annamk

Terrible. I only discovered this great little company a few years ago, the performances I saw lit up every dance going year. It was a terrific company with a brilliant rep made on a small budget. Just a tragedy that pieces like An Italian in Madrid, Carnaval, Mazur and Gypsy Mixture will presumably not be danced again - it makes me feel particularly bitter when I look at some of the high budget rubbish the RoH has produced (and revived) in recent years.

Both tx now sold.

Maybe it’s about suitability, not just height ? Personally I really can’t see Campbell as Rudolf ...... likewise Muntagirov.

Hi yes Amelia I have sent you a PM

Bumping this up D49 still available for Monday eve.

D48 is yours Ryo. I replied to your message. D49 still available.

£9 each. E tickets. Message me if interested.

Thank you have sent you a pm.

Can I have it please ! Will pm you

I went to see this today. It felt like a missed opportunity in that it neither attempts to get under the skin of the man and explore the complexities of his personality, nor does it convey much sense of his astonishing charisma. It really only tells the outline of his story which anyone interested in ballet will know already and most of the footage it uses of Nureyev himself can be found on YT. It includes plenty of non ballet footage of the period it covers which maybe places him in the context of his time but for myself I didn't feel this added anything. Maliphant has choreographed a number of scenes for contemporary dancers representing either Nureyev family members or friends which sit really oddly. Another irritation is that the background music is often so intrusive it's difficult to hear what the interviewees are saying. The second half is better than the first but it's hard to recommend as a film for knowledgable ballet lovers, maybe that isn't their intended audience.

I am returning to the box office later today.

In the Clore studio etickets D36 & 37 £17 each message me if interested. Anna

Me also. I went along not expecting anything special, although I love them both I just couldn't imagine they were suited to those roles. How wrong I was, they completely blew me away, not only the best performances of that run but IMO by far and away the best interpretations I've seen for years. Utterly baffling that the ROH has given McRae the live relay.

I went to the matinee yesterday because I wanted to see the guest principals: Stepanova and Kim and I enjoyed the afternoon. The theatre was pretty full considering it's not a well known company and there weren't many ticket offers. The production was fine (could do without the jester and tutor, happy not to have all the weird saluting in the new RB production, but not keen on the ending which was the one where Rothbart has his wing torn off and they live happily ever after); the sets aren't bad given that it's a touring company. There were audible gasps from the audience when the curtain rose on the black act although it didn't rival the new RB version for opulence and undoubtedly not for cost either. The ENB orchestra was great, I don't have the name of the conductor. The company dancers were mediocre to say the least. Stepanova and Kim only had to walk on stage for the difference in quality to be apparent, and when they danced it was as though they came from a different ballet planet. Having said that Kim didn't overstretch himself in the black act pyrotechnics (who can blame him though) but he showed off his enormous jump, no wonder I've heard him referred to as "the flying Kim" I enjoyed Stepanova's performance, both black and white, her Odette was soulful and her Odile vampish, all her dancing was absolutely secure and on the music. As a couple they weren't ideally matched, she needs someone taller and Kim showed a few weaknesses in the partnering department, a couple of times it seemed he pulled her off centre in her supported pirouettes (not sure that's the right term), but they don't dance together and probably didn't have much rehearsal time. The audience gave them a very enthusiastic reception at the end - quite a lot of people appeared to be standing.

Yes silly me I don't why I thought it was Wheeldon duh ! I like Don Q but Acosta's version and the RB style don't work for me. I agree re other McGregor.

Anything choreographed by Alastair Marriott Acosta's Don Q, Carmen MacMillan's The Judas Tree, Anastasia Scarlett's Frankenstein, Hansel & Gretel, Sweet Violets, Age of Anxiety Pita's The Wind Dawson's Human Seasons McGregor's Multiverse Wheeldon's Strapless, Raven Girl

I went to the first night and I thought this mixed bill was a terrific showcase for a bunch of incredible contemporary dancers, I'd go so far as to say it was the best contemporary dancing I've seen in London for quite some time. The pieces were varied and mostly enjoyable. My personal stand outs were the two not by the company house choreographers. Woke up Blind by Marco Goecke was a mere 15 minutes choreographed to two Jeff Buckley songs (never heard of him myself). The movement was thrilling and executed with absolute precision by the 7 dancers. The Statement by Crystal Pite was quite unlike anything I've seen before, a kind of choreographed conversation, but at a mere 19 minutes was worth the admission price alone. Shoot the Moon and Stop-Motion both by Leon/Lightfoot were visually interesting, well danced, I liked the music but although they were worth seeing there was nothing notable about them.

