Paco

Yesterday Federico Bonelli - a former wonderful dancer of Winter's tale- was attending the performance with a few relatives/ friends. Apart from the unavoidable selfies asked by some fans in Hamlyn Hall Foyer, he also chatted with a few people. Lovely to see him still engaged in following the Royal Ballet evolution despite his new managerial obligations.

I attended yesterday performance. It was outstanding. Since its creation I’ve always been enjoying this ballet, which is for me one of the full-length masterpieces that RB has created during the last twenty years, together with Woolf Works. But this time I enjoyed it even more. I have been really moved, which had not been the case on previous revivals. Perhaps this year run of performances benefits from the experience of the company in this ballet, though I guess that more than half of the dancers yesterday had never performed it before (because they were not yet in the company at last revival). “Something happened” yesterday. I really felt like attending a Shakespeare play at Stratford-upon-Avon theatre, together to technically brilliant dance. One of the reasons could be the extreme artistic sensitiveness of most players: Magri, Ball, Pantuso, Sissens…, in addition to the amazing lyricism of Marianela Nunez’ Hermione, absolutely fascinating throughout the 1rst act. Despite obvious tension at the beginning in the partnership with Joseph Sissens – due to the last-minute replacement-, resulting in some stiffness and small technical bugs (but really small ones), Viola Pantuso delivered a performance that could be regarded as a Principal-level one. As soon as she entered the stage, she caught our eyes to her obvious charisma, a shining-star charisma that few artists prove to have. Her dance was sensitive and really moving. Full of charisma as well, as usual Joseph Sissens filled the stage with his phenomenal presence. However, I must say that in terms of virtuosity, yesterday was not his most brilliant performance compared to what he is used to delivering, probably because he was wisely focused on securing his last-minute partnership with Ms Pantuso. All other performers were outstanding: Magri (a luxury jewel in such a short role), Ball, Brändsröd, Boswell… Overall, I regret to have booked only one performance of this run, I would have enjoyed attending another performance. Really a very good ballet. And when one thinks that all these wonderful dancers performed so brilliantly, while alternating with a long run of Swan Lake + rehearsing the June Ashton, + some guest appearances elsewhere (Nunez rehearsing Giselle for Paris for instance), it shows to what extent the Royal Ballet is currently in a very, very good shape!

Last revival of Alice sold out very quickly, it was difficult to find a seat. But prices were half of what is scheduled for next season, so I doubt there will be the same rush to the box office this time...

Prices for next season are ridiculously too high. It is obvious it will be a disaster in terms of box office. £ 245 for a revival of le Nozze without any star in the cast is a much anticipated failure. Even the Alice prices are much too expensive. The last run sold out quickly, it was a triumph, but at half that price! It is the first time my European friends hesitate to cross the Channel. At first they had scheduled to come and see almost the whole RB season, but now that they look at the prices they hesitate a lot. I don't know how marketing teams build their pricing strategy, but wouldn't it be more profitable to have a sold out house at reasonable prices than a 60% filled theatre at such ridiculously expensive prices?

I am extremely stressed by this bad news (and of course lots of compassion for our Californian friends who must be so disappointed). Natalia is due to dance a few Swan Lake + Ashton bill at RB next month, I hope she will recover! Because if not, due to the lack of classical ballet next season at RB, we would have to wait until 2025/2026 to see her again in a classical ballet, what a disappointment it would be!

