art_enthusiast

I would normally - but I'm a bit exhausted today so if it's livestreamed, it's probably better if I don't attend!

Will the one tonight definitely be streamed though? Just wondering because when events are set to stream on YouTube, they're usually already listed with an option to add a reminder for when they start. That doesn't seem to be up on their YouTube channel just yet

This is a public event I got a ticket for. However, as it's streaming on YouTube anyway, I'm wondering whether there's much point in going in person - especially as I believe it's quite short in length?

That's very cool. I suppose the Kirov tier seats might be different in terms of how they're designed though? Maybe they have a better view than the Royal Opera House ones

Where were you sitting, could I ask? Just curious about where the dancers themselves like to sit Also has anyone ever sat in the front row of the Grand Tier, and what was it like? Just wondering, because it seems a bit far away compared to the stalls circle/stalls

Just have to say, loving Mayara's performance so far! Very natural acting and superb dancing of course. The same goes for Calvin Richardson.

Indeed, I think we should celebrate all companies who have extremely talented dancers - the talent, for example, in the English National Ballet is astronomical, although they may not have the 'royal' status symbols that RB/BRB have. (I haven't seen the Northern or Scottish ballet companies, but I'm convinced the quality is very high there as well. And Ballet Black is superb). As a lot of these dancers presumably have similar or exactly the same training (Royal Ballet School, Tring, Elmhurst etc) it's probably incorrect to say that one particular company has 'better dancers'. Recruitment into ballet companies also relies somewhat on the personal preference/what the director is looking for at the time, not only the talent of the dancer. I would say what makes the RB unique, along with the obvious talent, is the repertoire and history - the great MacMillan ballets being first performed by them, the Nureyev/Fonteyn history, that's why even the most ballet adverse individual has probably heard of them at least once. Also thanks to their YouTube channel which sports a huge amount of behind the scenes/rehearsal footage, the Royal Ballet has more worldwide exposure. But other companies are now also sporting a range of repertoire and exciting new works, along with their own top quality talent.

Sounds amazing - I thought Theodora was amazing as well, but I'm sure there are a lot of differing views on that!

My sister is a Young Friend and their booking was supposed to open today at 9am, but she can't see anything available on the website. It does seem absurd.

A bit of a tone deaf brush off there, particularly considering the current climate and how many great dancers and choreographers of colour who do exist...

Agreed! And how amazing that you got to see Fonteyn/Nureyev, the original pairing! I've watched their performance of the balcony pas de deux repeatedly on YouTube (and on a highlights collection treasured by my grandma) and am rendered speechless every time. Which is also why I always love to visit the bust statues of Fonteyn/Nureyev every time I'm at the ROH, to say hello and also to thank them both for their amazing legacy.

Indeed! But I think all of the pairings I've seen so far are great (in addition to O'Sullivan/Sambé, who are both magic throughout), so it's very hard to choose! Other standouts for me are Fumi Kaneko and William Bracewell. Theirs was the first one I saw and it still sticks with me now, as does Fumi's performance in the final crypt scene. Just astonishingly real. And of course - Steven McRae and Sarah Lamb. Both brought the awakening passion, joy and intimacy of the balcony scene into a very strong reality.

Just a quick question, how are people returning tickets? I've got to return one as I have a friend who has Covid and will not be able to attend a Bajazet performance with me on Saturday 12th February, 7.15pm. I've called multiple times, been put on hold constantly, and they also haven't responded to my email regarding the refund for ticket credit. It seems they are incapable of responding in any way at all...

Indeed. And also ashamed of the fact that they seem completely incapable of answering the phone.

Have one ticket for Bajazet, stalls F6 in the Linbury Theatre, Saturday 12th February, 7.15 pm. £90 face value.

Not sure what's worse - it's a mix of website booking failures and being on hold for the box office for what seems like hours on end! It really seems as if the phone is never answered. Ditto emails.

