Missfrankiecat

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!

Fumi's beautiful smile lights up the room.

I believe Vadim wrote in his book - I hope I haven't imagined this because I have lent my copy so can't check - that he wore lighter makeup if the performance was being filmed, but otherwise there was no difference to his process.

I don't think it's 'picky' to point out the areas where improvements could be made. The standard Nunez (and Osipova) sets is very high indeed. I was struck during Apollo in the 50th Costa celebration, where you can view principals side by side how clearly Nunez was in a class of her own.

Sae Maeda really impressed as Amour the other night so interesting to see her as a friend.

I will be very interested to hear how Anna Rose tackles Kitri. She is a very precise, elegant dancer.

Excited to hopefully hear how that went.

It was Marienela surely.

I didn't read anything he wrote in his book as indicating a dissatisfaction with his use at the RB - rather the opposite. While he wrote a lot about the difficulties of lock-down at career prime time, I didn't translate that time of total inaction as having parallels with the current timetable. He wrote of how much he enjoys guesting elsewhere - the experience and the money - and how grateful he was that Kevin and the company were open to his schedule of working with other companies. He also made it very clear he did not want to work with any contemporary works as he feels it interferes with the classical technique and leads to injury. I suspect the sparring use the RB makes of Vadim and Nela (and Osipova) serve to keep them here rather than the opposite. All are now British citizens as well, I believe. Sorry, I've digressed from DQ too.

I was so disappointed not to be able to see them in Nutcracker before Christmas. The cynic might say TPTB know that pairing will shift tickets even in January when the holidays are all but over and hope that seasonal pressure will sell the less well known pairings before.

At least they do not have to adjust to different partners which must make rehearsals easier. But it can't be great for the muscles, lungs and skeleton to spend so much time cramped in planes before such arduous exercise.

I have never seen such a throng outside the stage door and crowding out Floral Street in years. [Late career visits from Nureyev were similar within my memory]. That may have been in part accounted for by a lot of overseas folk. Slightly surprised that there were, up until very late, odd tickets available for this performance.

Great choice. If you are on Instagram, I bet the real Vadim would love to see a photo of his namesake!

I am still enjoying a serotonin rush after last night's season opener. It really was a lovely feel-good night, with a lively, appreciative audience apparently spurring on outstanding performances. There will be far more technically detailed reports than I have capacity to give but my impression was that everyone was on top form. There is always something new to notice and I couldn't believe that I had never clocked that Don Quixote's lance is one of the posts of his bed, seized in the prologue by Sancho Panza. Christopher Saunders was the Don and, my programme instructs, also responsible for some corps coaching and Philip Mosely was Sancho - his being tossed in the air (very high) in Act One was one of two places where I heard very audible gasps from the audience. [the other were the two one-armed lifts by Vadim]. It was touching to hear welcoming applause for the first entrances of Kitri and Basilio - I like to think it was a particular 'welcome back home' after Summer travels for two very loved principals. Ryoichi Hirano also got a ripple of applause on his first entrance. It would have been deserved for his costume alone - he looks great in his Matador gear - but he danced a wonderful Espada, achieving effortless lines. His Mercedes was Mayara Magri who was typically strong and zestful. I am sorry not to be booked (currently!) to see her Kitri. Of the matadors, Jospeh Sissens stood out to me. The corps were excellent, especially the women in the Kingdom of the Dryads. I particularly enjoyed Sae Maeda's vivacious turn as Amour. But the stars were Nunez and Muntagirov. I booked to see this pairing, yet again, in part because, at Nunez' age and the relatively lengthy RB cycle for classics, you can't be too sure how many more Kitri's there will be for her. But she is apparently ageless - a technical dynamo and master of artistry. She seems both to hold her transitions in suspension and move seamlessly at the same time, her timing and the articulation of her footwork and her upper body are exceptional. The Act 3 fouettés had the audience clapping along to her metronomic precision. Above all she conveyed a warm, witty, playful Kitri with every smile, eye-roll and accent to the music. An audience member sitting by us and explaining to novice ballet attenders what the ballet was about told them that Vadim was sometimes considered too classic a dancer to fully embody the bravura of Basilio. Judging by their vocal enthusiasm, the first timers didn't agree and nor do I. He was on majestic form with gravity defying leaps, beautiful lines and elegant partnering. I was misty eyed at the Grand pas de deux, in part because I watched their lockdown version filmed on a bleak empty stage so often and it was wonderful to see it placed properly in the wedding scene. From reading Vadim's book, I am aware he didn't feel he danced the lock-down version immortalised on film very well (!) so I hope he got satisfaction from last night's version. He certainly looked pleased with his flowers at the end (Hirano jokingly indicating he was a bit miffed not to receive a bouquet too). Carlos Acosta was reticent about being dragged on to take a bow by Marienela but he had every reason to be proud of how his production is looking, and he was very gracious with the fans leaving by the stage door after the performance.

I can't stop smiling. Such a beautiful evening. More tomorrow.

I'm about to set off for drinks and food before tonight's performance. So excited to see the company in action after the Summer and especially Nunez and Muntagirov. I feel very lucky.

I would only mention a couple of roles/performances which, in my memory, transcend all others. But I have many other favourites and I would say my overall definitive performer is Nunez - never seen her in anything where she didn't shine; Don Q - Baryshnikov [only time I saw him live in a full length classical role] Mayerling - Muntagirov [left me feeling completely different about the character] Giselle - Osipova [completely heart-breaking]