Paco

I saw yesterday's performance with Hugo Marchand and Hannah O'Neill. Must say I have been somehow disappointed. Obviously Hugo Marchand (of whom I am a great fan!) was not in a good shape, showing unusual tiredness in Act III, where he should have been brilliant and virtuoso. Ms O'Neill delivered beautiful dancing as usual, but lacked brilliance. The fouettés were very clean but only academic (and rather slow in terms of tempi). For both ot them, and I shall say for the whole production and dancers, the global mindset of this ballet, made of joy and happiness, was missing. There was a global weakness throughout the evening: too wise, too cautious, too academic. The main source of this lack of excitement was the lighting: very white, that kind of icy white, close to neon-like lighting. Good for Woyzeck but not for Don Quichotte... In such a cold environment, many joyful and brilliant variations missed their theatrical target, such as for instance the bohemians dance in Act II, which were hard to be visible from balcony as they were relegated in almost total darkness. The corps de ballet was the good surprise of the evening: It has made huge improvements compared to recent years. Perfectly synchronized, technically excellent. The Dryade scene was beautifully performed. Compared to the exciting, thrilling performances of the last RB revival, yesterday's performance was definitely bland, tasteless. Long time ago the POB was excellent in this ballet though (just have a look at the Guillem-Le Riche performances on Youtube to see how exciting thsi company used to be in DQ). They have just lost the ability to mix theatre and dance. I remain however confident that Mr Martinez, who is only starting his mandate, will manage to inject the passion and brio that the company now needs to resume with its brilliant reputation.

I received it too and mentioned the importance of the cast. I also said I would love online streaming for the live broadcast.

It is a question of generation of LED. Today you can find LED that provide a light with almost no difference at all compared to previous standard lights, so it is not anymore an issue. But at the time Paris Opera switched step-by-step to LED (it was a pioneer in this strategy), long time ago, it was what I would call the "early generation" of LED, the time when the only rendering was a pale, cold, very poor light. This is what impacted Swan Lake, DQ and most of Nureyev ballets. Next year Paquita will be transferred from Garnier to Bastille. I know many friends who fear what it will mean in terms of lights, as they would probably be converted into LED. But this time I think there is no worry to have, as today's LED have nothing to compare with the early generation.

That's the issue with today's POB productions of Nureyev ballets: During the last 15 years Bastille lights have been converted into LED (first generation of LED), providing that kind of icy feeling which has nothing to do with the original production of those ballets in the 90s (moreover it was at Garnier, not at Bastille where most of the time the sets are somehow lost in this very wide stage). While it does not disturb me in DQ Dryad scenes, it is really a pain in Swan Lake, which was originally a very good production (and, from my point of view, the best ever Act IV) but is now transformed into a veeery cold atmosphere, made of grey, nano sets and icy lights. Regarding the questions of this thread "do you prefer Nureyev DQ to Acosta DQ?", I would say that first of all today's Nureyev DQ at POB has nothing to do with the original Nureyev DQ: virtuosity, passion and theatrical approach were far higher in the 90s, and the more the generations who knew Nureyev have been retiring, the less the mindset of his productions have remained in Paris. Just compare to La Scala video (Osipova, Sarafanov, much closer to the original mindset of the production) to today performances in Paris and you will even there see a difference. To have an idea of what this DQ was when it was danced by the "Nureyev generaion", try to find on Youtube the video with Sylvie Guillem and Nicolas Le Riche. This was the way DQ was danced at Nureyev time (though he was already dead when this performance was broadcasted and Guillem was already at the RB). I love the original Nureyev DQ production, but I love Acosta RB production either. It is a totally different approach: Acosta tells a story, his DQ is more theatrical, fluid, cinematographic, less an addition of virtuoso variations. I find it thrilling. Nor better neither less good than Nureyev one, just different.

POB =around 150 dancers (154 officially) RB = around 100 I guess?

