art_enthusiast

So if Onegin is so popular why aren't the RB bringing it back? I assume it's not like the Bayadere situation where they're afraid of offending people with cultural appropriation, as I don't think any of that applies in the story... I personally haven't seen it but would really like to. Might go and see the Paris Opera's one.

You definitely aren't the only one. I think it's perfectly fine if you want to do that - doesn't everyone do that in bookshops anyway? I have definitely flicked through books in the ROH shop before a performance - read a few parts of Yasmine and Vadim's recent biographies - and no one said anything. I totally understand why you felt alienated by this treatment, some staff can certainly take their jobs too seriously at times. It's not as if the programme is made of gold leaf! I understand about not wanting children to touch things as they can probably tear them, but adults are hardly likely to do that. Also Covid is no longer an excuse either. Their loss anyway as you're not likely to get a sale with bad customer service!

I find it bizarre that people like this exist - you can see them at the ROH as well. They clearly have more money than sense. I hope they get didn't any kind of discount on their tickets.

Same. I could happily listen to it on repeat every single day (and I frequently do, it features heavily on my Spotify Wrapped!) On the whole I prefer the ballets which are more grounded in realism like Manon/Mayerling, but Swan Lake is the exception for me. The RB's was the first Swan Lake I saw live in 2022. The start of the Ukraine War/playing the anthem before performances gave it additional poignancy. The introduction/showing Odette changing from human to swan has me emotionally gripped at the first note.

I have to agree, I also find that part a slightly strange choice. Definitely ties into the whole feminine power aspect that I also find prevalent in Giselle Act 2 - the Willis controlling everything, and here the swans are the ones defeating Rothbart - which I do like, but Siegfried lying there does feel a bit incongruous.

Congratulations to Isabela Coracy! No surprise there

And I need to know when they go on sale because I am desperate to attend!

Just wondering when the season gets announced - is it around April? And will POB announce theirs around the same time? Similarly hoping for Les Patineurs and Coppelia next season. Praying for any Balanchine but won’t get my hopes up…

I really don't think he can be 5ft 11! Not if Mayara is taller than him on pointe. I think whoever wrote this must have their facts wrong!

Really? I don't think he's that tall though. I thought he was roughly the same height as Marcelino Sambe, who I think is very well matched with her.

I certainly wish they would bring that back as I haven’t seen it live! I’m glad Cesar is back and it makes sense that he would be playing things more safe. I was just watching Like Water for Chocolate again on ROH Stream and was reminded of his immense exuberance and power on the stage. I wish him luck, it’s horribly unfair to be injured so young as well. I guess it’s up in the air on whether he or Steven McRae will do Rhapsody… just glad I got to see them both perform it in 2022. What I really want is the Dream casting as I’ve never seen it live before!

I really liked this performance overall, though as others have said I would prefer to see more Balanchine and Robbins - especially as we have so little of it in the UK and the RB doesn’t seem to do it anymore! I really liked the Justin Peck work - not too flashy but lovely to watch and I found the music beautiful. Could anyone tell me who the dancer is with the white shirt/grey leggings outfit? He was brilliant. Of course the Balanchine was brilliant - though I am dying to see works like Serenade and Symphony in C, this was very much a small taste of his work. Amazing to see Megan Fairchild live. I’m not always a fan of having musicians on the stage though, at certain angles from the side they can block the dancers from view. Worst for me - Pam Tanowitz. I’m quite baffled as to why her works are popular, I find them mediocre even when great dancers are performing them. Moving the piano across the stage - what on earth was that about? I found it absolutely incongruous, very awkward and just unnecessary. Like the choreographer was trying to be quirky for the sake of it, not interesting at all. I also don’t think the dancers looked like they were enjoying the performance that much. Kyle Abraham’s piece - what a contrast to the former. Strong, imaginative choreography, classical with a modern twist. I also liked the costumes and lighting, I think it was a great, impactful closing piece. If they’d replaced the Tanowitz work with another Balanchine or Robbins piece I would have been way more satisfied though!

Same here! Oh well

So far I think Richardson has done two full length lead roles - Romeo and Des Grieux - and Sissens will be Siegfried and hopefully Romeo when/if it comes back! Slightly off topic but could anyone remind me when the RB new season is usually announced? And is Paris Opera's announced around the same time? Wishing luck to all the company for Swan Lake tonight! Glad to see that Chisato Katsura is performing one of the two swans.

Ha, interesting idea. I would go to them

Absolutely, it was just stunning. The bedroom PDD in particular was a thing of absolute beauty. And the final act… incredibly heartrending.

I believe Joonhyuk Jun also performed Benno in the last run. Hope to see him again. I also hoped Marco Masciari might get an opportunity to do it - I'd think it would naturally suit Taisuke Nakao or Daichi Ikarashi as well. Though I guess there are quite a few in the queue ahead of them.

Yep, I have to say I really haven't been significantly impressed by her work for the Royal Ballet.

I noticed that too, I found it quite amusing! He handled it well. Reminded me a bit of a more nerve-wracking save from Marcelino Sambe as Rudolf - having to kick the skull out of the way as it fell accidentally before the PDD with Stephanie.

Same here. It looks like a very interesting idea!

Yep, but I also think that casting against type is a good thing? For example, when Sambe was cast as Rudolf in Mayerling 2022 I think there were some doubts mentioned on here about his suitability for the role. However, I think he was absolutely brilliant. I agree that casting everyone in everything isn't the most foolproof way to go about it though.

Yep. I assumed it would also be emphasising the contrast between the imprisoned female prisoners on the ship and the married, more fortunate women such as the soldiers wives who can afford to go on a nice pleasant stroll while prisoners suffer around them. I'm assuming the wives are the ones dancing right at the beginning of Act 3? (I really like the music there as well, I think it's from Massenet's Don Quichotte) Interesting that the final Manon performance this week coincides with International Women's Day!

Exciting. I’m unfortunately not booked for the rehearsal but I’ve booked for their public performance. And Leo Dixon as Benno - I hope the cast is the same for the public one!

True, it seems a lot like personal preference at the end of the day - which would vary under different ADs. I think the main way of reaching some sort of balance is to give first soloists as many principal opportunities as possible (not at the expense of principal opportunities obviously, but reaching some sort of equal distribution there - which is of course very hard at the RB as they are so top heavy). When Luca Acri did Basilio earlier this season, my first thought upon seeing his entrance was - principal material! And I hope to see him do more principal roles in future, regardless of whether he is promoted or not - ditto all the first soloists.

I'm also interested to hear what it's like - I wasn't really aware of this production and don't think I have much time to see it right now unfortunately. The only Carmen I have booked is the Acosta Danza one in July.