Missfrankiecat

Just to say thanks for so many interesting and informative posts. For one reason or another, Giselle is the great classic I am least familiar with and I have seen very few ENB productions at all in recent years, so the insights are wonderful preparation for a visit next weekend.

Hard to tell from photos but it looks like it has a spray of mimosa in it - always impressive.

Vadim's got a good old armful of bouquets there!

What a happy post @Tiptoesmama - so glad you and your daughter had a great introduction to the RB and to the Nutcracker. May it be the first of many visits.

May I add to the list of public behaviours which make me grind my teeth - public grooming and preening! I sat next to an adolescent last night in the stalls who spent most of the performance applying and re-applying lip gloss and tossing and fingering her long hair. How the people behind tolerated all the movement in their sight line, I cannot imagine. The worst bit was in the interval when she took out a brush, laboriously groomed, and then picked the hairs out of her brush and threw them on the floor.

Someone close to us described the sound of Vadims' landings as 'like a kitten's breath' - which I thought was lovely. How he manages to land with no noise is astonishing - he's a tall guy.

Had a wonderful time at last night's performance, having treated myself to a central front stalls seat for once. I generally sit (or stand!) in the Stalls Circle and it was interesting to see how different impressions are when the whole stage is visible at once and so close. Being so familiar with this production, I was very struck by the active engagement of those surrounding the main action - there is so much detail, particularly in the first act, and it really illustrated to me how much emphasis the RB places on acting. The dancing, of course, was superb. Many, like me, had booked to see the 'dream team' and it was exciting to see Vadim and Marienela back on their home stage and hear them greeted by a round of applause as the curtain raised on Act two. What is there left to say about them? Glorious technique and seemingly effortless control, musicality and warm rapport. Vadim's partnering is always praised and, close enough for once to see fine detail of hand placement and pressure, it was striking to compare how relaxed but steady his grip in lifts and supported turns is and how smoothly he adjusts, with other dancers where the muscle tension (and sometimes facial reaction) are, unsurprisingly, much more apparent. I enjoyed Madison Bailey's youthfully fresh Clara but I didn't find the partnership with Liam Boswell quite gelled for me, especially in the first act. In their solos and dancing apart they were both clean and expressive but some of their pdd work felt a little awkward to me. I think that Liam's facial reactions - very noticeably frowning/straining and then flashing a very wide grim when a lift was completed - highlighted the very 'effortful' partnering and really need a little work. To be fair, the facial contortions were much reduced in the second act. It was a joy to watch, in Gary Avis, a master of mime and character dancing in full flow. His presence really fills the stage and this interpretation of a wholly sympathetic Drosselmeyer bent on bringing life and love makes for a very satisfying seasonal treat.

My first year on the forum and I have so enjoyed reading the contributions, lively reviews and knowledgeable insights from so many members. It gives me such a warm feeling to know there are so many who are passionate about ballet and who take time to share their enthusiasm, news, incredible photos and reviews for all of us. Happy New Year to the hard-working mods and all the members.

I went on Friday night with a friend who is more musical than I. She thought the tempo in the PDD was quite brisk but it definitely slowed for the SPF solo - we both commented.

Greatly enjoyed last night's Nutcracker, especially Viola Pantuso's spirited Clara and, as always, Gary Avis' majestically controlling Drosselmeyer (although the final scene in darkness was curious and, I assume, a mistake). Yasmine Naghdi was a serene Sugar Plum Fairy, capably partnered by Matthew Ball - perhaps slightly underpowered in his solos, but very Princely. We thought the corps was on fine form in the snowflake dance and it is always a pleasure to see the children of the RB school. When Drosselmeyer conjures up his magic and the tree grows to the swelling music of the orchestra, Christmas really has arrived. Have a great one everyone.

From where I was sitting, she wasn't 'doing whatever she likes'. The Act 3 fouettés were modified - I would regard that as good judgment if she was concerned about not finishing cleanly. Far better than to aggravate an injury or fall flat on your backside.

Me too. I've never seen her in a leading role when she hasn't, so I'm beginning to think I'm a jinx.