Very interesting to get your feedback after almost 25 years since your last Swan Lake at RB. I agree with you: the corps de ballet of the Royal Ballet is currently the most mesmerizing one. I travel a lot and see so many outstanding companies, but the corps de ballet of RB stands out and is just on another planet, absolutely unique.

At last a more than promising season, after more than ten years where POB has progressively abandoned classical ballet (the current season was already a significant improvement compared to previous ones). I am really glad that Sylvia and Paquita are back again in repertoire, chiefly with a classical approach for Sylvia. The only slight disappointment is that Paquita will be at Bastille, while it was originally played at Garnier. This means that the sets will be "lost" in this wide auditorium (like Swan Lake when it was transferred to Bastille). The come back of Sleeping Beauty is also great news. At last, after so many years! I just wonder how Mr Martinez will manage to find enough soloists to cast the numerous variations of this ballet. Chiefly for such a long run of performances - POB does not have currently the number of amazing soloists that RB has, the level is not on the same planet, though a new generation full of potential is emerging. But anyway at last the dancers will have the opportunity to perform this masterpiece and the more they will perform it the more they will improve. Onegin, I guess there will be performances with Dorothée Gilbert (not to be missed in this role, she is one of the greatest Tatiana). And a Forsythe evening is a good choice. Overall I am more and more confident that Mr Martinez will do a really good job at POB. This season is a first step into a kind of Renaissance...

Yes, Gary Avis and Kevin Emerton were amazing in these characters. Otherwise I found that ballet somehow boring (I had not seen it before). I don't know why but something does not work in this piece: The music lacks contrasts, it is always a bit in the same mood and after twenty minutes it starts to be boring - at least for a ballet, whereas it is different in a concert environment. Then the choreography itself looked uninspired to me, I found it difficult to understand its structure. Moreover, compared to Berg's opera, I missed a kind of dramatic crescendo. Globally not a piece to remember as far as I am concerned. The best surprise to me was the ability of Reece Clarke, usually the "ideal Prince" with his handsome look, to convert into the character of Woyzeck. He managed it quite well and was really convincing. On the opposite I did love Requiem. A true masterpiece where everything matches: inspired sets, beautiful lighting, amazing choreography, great music that suits perfectly to what happens on stage. Amazing corps de ballet (so synchronized!), and unforgettable Christic interpretation from Matthew Ball, in addition to the fascinating Sarah Lamb. I also enjoyed Danses concertantes, an entertaining start to the evening. Not the kind of ballet I would rush to see, but it is ok. Overall I would die to see again Requiem, and on the other hand I will easily forget the two other pieces. But I am glad to have seen them, it is the mission of the Royal Ballet to maintain its heritage in the repertoire.

Thank you for the report Estreiiita. I missed this program. The Théâtre des Champs Elysées has quite an interesting short season of contemporary dance, worth a visit. There remains a few good ballet companies in French provincial towns. Toulouse, Biarritz and Nice are among my favorites, but Strasbourg also has sometimes interesting propositions - chiefly when it creates narrative full-length.

Thank you so much for the video!!! I love KOH speeches, always so delicate and full of emotion. And Alexander speech was fantastic. What a great artist!!

Got everything I wanted yesterday (Swan Lake, Chenier). For Ashton I will wait until the casts are communicated. For the Pappano gala of May 21st there was no availability even at the opening of Friends booking, but fortunately a friend of mine who is Premium had previously booked a seat for me through his Premium Friend priority. This has confirmed to me that there aren't anymore dedicated seats capacity per segment of audience (Premium Friends, Friends+, Friends, non-Friends...): If the house is sold out with the Premium Friends or Friends+, then it is not worth logging in at the Friends booking opening, there won't be additional availability.

