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  1. Fille gets my vote too but also I am really hoping that by the Autumn we won't have to wear face masks in the auditorium ..........
  2. I wonder if the Pite is not actually new choreography because the announcement says “two works new to the Royal Ballet” It would be great if they acquired the terrific Seasons Canon made for Paris Opera Ballet but I guess that is not very likely.
  3. I can’t see this mentioned anywhere here yet but would be grateful, mods, if you could move this if I have missed a relevant thread. Mariinsky did a live relay of Don Q on 4th Feb 2021 still available on Medici TV to subscribe or rent - for a week - I think. https://www.medici.tv/en/ballets/ Even if you’ve seen many performances of Don Q this is one to warm the heart: superlative artists Viktoria Tereshkina and Kimin Kim at the top of their game in the terrific Mariinsky production. Some fine performances in the supporting roles and the entrance
  4. A huge thank you everyone who posted about this otherwise I would not have found it; it looks gorgeous, particularly Act 2 and the dancing is fabulous ! A real tonic.
  5. I watched it too and thought it was wonderful. Fumi Kaneko's Aurora was so lovely she brought tears to my eyes, a poignant reminder of all we have missed these last few months.
  6. I don't know .... it maybe the logistics of more live dance were just too difficult to organise at this stage of the lockdown. As for the White Swan pdd I can imagine the dancers not feeling ready to perform that after 3 months out ! I'm more disappointed with the choice of output from the RB than the lack of it : Peter & the Wolf, Metamorphoisis, Winter's Tale, Anastasia, The Cellist, Fille ....... I enjoyed Men at the Barre although that was the BBC.
  7. To see the dark and empty opera house was sad and moving in a way that I wasn’t prepared for. I found the pdd for Hayward/Corrales very intense and affecting.
  8. Yes the cygnets, swans, shades etc don't embellish the narrative, they are simply devices for dancing but what dancing ! What incredible choreography - truly exceptional and memorable which I guess is why they have stood the test of time. I feel the Cellist is different in that although the characters seem to have been added to fill out the ballet many of them do belong in the narrative but crucially for me they are quite intrusive. So although the problem I have could be more to do with finding their choreography unremarkable, it is perhaps also that structurally these padding ch
  9. I watched The Cellist on youtube and I didn't find it any more appealing than when I saw it live in the initial run. It's too busy, too dark, the score doesn't work, many of the props feel unnecessary (the bar stool ) the choreography for the principal trio is so repetitive ..... sigh. It feels like a chamber piece that has lost any heart and soul in over expansion of time and space.
  10. I agree Alison, It was so interesting to see how differently NYCB perform this from the RB and the Russian companies. As soon as the curtain rose you knew you weren't watching a Russian company. I thought the style of dancing was somehow much more relaxed and flowing, as opposed to the grand and mannered Russian execution. I particularly liked Sara Mearns, her partner didn't make much of an impression on me. I thought the corps were not always in sync, the less extreme extensions everywhere are so much more attractive to see. Another big thank you to NYCB.
  11. This was one of the best performances of this ballet I've seen. Wonderful acting from all, particularly Vogel and Amatriain: measured, nuanced and never melodramatic. Superb partnering in those challenging pdd, with nothing fluffed the final pdd was OUTSTANDING. Thank you Stuttgart for another superb lockdown offering.
  12. Ugh Anastasia, another dire choice from the RB. Of all the major (and minor) ballet companies the lockdown offering from the RB has been the most uninspiring ......
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