Not controversial with me. I wondered the same. The lead in for King and Queen attending would have been months, so I would be surprised if Muntagirov's commitments couldn't have been juggled. I would be amazed if Vadim wouldn't have been keen and willing for this honour and if the idea was to display the very best that the RB has to offer for an official royal visit, to new attendees, many of whom are not ballet lovers, and to film for posterity, Nunez and Muntagirov are without doubt the cream of the crop, highly experienced and, since the national card seems to be suggested as a reason for Magri and Ball, both are newish British citizens, Muntagirov RB trained and Nunez 25 years in the company.

No problems with live feed in N London. Thoroughly enjoyed evening. Shame that just as I thinking I'd finally seen Mayara not make a mistake in performance (I've only seen her three times in a leading role) she took a tumble again but otherwise it was a wonderful evening. More anon but I have work tomorrow.

I feel for them getting ready for next week's performance. I'm sure they are excited but it must also be nerve wracking knowing it will be filmed as well as all the fuss round an official royal visit.

Still working through some of the output on Youtube and streaming services. I love watching class and my favourite so far was the Hong Kong ballet. I tuned in to see if Marianela would take class with them as she is visiting (she did!) but was hooked by the precision of their barre work and their formidable teacher barking orders and demonstrating beautifully.

I really enjoyed last night's performance [Hayward and Campbell] and we were talking about it for ages afterwards. I haven't much to add to what others have said. The premise of limiting verbal communication is interesting, especially when worked out by ballet dancers, who never usually use words in performance. Unlike others, I felt the spoken text was the supreme conveyor of meaning and, while I enjoyed the movement/dancing, it seldom communicated to me as clearly as the spoken dialogue what was going on - maybe a reflection of my struggle to feel contemporary dance. @Bruce Wallis completely right about the issues with the dancers vocal delivery [especially Hayward] - they were fully audible, thanks to the mics, but I could really tell they were not trained actors. Despite the flatness of vocal tone, these two are really engaging performers and this was a brave and innovative experiment which held my attention completely and remained in my thoughts on and off all day since.

She is just a superstar in my eyes.

I have no doubt they enjoy seeing the pleasure of the fans and it must be pleasant for one's ego to see so many people keen enough to see you to stand out in all weathers to meet you. I don't think the meet and greet at the stage door would be a problem for them - more the then having to fight their way through the crowd to get home, followed by fans as mentioned above. If you intend using the tune there's no way to avoid the Floral Street melee!

Frankly, I'm amazed the RB doesn't do something to protect its stars from such behaviour - like order a car to get them home at night. No way should there be an expectation that they should manage the basics of their security at and from the stage door, when at the same time there is undoubtedly an expectation that they interact with fans at the stage door and other events in order to promote not only themselves but also the institution. I recall reading in Vadim's book that one reason he loves Japan is because the fans are so orderly and even reticent to make eye contact, so he feels more private. Of course, he's grown up but it can be incredibly hard to shake people off politely who think they 'know' you but are complete strangers.

I've not waited at the stage door for many years but I do generally have to walk past on my way down Floral Street to go home. Last performance for DQ with Nunez and Muntagirov the street was literally packed - it was the first night - so you definitely would not feel awkward with so many other people. As I battled through the crowd there was a big cheer and Carlos Acosta walked out (this was quite soon after curtain down, maybe 10 - 15 mins, and he was very gracious with the fans. I hope you have a wonderful show and meet them both.

I'm afraid I think 'high' culture - and people think of ballet and opera in those terms - is not valued in this country as much as it is in mainland Europe, certainly France and Germany in my experience. Much like in America, ballet and opera (and classical music) are seen by vast swathes of people as snobby and irrelevant. Our school system does little to nothing to inculcate the tools for appreciating more demanding cultural traditions (unlike France for eg) and the contempt in which the Arts generally is now held by governments of all political persuasions in terms of funding as part of the common good has resulted in exorbitant prices (even before Covid) which in turn feeds into the idea of privileged exclusivity. People in the UK are quite happy to spend ROH levels on tickets for Disney musicals who wouldn't dream of trying ballet.

It would be good to hear why. All opinions valued.

Stunning photos - as always. Thank you for sharing - I so enjoy seeing these.

Friday 13th!