Swan Lake is a very good choice, no hesitation, chiefly with the luxurious RB production and its amazing corps de ballet! At around the same age my parents took me to see Nutcracker (it was in Edinburgh): I didn't like it: too "childish", my reaction was "this is for girls!" (LOL, typical reaction of a 9-y old boy from those days, the 1970s...) Then they took me to see Giselle: I preferred it to Nutcracker, but still did not really enjoy it. Then I saw Swan Lake and I loved it from the first to the last minute. Also, a few years ago I invited friends to the RB with their two sons. One of them was 7 y-old. It was McMillan' Romeo & Juliet (with Osipova). He absolutely went crazy for the show. You might be surprised, but R&J with its duels, passion, theatrical tension, chiefly with the RB production and amazingly synchronized corps de ballet, is the perfect ballet for a 9-y old boy, much more than Nutcracker! 5 years after, this son of my friends still remembers that performance as unforgettable, and is now a regular spectator of ballets! (accompanied by his parents of course)

I don't have this issue with Instagram, but I clean my PC from cookies twice a day (using a cleaning software)

After having danced Des Grieux at the RB on Friday night, Roberto Bolle danced yesterday Saturday (so, less than 24 hours after Manon) at the Festival di Sanremo, broadcasted by RAI Uno... not less than the Boléro by Béjart (accompanied by the dancers of Bejart Ballet Lausanne)! Does this man never feel tired??? ... Absolutely amazing!

I hope there will be a speech for Muntagirov. Perhaps not so close from Bolle yesterday, so I guess it would be at Swan Lake, or perhaps a full-length next Autumn

Our posts were simultaneous. I partly agree with you for the lack of chemistry. This was far from Wednesday performance. But I wouldn't say "very disappointed", overall it was still a very good performance in my opinion.

At the end of tonight's performance, Kevin O'Hare went on stage to celebrate the 25 years of Roberto Bolle at Royal Ballet. As he said in his speech "Roberto is not really a guest star for us, rather a company member". As always, Kevin delivered a beautiful speech with lots of touching words. Hysterical ovations from the audience to all dancers, and of course especially to Nunez and Bolle. Personally I prefered by far Wednesday performance, where Osipova and Clarke put emotions to a really stratospheric, amazing level, however tonight was a very good performance. Bolle chiefly was totally on fire in Act III. And frankly, delivering such beautiful dance at 49 years-old is close to science-fi! Nunez delivered wonderful, beautiful dance, but I got the impression that she did not really know where she was in terms of characterization of Manon. It was a wonderful, outstanding, superlative dance, but I did not feel she was personifying a character. I prefer her in classical ballets like Giselle or Sleeping Beauty. Also, I missed Ms Magri in Mistress: Her interpretation last Wednesday was really spectacular in terms of subtle characterization and charisma. Ms Mendizabal delivered good dancing, but after having seen Magri in the same character I was missing something... Same for Mr Hirano: His Lescaut was very good, chiefly in Act II, but I lacked the originality and sensitivity of Mr Campbell interpretation. But overall a very good performance, and I was extremely pleased that KOH celebrated Mr Bolle. This is really the ROH touch, this friendly relationship between artistic management and artists. I love it!

Agree with the above comments. A deeply emotional performance, with a devastating Act III where Osipova and Clarke have reached levels of dramatic intensity hard to describe with words! What was amazing throughout the performance was that everything was natural, all moves and even technical complexity had a meaning. And in addition to Osipova and Clarke, the other dancers were wonderful as well. A perfect Lescaut with Mr Campbell, so subtle in his interpretation, so credible in his youthful acting. And a luxury Mistress with Mayara Magri, who played her character like a mirror of Manon. As usual she was putting fire on stage. Perfect corps de ballet. Among my best Manon performance at the ROH. And for sure my best Act III, the kind of emotion that I will never forget for the rest of my life!

