jmhopton

I suppose that makes sense. Thanks Rob. I never thought of that. It just doesn't seem very clear.

Interesting to have the Hamlet comparison. I hadn't thought of it like that. There are similarities. What's actually going on with Rothbart? Why does he claim the Queen's crown at the end of Act 3? Incidentally, when the Queen makes her very regal entrance in Act 1 for some reason she always reminds me of Maggie Smith in Downton Abbey! Also, I've often wondered why the Prince is still a Prince if his father has recently died (as presumably he has given the amount of back and grey being worn by the court). Perhaps he has to come of age before formally taking over and this may happen after his birthday but surely he must technically be in charge. Also, why does he need an invite for his own engagement party? Swan Lake has never been a favourite ballet for me but I do like Liam Scarlett's production better than most others I've seen, but that may be as much to do with the quality of acting and dancing as much as the choreography.

I don't know if this is the correct place to mention this but during the Swan lake cinema broadcast interval Kevin O'Hare gave some details about the next cinema season. It seemed to be back to full strength with at least 10 Opera and ballet broadcasts. He mentioned Mayerling specifically. The first performance is being livestreamed starring Ryio Hirano (no mention of who is playing Mary Vestera). Also Like Water for Chocolate is being shown at cinemas in January which surprised me as I assumed it would be being streamed. I think all the full length ballets are being broadcast, including, of course, Cinderella.

In the new Friends magazine there is no mention of a mixed bill either in the annual programme or in the article about her. If the programme does just feature the extended Flight Pattern it's going to be a rather short evening as I think the music only lasts for about 50/55 minutes. The Dream and Two Pigeons both last at least 45 minutes but have been staged as part of a double or triple bill.

Unfortunately, not living in London I can't be there but I would be immensely grateful for anyone who can make it to ask Kevin If he has any plans for staging any short Ashton ballets in the Linbury next season And/or Is going to stage an Ashton mixed/triple bill in 2023/4 Many thanks.

Couldn't agree more. Did ask if it was possible to have a bit of a Vadim/Morera recording put on YouTube as I'm sure they record all casts for training purposes, not great quality but better than nothing, but didn’t get a response to that. I know it's a very long shot but I'm desperate for anything that will remind me of that incredible performance.

I did email Kevin to ask about a date for the Ashton stream and just got a reply from his exec saying a date hasn't been set for its release yet, so at least its been confirmed there definitely will be one.

Forgot to mention Gasparinis very affecting debut(?) as Vera. Enjoyed it enormously though I don't think the blonde wig did her any favours

Well Bruce, you've encapsulated my feelings far more eloquently than I ever could. Well said indeed!! The whole triple bill has been such a revelation in every way possible. If this bill was in celebration of the Queen it proves the RB is the Queen of ballet companies, surely totally unsurpassed. From the chic of Kaneko in Scenes, to the unsurpassed dance drama of Morera and Vadim in Country to the power and exuberance of Sambe and Mcrae, and the amazing Ashtonian fleet footwork of O'Sullivan and Hayward in Rhapsody, this triple had it all. Not to mention the hardworking corps, many doing a double performances in a single bill. An amazing marathon when you consider the sheer amount of dancing that encompasses, all while maintaining the distinctive Ashton style which they did wonderfully. I still haven't really recovered from yesterday's matinee, especially Vadim and Morera in Country. Criminal it wasn't filmed. They both totally inhabited their roles, they were those characters and they transported the audience to a claustrophobic Russian Country house and the seething emotions bubbling below the calm seemingly idyllic surface. Incidentally, much is made of Natalias 'loveless' marriage but I didn't see much emphasis of that in the ballet. On the contrary, her husband seemed fairly solicitous towards her feelings. The marriage seemed more incompatible than loveless. Perhaps she wanted more passion and excitement than he was able to give. Laura WAS Natalia, languidly waving her fan, chatting to her devoted lover, exasperated with her husband losing his keys (was this a regular occurance?) Initial attraction then passionate love for the attractive newcomer. Her body and facial expressions conveyed all these emotions without the slightest need for recourse to words. Perhaps her passionate performance encouraged Vadim to scale new heights of emotional acting for scale them he did. His leaving of Natalua was so emotional I still get teary thinking about it now. After these performances I hope we don't have any more nonsense about him not being ready for Onegin next time around. I know the reservations were supposed to have come from Vadim himself but after these performances surely he can't doubt his ability anymore. In fact I'm going to stick my neck out here. Looking ahead to all the upcoming Mayerlings this autumn, what his about Vadim and Morera in the leads? She was incredible with Bonelli and it was criminal their performances weren't filmed in the last run. Perhaps she could inspire Vadim to the greatest acting challenge of his career. I know many on the Forum have doubts about his acting abilities for possibly the greatest male balletic acting role there is. Indeed, great Vadim admirer as I am, I have shared these doubts; until now. There are a lot of Mayerlings to cast (18 performances?) so perhaps a great opportunity for experimentation. Just a personal thought. Must try and make the new season have some interest! Incidentally, I don't think I have ever come out of the ROH and heard so many people so enthusiastic about the programming. Not just the amazing dancing but the fact we've seen three so different yet so challenging ballets. We'll done Kevin! Please do it again in the 2023/4 season. If you can squeeze something Ashtonian into the Linbury next season I will be forever grateful as will so many other people. .

