Missfrankiecat

I didn't mean to convey any pejorative description - of either Yasmine or Dame Margot. In our over-sharing world, it seems 'reserve' and a certain distance are now regarded as personality defects. Not by me! I would, however, maintain that, when interviewed in the company of others, Yasmine is often the more reticent and considered in her responses and she doesn't share much as much personal stuff on her social media as others. For eg Marianela - whose cats I could pick out of an ID parade just as I could tell you what colour her bathroom tiles are. Not a criticism of either woman.

Yasmine reminds me a lot of Margot Fonteyn - who, btw, I have only seen on film. Not just the looks (especially the smile and the chin tilt) but both have/had slightly aloof elegance and a certain reserve in their public personalities.

They lifted the full lights fairly early in the red run so they could see the audience enthusiasm. I thought Vadim looked slightly choked up.

There are so many intriguing partnerships in the next run - I think Francesca Hayward and Will Bracewell would be a very interesting contrast to Marianela/Vadim. Frankie Hayward's great acting skills will be right at home with the Odette/Odile split. I am looking forward to Joe Sissen's Siegfried debut (his partner seems to be an alarmingly moveable feast atm) - I'm sure he is a star of the future and, naturally, I will also be enjoying Osipova and her vulgar fouettés!

What a beautiful start to my short holiday last night down at the Lake. As others have mentioned, electric atmosphere last night - right from the collective sighs of relief and nervous giggles afterwards, when the cast replacement announcement was made, it was obvious who many people had come to see, confirmed by warm applause for Vadim and Marianela's entrances. But there was so much in addition to enjoy. I was front row, a rare treat and chance to really drink in details - only the footwork (not an insignificant detail!) is compromised from row A, but more than compensated by the ability to see every facial expression [not an advantage when it comes to Liam Boswell's grimaces btw - why oh why doesn't someone sort this out; he has great lines but pulls the most effortful faces when lifting], and the fabulous detail of set and costuming. I love the magnificent set for Act 3 in particular and it seemed better lit than usual last night. The swan corps was so good, not a feather out of place. Such kudos to them, to the repetiteurs who drill them to such perfection and the artful arrangement of a company which has quite a diversity of height. Luca Acri was a very engaging Benno, Isabella Gasparini (what a couple of weeks she has had) and Meaghan Grace Hinkis were lovely sisters - it's a shame that they don't get separate curtain calls. Even on such crowded sets, Gary Avis is able to compel attention - I loved him in Act 3, sitting in front of the Queen Mum, like a Svengali-suited bovver boy, giving the visiting delegations the evil eye. What more is there to say about the dream team? Individually sensational, they are sublime together. Marianela drains every last drop of meaning from each note of music, her ability to make her limbs and even spine at times look liquid when her core is performing such miracles of balance and control is completely unparalleled in this company, at least. Her Odette was imperious injured pride, melting into tremulous trust, dignified disappointment and finally determined redemption. Her Odile (always my favourite) is sexy, powerful malevolence. She and Vadim sizzled in Act 3. Sim is right - Vadim is phenomenal. His lines are so perfect, you want to weep and he just makes every technical feat look so effortless that you start to think it must be easy. I swear, even close up, there is no sign of sweat being broken, breathing being controlled nor a hair out of place. He always partners beautifully but there is a special sympathy with Nunez and their lines match perfectly; I saw she mouthed what looked like a 'thankyou' at the end of the Act 3 coda as they took their bows - the only time they were out of character. I felt privileged to be there last night.

I think Yasmine Naghdi is the most likely to emulate Marienela as a pre eminent classical ballerina from the next RB generation - great all rounder - best technician of the younger principals but also musical and good actor. Dancing with Matthew Ball in the next Swan Lake run.

Let me know if you are up for a drink in the interval or before - you may be with friends.

Long story ... I decided to go on short break out of London this weekend so returned my ticket. Then my train was cancelled and no trains at all on Saturday to go to West Country, so I was free again on Sat pm. Then I read the raves for last Monday's performance - even better than opening night. How is that possible? Yesterday I bought a replacement ticket for Sat at an outrageous price - so yes, I'm going!

Me too. I've booked again simply to see them, though happy to see Requiem again too.

Thank you @Amelie-DALP for clarifying the pony absence! If he wasn't happy on stage it was completely the right decision.

Unbelievable - I already bought for five performances and haven't got the one pairing I really wanted to see!

Beautiful flowers!

I would whole-heartedly recommend seeing Osipova while you still can. I do not hold myself out as any expert and she has never been my first pick to see in most classical roles (Nunez) but she is an extraordinary dancer, of rare acting ability and immense power and, sometimes, inventiveness. If you look back, her technique has always been criticised by some/many - I feel tentative in commenting, but I find it hard to believe she would have risen as high as she did in the Bolshoi if she were so lacking in technical ability. She does not fit the currently popular physique of a great ballerina, much less the type prized in Russian companies - she has wide feet with little arch, a short neck and a compact body. She lacks the disproportionately long limbs that are favoured and there is no sign of the hyper mobility in her limbs most ballerinas have. As far as I can judge she has never had the exaggerated turnout nor hyper extensions some now regard as de rigeur. Neither bother me. If I had a criticism it would be I have often thought the energy of her dancing - she is still a ferocious jumper and turner - is sometimes at the expense of musicality. Even in some earlier roles at her peak in Russia, she seems to me to be prone to being slightly ahead of the music. But she is 100% worth watching.