There are so many fantastic Principals nowadays at the RB that choosing a cast is always a cruel dilemma. For this Manon I chose Osipova / Clarke, because Osipova approaches the 40s and I am so afraid these could be her last years at the RB in great roles that I don't want to miss it. (and I hope she will be in June' Swan Lake). Then I also chose Nunez/ Bolle, exactly for the same reason regarding Ms Nunez, and also because I much prefer Mr Bolle when he dances at the RB than when he dances at la Scala. At Covent Garden there is always something very special between him, the audience and the company. He is just no the same dancer, so much more engaged and emotional than at la Scala. But these choices were really dilemma, because I would also have loved to see most of the other casts (and am frustrated to have missed the Naghdi-Bracewell). Just can't see 3 performances of a same run, financially speaking...

There is a deadline to use them. I've just realized that mine from 2020 were to be closed next week and have just used them before they would have disappeared.

Agree. This is also illustrated in his often excellent speeches when celebrating a dancer for this or that reason. I found particularly moving his speech for Bonelli farewell. Those moments (also the recent speech for Osipova 10 years at RB) were full of humanity and empathy.

I think one of the great accomplishment of Mr O'Hare directorship is the mindset that he developed at the company: a team-spirit, a kind of excitement to dance, energy, an amazing synchronisation of movements in the corps de ballet and in the pas de deux, a way to dance the ensemble with a goldsmith precision. It was not the case before his direction, it is really his "marque de fabrique". Last year and even recently I have seen excellent ballets in Amsterdam, la Scala, Paris. However it has nothing to compare with the Royal Ballet in terms of precision and excellence of the ensemble. The Royal Ballet stands just in another planet, where Bolshoi used to be (I don't know now). Even yesterday, I was amazed while looking at a short insta video of a gala in Barcelona with Osipova and Clarke. The arms and legs movements from both were so amazingly synchronized and homogeneous : arms heights totally similar, head moves like siamese... One would say "hey it's normal, it's Osipova, and Clarke is a good partner". No it's not that: it's just Royal Ballet! Nowhere would you find such precision, such amazing attention to details, even at outstanding partnerships like Smirnova-Tissi or Manni-Andrijaschenko.

I totally agree

Agree. At Paris Opera, Serge Lifar stayed 19 years, so did Brigitte Lefevre. Regarding Mr O'Hare, his mandate is a very complex one, having had to go through the pandemic years and, just after, the financial pressure due to the ROH post-Covid difficult situation + the inflation. 12 years: From my spectator point of view it seems shorter, but perhaps from his point of view it seems a century, he must be exhausted after those crisis in such a short time! If it were a piece in 3 acts, I think KOH has completed Acts 1 & 2, and Act 3 has not started yet, last and current seasons being kind of an "interval": Act 1 was to uplift the company from an already very good one to a stratospheric one, comparable only to Bolshoi or Mariinsky, and this Act has been a huge, tremendous success, regarding both the corps de ballet and the new generation of Principals and Soloists. Act 2 was to refresh some classic productions, which he initiated with the new Swan Lake, and to create new full-length, like Winter's tale or Woolf Works. Act 3, for me, would be to create other new classic ballets (enlarge the repertoire) and/or new full-length, but this has obviously been interrupted by the two crisis and I am pessimitic about his ability to raise sufficient money to develop ambitious programs. I am afraid he will be constrainted into seasons like the current one, with looong runs of blockbusters in the main hall + a few contemporary works at the Linbury. But I hope I am wrong and too pessimistic.

Regarding the productions, for me the ENB Skeaping production is the best of the best, mostly because it is the only one showing the integrality of the Willis act, with that spectacular fugato of the Willis hassling Hillarion. I love the RB production too, but sometimes I wonder whether I love the production itself, or just the amazing, unique level of the RB corps de ballet and Principals. I mean, I am not sure this production would be so much enjoyable with another company, chiefly a company with less theatrical skills. On the contrary, the very classic, aesthetically beautiful, authentic productions of Paris Opera and Milano la Scala could be danced by any other company, thanks to their anchoring in pure tradition of Giselle.