I'm still speechless and inclined to be emotional just thinking of the sublime beauty that was this afternoons Month in the Country. Was this the best ballet performance I've ever seen? Quite possibly, certainly for a short ballet. Vadim and Laura were just incredible. I felt as if I was transported to another world and didn't want to emerge. I just wanted it never to end. Will try and say more later but words are impossible to convey the beauty and emotion.

I thought I'd read somewhere at the beginning of this season that because of possible covid disruption all programmes would be filmed either for cinema broadcast or streaming. Last Saturday's matinee performance was definitely filmed because I was seated quite close to the cameras and I think another performance by the same cast is being filmed for back up. Similarly, Like Water for Chocolate has camera slots so I assume that will be filmed for streaming. My guess is, streaming dates will be announced when the films have been checked and edited. One of the things I said to Kevin in my email was how pleased I was with the ROH use of technology in response to covid, and how much I hoped the idea of filming all programmes would be continued into next season.

Can't wait!!!

I don't think I'd seen Scenes de Ballet before live and I admit to being slightly disappointed when it was programmed as I wasn't too enamoured of the recording but having seen it live I'm just in awe of the work that went into the choreography and the work the dancers have to do, and how they all rose to the challenge magnificently (though with Christopher Carr driving them on I don't think they dared do anything else!) Vadim as usual was a dream in this sort of pure classic role. His jumps and port de bras just to die for, his partnering assured and confident. Everyone played their part and the floor patterns were mesmerising and so complex. You wanted to watch everyone all the time. It was almost too much to absorb even after 2 viewings. I'll probably still be struggling to get to grips with it when the performances end and that's when the recording will come into its own. I hope they have some shots higher than stalls circle. I think you need to be at least in the Grand Tier level to absorb all the patterns, otherwise its like a jigsaw with pieces missing. You just don't get the full picture. Month in the Country is one of my favourite ballets. I can't decide whether this or the Dream is my favourite short Ashton ballet. I love them both. Both are visually attractive, have great choreography and wonderful male and female roles, are romantic yet humorous (love the scene where the husband is looking for his keys!), have a really strong structure and a clear storyline that can be followed without reference to notes. In Country, the tutor, Beliaev, has nearly as many pas de deux partners as does Rudolf in Mayerling and like Rudolf, they all reveal a different facet of his character but very little is made of this anywhere, unlike Rudolf. All the main players I saw in both performances were excellent. Am looking forward to seeing the film of Ball/Nuñez/O'Sullivan as I was right at the back of the stalls circle so had a great view of everything but too far away to pick up nuanced expressions and acting details. I was very close to the stage in the evening and saw everything in glorious close up. Vadim and Laura Morera were incredible. How I wished their performance could be filmed also. Seems criminal not to and incredible it was also Morea's debut in a role that is tailor made for her. Their relationship developed so beautifully, both seemed taken aback by the strength of their feelings for each other. It was so beautiful to watch I didn't want it to end. But end it did and then there was Rhapsody. Always a favourite ballet and I would have loved to see Baryshnikov perform it. However, I have loved previous performances in the previous run with James Hay and Steven Macrae. I was disappointed not to see James this time but Marcelino Sambe was a great substitute with great attack and technique though I felt he hadn't quite got Stevens insouciance, especially in the final gesture but that will come. Don't know if was his debut (irritating the ROH has stopped putting this useful information in their cast lists) but it was a very assured engaging performance ably assisted by Francesca Hayward who is rapidly becoming my favourite RB ballerina. Is there anything she can't do? The classics, Ashton, Macmillan, Macgregor and soon Wheeldon. A special mention must also go to the supporting dancers, several of whom appeared in Scènes and Rhapsody, some in both matinee and evening. Loved Joseph Sissons as always, and also Theo Dubreuil and Leticia Dias. What a treat to see three great ballets yet all so different. Also wonderful to hear three such memorable scores and to see three REALLY WELL LIT ballets. Future choreographers please note, it's a lot nicer not having to strain to see things and peer through mist and murk. A fabulous day and I can't wait for the next performance. Definitely the ballet highlight of my year (and probably next year as well).

