MildConcern

Oh - I wasn't aware of that small print. I stand corrected!

If your concern is whether you get the return credit, then rest assured, the amount will be credited to your account immediately on return and is not contingent upon resale.

I think that was Fumi's instagram story! But I'm sure Vadim shares the same sentiment.

That was the most complete performance of Odette and Odile I think I’ve ever seen live. Utterly remarkable from Fumi Kaneko. World weary, sincere and beautiful in the white acts - she really found every last microsecond of the music to extend those endless arms. I really felt like Odette’s death wasn’t a preordained walk to the gallows, but a true act of desperation and sacrifice. Her Odile was a comprehensive vixen - hedonistic and seductive. Those fouettés - whipped off in an initial series of doubles with arms in changing attitudes - words fail me. The strength of the performances by the three leads - Kaneko, Muntagirov and Braendsrod - really hit me in Act IV, which is never usually the highlight for me. The struggle between the three for power and freedom really came across this evening with a strong sense of real jeopardy. Braendsrod was vital to this - he is a very active Rothbart with a commanding presence you really felt he could overwhelm and incapacitate. I was hugely impressed with him throughout. In Act 1, he didn’t sneer at Siegfried with condescension the way many Rothbarts do. Instead, his gaze was that of a challenger - impassive and political. Muntagirov - we all know how good he is in this role and plenty has been written about it already. One thing I will say though is that he looked incredibly ‘free’ tonight - the joy was emanating off him in the black swan pdd and he really seemed to luxuriate in Odile’s every touch. This partnership really, really works in the big classics.

@li tai po, thank you for such a heartfelt tribute. Reading it, I really felt the full force of Linda's love and contribution to the art form and I'm amazed at the extent of her kind hearted support and philanthropy. A life of real fulfilment and it is evident she touched many of those around her. I only ever enjoyed reading her posts on this Forum, and yet I still feel the void she leaves.

Second row amphitheatre, B-36, £35. I will still be attending, just in a different seat! Can email the ticket to the taker.

If it's the one I'm thinking of, it's Smirnova and the recording is definitely illegal! A shame, because I do think Lantratov's Onegin is magnificent. Also, adding to above comments re the Cranko estate's vice grip on recording, they are also pretty powerful when it comes to casting. During the Bolshoi's first run of Onegin in 2013, Zakharova was promised (or assumed she would get) the opening night as the undisputed prima. The Cranko estate objected and gave it to the then very young and much less established Smirnova, causing Zakharova to storm out of rehearsals and the run...

Rather pleased with the casting for Faust, Turandot, Tosca and Onegin. A lot of the names I hoped to see are present in some capacity over the season. Most of all, I'm glad it's not a second season without the wonderful Lisette Oropesa!

You will find me at Balanchine, Onegin (multiple casts), R&J (at least twice depending on casting) and Madaddam. So overall quite a lot less than this year. If I had the power to make just one change it would be to replace one of the Wheeldon bills with a classic three acter - Giselle or Bayadere spring to mind.

JohnS, you've rather made my day!

Oh, I do hope to hear that it is a new production of Eugene Onegin. The Kasper Holten staging is such a travesty to my favourite opera. If it remains the same, I shall have to attend with my eyes closed.

Mixed feelings from this evening. It’s not Francesca Hayward’s wheelhouse but she gave it a good attempt and was better as Odette. I’m afraid her Odile was rather unconvincing, though I do give her plaudits for managing to muscle through the fouettés when she was clearly out of steam and laboured. It’s a weird description but she has very ‘Macmillan’ arms - all wrists. I’d watch her endlessly as Manon, but it’s slightly odd on O/O. Bracewell was fantastic as I have come to expect, but they do not have much chemistry together. Gary Avis almost stole the show as Rothbart!

I have not seen it live, but I did catch it on the ROH stream! Again, not to my taste but I do always like my Giselles slightly more deranged than politely insane.

I was so enamoured by Naghdi and Ball’s debuts in R&J in 2015, but I’m afraid I’ve never felt that way about her again. About Ball, certainly (his Rudolf and Beliaev among others). But as much as I admire her technique, I have never found Naghdi heartrending other than that first R&J outing. There is something very calculated about her presentation that is a barrier to my emotional enjoyment, and I’m afraid that came across to me strongly this evening. I have Hayward, Kaneko and Sasaki to come still. Aside from Kaneko, I’m not sure the others will be able to match Naghdi on technical prowess. But I am more hopeful I will be able to be emotionally invested in the story.

Hirano has posted pictures from his surgery bed… amazing that he was able to exit the stage so gracefully in the circumstances!

If I can see Onegin and Giselle in the new season, I shall be completely satisfied. Dream casting - Muntagirov Onegin debut alongside Bracewell as Lensky. Can’t decide the Tatiana and Olga - maybe Kaneko (debut) and O’Sullivan respectively. Unlikely, but one can dream!

While I didn’t see as many casts as some (only managed Kaneko and Lamb casts live and Osipova on replay) I agree that the principal standard was exceedingly high in this run. That being said, the corps were more ragged than I’ve seen previously - in particular, uneven 3 ‘gentlemen’ in Act 2, and the beggar boys didn’t fare much better. One of my favourite (?) parts of choreography is the women from boat at the start of Act 3 (where they clutch their heads), but I found some of the emoting in this sequence a bit half hearted in the casts I saw, compared to previous runs. And I think we are in desperate need of new inspiration at the Monsieur GM role (Avis can’t be on every night!)

Thank you so much for the video upload @lady emily. What a gem for all of those unable to attend.

I sat in row B recently for Manon. The rake of the floor of decidedly less towards the front of the stalls so if someone tall sits in front of you, they will block your view slightly. And unfortunately I couldn't see the dancers' feet very well in Manon, and I am above average height! My preference is always to sit more towards the middle of the stalls or - even better - at the side of the Stalls Circle which gives both the proximity to the stage and a view of the dancers' feet!

Row A, Seat 99 | Stalls Circle - you basically can't get any closer to the stage than this seat! £99, I will return to box office tomorrow morning if no takers

While I also think Vadim is a very special dancer, a real jewel in the RB’s crown, I don’t think he should have an undisputed right to cinema relays. He has, together with Nunez, had the lion’s share of both first nights (with accompanying reviews in broadsheets) and cinema relays. While it is great for him, it really leaves slim pickings for the rest of the RB’s very talented stars. For instance, the small amount of footage that exists of Morera and Campbell in principal roles (not a secondary type character such as Mistress or Lescaut) is a real shame. We all have our favourites but I encourage the RB to share the unique exposure that cinema relays bring. Moreover, I’m not sure it’s even in Vadim’s best interests. I noted in the Manon thread that I thought his Des Grieux was much improved from previous runs. But it is unlikely his interpretation of this role will be filmed again, given already filmed in 2018 run. So in the case of Winter’s Tale where he is making a debut, it really makes sense to see how he develops the role first.

I remember a funny interview with Watson where he said he once danced Nutcracker in Japan (guest appearance offering a lot of money) and hated every second

I had already booked for Fumi but I’m thinking of swapping to the Bracewell date! I badly want to see them together in Swan Lake 😍

In a slightly weird move, the ROH has released whole blocks of tickets for many of the Spring SL dates. Given the grouping and number, it looks like these were held back from general sale. I include below a screenshot showing what I mean. In case anyone is still looking for tickets!

What a beautiful review @Balletfanp - and you reminded me that I had the same reaction regarding what you aptly name the “run-across-the-stage-and-fall-move”! I meant to bring it up because the fine margin they were leaving had me shocked (in a good way) - it really was a knife’s edge and shows an impressive amount of trust in each other.