Like most of you, I don't know what to think about this new brand and logo. It only reinforces my feeling that the institution as a global entity is currently crossing some turbulences and uncertainties. Some things here and there have changed during the last few years and the management is perhaps trying to find and show a new strategic direction. I do not have statistics, but I've had the feeling during the last five years (except Covid) that ballet performances were more numerous than opera performances, and this was not the case before. But perhaps I am wrong. I also got the impression that ballet was selling out easier and faster than operas (though I know that titles like Dante were difficult to sell), which was not the case many years ago, when most opera performances at the ROH were attracting crowds of fans. Since five years approx, I've been observing an obvious decline in the attractiveness of Royal Opera programming (I mean the operas seasons): average-level of casts (partly because of too many blacklisted stars), chiefly compared to Paris, Vienna, Munich, Milano and even some mid-size cities elsewhere in Europe. Even the repertoire of Royal Opera has become "cash-machine"-like. In French we say "plan-plan". Only blockbusters, that they even do not manage to sell out because of the above average- only fair casts. Compared to the rich -and sometimes risky- repertoire of 10 ot 20 years ago, the decline is obvious. In the meanwhile, the Royal Ballet has just been on the exactly opposite trend: fabulous, stellar Principals and soloists, glorious, shining, sustained by what is today probably the best ever corps de ballet in the World. Budget wise there have been obviously huge investments in productions like Swan Lake, Cinderella and the new full-length like Winter's tale, Alice, Woolf Works or Dante. So ballet has been apparently a strategic priority of the whole institution. As a result, when I look at my French, Belgian, Italian, Dutch and German friends, I see more and more of them crossing the channel at huge, expensive prices, to attend several Royal Ballet performances every year, while the fans that once used to be faithful to the Royal Opera now do not have it in their radar anymore. So, for me putting Royal Ballet & Opera instead of Royal Opera & Ballet makes sense, as it does reflect the current trend of the institution: the Ballet is really shining and acknowledged as a World-class leader, while Opera is in the shade. It remains true when I look into next season: I agree that the total absence of classical ballet is a very disappointing (and worrying) point for the Royal Ballet program next year, but OMG when I look at the opera part of the program it looks even more disappointing. Just reaching the level of an average, provincial theatre in any European town, but absolutely not the level that one would expect from the Royal Opera. So I don't know where they are going. I do hope that 2024/2025 is a transition season for the Royal Ballet and that it will later resume with its classical DNA. I have less hope for the opera side, also because I am afraid that the current artistic director does not have the same visionary skills that Ms Padmore or Mr Holten had.

I agree with you that a season without a single classical ballet is not a good signal. Me too I hope this is exceptional. And I would love that one day the RB create a new classical ballet, there are so many of them from Petipa to rediscover. But overall I like this program. I was impatiently waiting for a revival of Alice, so I can only approve this choice. I also remember that last time it was a sold out run so it is also a good choice for the box office... Very happy to see again Concerto in C. And the run of Onegin will be exciting to compare with the run at POB. I know it is financially a luxury, but being able to see in one season Onegin with Osipova/Clarke (and of course most of the other Principals, Vadim, Nela, Anna Rose, Fumi...) in London and Gilbert/Marchand in Paris would be real caviar!

I often read on this forum complaints about the fact that most RB Principals are invited to guess on other stages. Sorry, but the reason is not they are bored at the RB, it is just that RB is currently one of the most shining companies in the World, if not the most shining one, and that gala organizers as well as theatre managers struggle to invite them! If Eleonora Abbagnato, who does a fantastic job at Roma Opera, regularly invites RB Principals, it is just because they are the most relevant examples to follow for the talented dancers of her company. If José Martinez, who is currently leading the POB into a kind of "Renaissance", invites Nela or Marcelino, it is just because he knows the gap that has been progressively created btw POB and RB in classical ballet and wants to show the direction to his new generation of very promising talented dancers. And in most cases, when companies invite RB Principals, it is also just because they do not have the needed talents or resources internally. So we should rejoyce that the RB does have these talents, instead of complaining about those guest appearances. At every gala I attend in Italy or Paris, the RB Principals always steal the show, even when there are other outstanding artists in the same performance. You cannot imagine the stellar ovation that Ms Magri and Mr Ball received in a Paris gala last winter - actually they seemed surprised themselves. Even at the most exciting gala of European companies ballet schools at Paris Opera, recently, the RB School artists stole the show! So if there are so many guest appearances from RB dancers abroad, it is just because the RB is currently in a totally stratospheric level. Instead of rejoycing for that, we complain and imagine "poor RB dancers are bored" ...

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!