Late to the party, I went to Friday night's performance and found this a wonderful triple bill. I think I enjoyed the programme elements in ascending order but will happily watch all again. Dances Concertantes was witty, quirky and eye-catching. Isabella Gasparini is one of my favourite soloists and I was delighted to see her shine in her leading role. Joseph Sissens stood out, mainly because of his broad smile throughout much of the action - he really looked as if he was enjoying it whereas the other men looked a tad serious; who could blame them in those costumes?! I found Different Drummer quite engrossing, despite the cheerless content. Reece Clark and Natalia Osipova gave predictably emotive performances, and I felt there was a huge amount to unpack from the almost unrelenting symbolism thrown at us. Partly from my memories of seeing/reading the original play, and partly from what I was watching, I wasn't sure how much was real and how much was Woyzek's hallucination as a result of the medical experiments - was Marie really unfaithful or was it a dream? I look forward to seeing Sambe and Hayward's take. Requiem was glorious. My seat was right next to the choir, and hearing that music washing over us accompanied by such stunning dancing, gloriously lit was a precious experience. Several people have mentioned Bracewell who was excellent, but Lauren Cuthbertson was incandescent too. Huge kudos to Lukas B. Braendsrod for those amazing lifts (indeed the whole company); the sight of Cuthbertson's serene soul being carried high and upright into a golden paradise was a heart-stopping ending. Marvellous programming showing MacMillan's incredible range and highly evocative for performance approaching Easter.

Thankyou for sharing those thoughts. I so regret only seeing her once live (but her retirement performance of Juliet). To my eyes she looked amazing. So, so musical and, as you say, a consummate actress. I read in Vadim's book he still practices with her from time to time.

My impression is that a lot of dancers, especially female, are hyper-critical of their performance levels, rather than complaisant. I was just thinking of Daria Klimentova talking on the series the ENB filmed about their season - she was about 40 at the time and being reluctantly drafted in to partner a very young Vadim in Swan Lake until his intended guest artist partner arrived. I remember her bemoaning how she was 'old ballerina' whose arabesque now hurt and she couldn't do the same things she had done earlier. Poignantly she talks about her reluctance to do this big performance because she isn't going to become a star at this stage; of course, there may have been an element of staging for the cameras because we all know now that the partnership with Muntagirov did extend her career and elevate her profile considerably. But the truth is she was still a wonderful dancer who downplayed her ability because she was aging. Maybe this is less true of the men!

I think it was well known that she was not wealthy - I believe I read that Nureyev paid for her medical care at the end.

@Geoff W wrote that Fiona's writing was primitive, crude etc. @FionaM wrote that Osipova's dancing is 'destroying her reputation and that of the RB'. I think both are fairly forceful attacks and it's pretty hard to argue either isn't personal, the only difference being Fiona is here and it's unlikely Ms Osipova frequents this forum. Even if she did, I suspect it is unlikely she would be troubled by the opinions of any of us who couldn't turn a fouetté to save our lives. To be clear, I think both Geoff and Fiona are entitled to express their opinions and I enjoy reading them. I happened to be seated next to Fiona at Sunday's gala - she was charming and erudite company, a fund of interesting knowledge and opinion which I valued hearing; I happen to disagree with her view of Osipova, who I regard as an ornament to RB and whose Manon this run I thought was first among equals of those I saw. But as the late Queen would say 'recollections vary' and so do opinions.

How ridiculous. I assume it applies to the men too? I was astonished the French put up with that. Having done some googling, though, I see they are fully in favour and angry that Macron may change the pension rules - apparently, according to one ballerina "Once you reach the age of 42, you're already suffering from arthritis, stress fractures, hernias and in some cases titanium hips."

Serious defect! Next you'll be telling me no clog dance or dancing chickens. Have these people no respect for Ashton.

What is their rule? @FionaM - love that little film. The parade is sensational.

I totally agree with your first sentence. A whole performance constitutes much more than simply performing the steps correctly. And everyone makes mistakes occasionally - part of a great dancer's judgment is knowing when to push and when it is necessary to adapt to mitigate a clearly visible mistake or fall. But ultimately ballet is a technical art and an ability to perform the steps as choreographed is the baseline of a principal dancer for me. So I can't go along with the theory that performing 32 fouettés isn't integral to dancing Odile, so that an interpretation which doesn't contain those steps is as valid as one which does. Of course, I'm talking about dancers who regularly substitute easier choreography in classics, not someone dealing with the odd 'bad day at the office'.

I was too far away to see Brandt's face but she was travelling quite a bit from the outset on the fouettés and I thought from her head movement she had lost it quite early on - better, of course, to pull out into simple turns than fall and a lot of people aren't any the wiser. I didn't feel nearly as alarmed with Fumi - she wasn't quite 'on' the music but I didn't ever fear she was going to come a cropper. You are right - it's easy to forget how fiendishly difficult these moves are

I wasn't keen on his new hairdo either!!

Skylar Brandt did not do the full fouetté sequence - she replaced part of the music with chaine turns. Misty Copeland gets roasted when she does that sort of thing.