I definitely agree with your comments regarding Tybalt - for me, the best portrayal is by Ryoichi Hirano. Adore his acting, it's extremely believable, you feel as if there is some significant backstory for Tybalt and his aggression is subtly implied throughout every scene, not just the fights. I also enjoyed James Hay as Mercutio - excellent technique, jumps etc. But I was completely dazzled seeing Marcelino himself perform the role of Mercutio in the cast with Marianela and Federico, completely stunning. Leo Dixon was definitely very well cast as Benvelio. Anna Rose and Marcelino have amazing chemistry and are wonderful to watch together. I loved Marcelino as Romeo, but he is equally good as Mercutio!

Great shot @bangorballetboy! Amazing performance from O'Sullivan and Sambe tonight. I was particularly moved by the crypt scene, Juliet's reaction to Romeo's death and vice versa, I really had the impression of being crazed by grief.

Indeed, I second this. I'm in my early twenties and would not dream of filming/using my phone, whispering, eating/drinking or coughing during a performance (I held in a slight cough towards the end of Yasmine and Matthew's balcony pas de deux because there's no way I would interrupt the beautiful music - better to choke during the interval.) The unpleasant people I had the misfortune to sit next to during the Osipova/Clarke performance on Saturday night definitely had a few decades on myself and my sister, and yet they couldn't seem to understand a polite "please don't lean forward". Clearly age does not bring the gift of manners to some people!

Yes! I loved that bit so much. I was completely speechless.

Sad that he's leaving but it's definitely a great development for him and the Northern Ballet! Maybe the news about the upcoming ENB artistic director will also be released soon?

Just came here due to a distasteful experience with two rather dreadful audience members at the Osipova/Clarke Romeo and Juliet performance yesterday evening. I've been fortunate to see: Kaneko/Bracewell, Naghdi/Muntagirov, Lamb/McRae, Núñez/Bonelli, Naghdi/Ball, Osipova/Clarke so far during this Romeo and Juliet run. All amazing pairings who brought something unique to each performance. I thought I would miss Osipova/Clarke due to their absence at the 10th January performance (where they were replaced by Núñez/Bonelli) but was fortunate to pick up a return ticket for their evening show on the 29th. Unfortunately, my experience of Osipova and Clarke's beautiful rendition was slightly marred by an unpleasant couple I was seated next to in row A of the stalls circle yesterday - they were in seats 18 and 19, I was in 20. The woman kept leaning forward frequently, causing her husband to do the same and consequently blocking some of the edges of my view. I was able to see relatively clearly, I just found their irritating head bobbing a rather unwelcome distraction. Just before the second act I spoke to them very nicely and politely asked them to refrain from doing it. I thought they would respond politely, as I did myself when asked to do the same once before. The husband responded quite rudely and said he was 'leaning back as far as possible' (even though he wasn't). The wife didn't seem to understand at all and gave me a very unfriendly look, though I was impeccably polite and respectful. They continued to mutter rude comments (which I ignored) until Act 2 began. In the second interval a man sitting behind me seemed to have overhead the conversation and asked me to 'please report' the lady to the usher nearby, as she was 'ruining it for everyone'. I duly did so during the second interval, and the usher made a note of my complaint, and their seat numbers. I'm not sure whether anything came of it - I did not witness the usher actually reprimanding them and their behaviour did not seem to have changed radically in the final act. Luckily, I was able to angle my head in such a way that it didn't bother me too much - I hope the other audience members affected by it were able to do the same. Overall, it didn't marr my experience of the performance too much - however, interaction with distasteful individuals did put a significant dampener on my experience. It's a great shame that an entertainment venue as iconic as the Royal Opera House seems to have more than its fair share of repugnant audience members, who seem to be entirely ignorant of common courtesy.

Totally agree! Osipova was superbly effervescent throughout, and Clarke was extremely impressive in what I believe was his debut? Extremely dynamic performance of course from Luca Acri, and Ryoichi Hirano is a superb Tybalt. The ending scene in the crypt was incredible. Marvelous characterisation from both, I really felt Osipova's agony. Brilliant.

Breathtaking balcony pas de deux from Matthew Ball and Yasmine Naghdi in today's matinee!

Yep, I assume row H of the stalls is quite good? I'm restricted to returns only for a pretty sold out performance, otherwise I would have chosen the stalls circle!