Thoughts on three performances. Gorgeous production: scenery made wonderfully atmospheric by fabulous lighting and terrific costumes. The women in the corps impressed me enormously; they were stylistically harmonious and generally exceptionally well co-ordinated making for a very pleasing vision scene and Act 3. Whoever was coaching them gets a huge thumbs up from me. I saw Takahashi/Arrieta twice and Alexandrova/Caley. The ladies could hardly be more different in look and style but I enjoyed both enormously. For sure Alexandrova doesn’t look like an Aurora but her dancing simply sparkled and her attention to her suitors, parents and Prince was all entirely appropriate, no grand standing Bolshoi showmanship here. I was even more impressed how she and Caley made the most of a less than ideal cast change. Caley looks like a schoolboy anyway and pitted against Alexandrova’s womanliness only exaggerated the contrast. He was also unfortunately at least 1/2 a head too short for her. But professionals that they were it didn’t phase them in the least and there was great warmth between them. The partnering was generally smooth including the fish dives, although they wisely omitted the high lift at the very end. It was my first time seeing Caley and he’s a neat if small scale dancer. By contrast Arrieta is tall with long limbs and a lovely line with good elevation. He danced all his solos neatly, and partnered Takahashi attentively, definitely one to watch, I hope he’s cast as Des Grieux next year. Takahashi may be coming to the end of her career but she can still pass for a 16 year old Aurora. She was enchanting and I only have one gripe - I just wish she wouldn’t overextend her Rose Adagio balances As far as Lilac fairies and variations were concerned it was sadly much the same story as the RB last time they danced it. I liked Alison McWhiney’s manner and warmth but unfortunately neither she nor Begonna Cao could conquer the variation - the Italian fouettés defeated them both. Among the soloists I saw it was a mixed bag, my standouts were Katja Kaniukova, Francesca Velicu and Ken Saruhashi who nearly nailed an excellent Bluebird. The orchestra were fabulous, and thanks to the Coli discounts I was able to enjoy the sound from great seats in the Dress Circle.

How funny, I also read it that DM had dashed out to see Naghdi !

I saw Nunez/Muntagirov on Wednesday evening. Although I always admire Nunez's technique and strength I am rarely moved by her, but on Wednesday I found she inhabited that rare space which contains effortless, magnificent technique and exquisite softness and tenderness. Absolutely awesome, and with the peerless Siegfried of Muntagirov it seems in this Swan Lake the most harmonious pairing. Aspects of the production jar though: what is all the saluting in Act 1 about ? Why does Siegfried salute Rothbart ? Why does Benno have so much more dancing than Siegfried ? I don't find the story telling clearer than the old production and the ending still doesn't work for me. As for the choreography I am enjoying the national dances but whilst act 4 has good moments overall I don't find it an improvement.

I also went to the matinee yesterday. I haven't seen this production before and I thought the costumes and sets were ravishing; particularly the hunting scene which looked like some old masters painting. I chose this performance because I was struck by the young spanish soloist Aitor Arrieta as James in Sylphide. I thought he made an impressive debut yesterday. He is tall and graceful with a nice line, and an engaging stage presence. His partnering was considerate, he takes great care to present his ballerina, and his solos were nicely executed. Like Richard I thought that Erina Takahashi was a delightful Aurora and Francesca Velicu also caught my eye. In fact I thought the corps dancing in the vision scene was excellent, as were Aurora's friends (?) in Act 3.

Returned to the BO

It's an e ticket. £11. I will be there. Anna

Favourites from last night : Symphony in C -fabulous, danced with great panache by the company (huge bravos to them for preparing this in the middle of the massive Swan Lake run). Naghdi was outstanding, as Bruce said above she simply dazzled. I loved her being paired with James Hay, what a technically outstanding partnership. A shout out for Fumi too. Sidi Larbi Nutcracker - to hear that familiar thrilling music but see a completely different style of choreography seemed at first surreal but it really worked and was certainly a crowd pleaser receiving some of the loudest applause of the evening. Spuck's gala piece Le Grand Pas de Deux - hot on Larbi's heels for applause was well performed by Alexander Jones and Elisa Badness (replacing Lauren Cuthbertson).

Is he the only major critic who was a dancer ?