Yes, the ticket has now been sold. Looking at Bluebird's picture I felt a slight pang at giving it up. Didn't realise the view was so good, though obviously high up. But we have problems with family illness so I can't go to everything and the Ashton triple is too good to miss so I don't regret it. Am sure everyone who goes will have a great evening and if I want a cheap ticket in the future I know where to book.

Yes I've already supported Kiev Ballet in the appeal that was here on the Forum and also sent a couple of separate donations to the DEC. I too have already thought that I'll be seeing Swan Lake a lot sooner than I'll be seeing this triple, or even an individual part of it. It was a lovely idea to do a mix and match Ashton triple, showing part of the current Ashton with different Ashton or something similar in another part of the season, possibly later on. Not to be, alas. Anyway I've put the swan lake ticket on the Tickets for sale if anyone is interested. Bluebird has kindly helped with a seat view photo as well.

Thanks Bluebird. That's very helpful.

Rear amphi S71. Last seat in the last row in the right hand side block. There are only 4 seats so you're not too far from the side aisle. I think there is a ledge next to you for coat/bag etc. Without the seat view I can't really tell how good it is regarding seeing the entire stage. I think I was there for Romeo and it was fine for that but that's a bit different from a classical production. The seat is £67 but I'm fine with £40. I've just decided to see an extra performance of the Ashton triple and something has to give! If you want you can probably lean forward slightly without disturbing anyone (not something I'd normally recommend but the people next to you will be looking away from you)

Thanks very much Sim. Now I have to decide, when I am perennially indecisive!

Yes you can return them to the box office for free but I was wondering if I could sell it on the Forum, possibly at a reduced price as I don't want to capitalise on it, but would that not he allowed? I could see why it would be tricky for the box office to resell but thought it would be OK on the Forum. However if i can't I'll just have to decide what to do with it.

No need to apologise Dave. I just think I'm so lucky if one of the trickiest decisions I've got to make is which ballet performance to attend.

Yes but it's a question of cost, with having to stay overnight in a hotel when I've already stayed last night and also a week on Monday, not to mention transport costs. I get my state pension and bus pass this summer so will be better placed to afford things next season, ironically when there isn't anything like as interesting to attend.

Hear hear Dave, well said. I too was at both performances yesterday. What a sublime day! What a fabulous triple bill and what amazing dancing and emotional acting. I will write in more detail when I get home but it was totally fabulous and very emotional, not least when I thought we're not going to get anything comparable for at least 18 months. I might even give up my ticket for the Ukraine swan lake and instead attend next Saturday's triple. I don't want to miss a single minute of it more than I have to. Roll on the streamed performance. Can't come quickly enough!

Hurrah! Just had a reply from Kevin to my email and he says Vadim 'will indeed be' dancing in Swan Lake on the 5th.

But Vadim's name vanished from the cast at least a couple of weeks ago so perhaps this is the uncertainty referred to. I've no intention of speculating why his name might have been withdrawn but I have contacted the box office twice to ask when the situation might be clarified (the last time was yesterday) and was just told the Prince would be announced as soon as possible and just to keep checking the website. It is annoying as I might not attend if Vadim isn't dancing and if I am going I need to think about booking transport and accommodation.

Yes I felt very envious of those living near Florida when I saw the announcement. The David Bintley ballet sounds intriguing and all that Ashton. Puts the RB season rather in the shade (for me anyway). If it was Europe rather than the US I would definitely go to several programmes. Kobborg's La Sylphide as well. Some Companies have all the luck!