat. I also remember having my first smoked salmon sandwiches in what is now the Crush Room before ascending what was then the left hand staircase with my mama go watch Swan Lake with Doreen Sells and David Wall, .

They certainly are in this. Absolutely magical

Ah, of course. I’ll try to do joined up thinking in the future

Is Kristen McNally injured? She gestured prominently in the Insights but it’s been Christina Arestis in the first two casts and now Annette Buvoli.

Just to flag up, we did have the National Anthem before today’s matinée.

And thank you Bridiem. If a moderator might correct my early morning writing errors (my macular thickening meant my eye wasn’t quite “in”), I’d be grateful. Essentially, a rogue apostrophe after “writer” in line one and “having” not “being” in line four. Thanks in advance. JRHB

Perhaps my use of language wasn’t precise enough. I felt that the writer’ addressed the position within the company of both Claire Calvert and Nicol Edmonds in a way that might usually have been glossed over. It was also good to see somebody being enough editorial space to write at length. I thought it a fine, evocative piece of writing and wanted to flag it up. I’m sorry if that is an issue for capybara. I notice with responses to other people’s posts that there is quite a lot of sniping on the forum at the moment, which makes one disinclined to contribute.

There’s a beautifully written, honest, perceptive and positive review of the Calvert / Edmonds Swan Lake by Gerald Dowler in the new Dancing Times. He really expresses why I, in common with many others I think, found this performance so affecting.

My bad then. Blame macular thickening …

And a picture of Carlos Acosta credited as Matthew Golding….

So pleased for William Bracewell and Reece Clarke: absolutely merited. Promotions will be as hotly speculated as ever I think, especially because, as Bridiem points out, there’s a huge amount of talent in the lower ranks. I agree that Joseph Sissens should be promoted to First Soloist, but I can’t see anybody else at Soloist level that quite merits that, meaning that the First Soloist level (minus Heap, Bracewell and Clarke) will be somewhat thin. Perhaps there will be a double rank promotion: Leticia Dias and Leo Dixon have consistently caught my eye across a range of repertoire for starters… Obviously, personal observation and all opinions my own…

Indeed. Have a vested interest as two of my artists are sharing Katharina Schratt during this run. No mention of the Vetsera, or, indeed, of the Larisch. Wondering if Laura Morera will go sideways as Elisabeth and if we might get to see Romany Pajdak as Larisch…

I too found that I was “moved.” Quite apart from the technical excellence of both Claire Calvert and Nicol Edmonds, their emotional honesty and lack of histrionics made me re-engage with the narrative of Swan Lake in a way that I hadn’t felt for some time.