jmhopton

Just see that Australian Ballet are doing their Ronald Hynd's Merry Widow at cinemas on Sept. 20th. It's one of my favourite ballets but I've never been able to see it live as no UK or visiting Company seems to do it (though I have 2 recordings of it; one of them Australian Ballet) so it will be great to see it on the big screen. Next best thing to a live performance. I don't know how many cinemas are showing it but it seems to be at most of the Odeon cinemas.

Well... I was just blown away with last night; still haven't really recovered. I was nearly in tears by the end and still very emotional when I phoned my husband after the performance (Have to stay overnight for evening performances). If that was Shklyarov's debut performance can't wait to see his next one (which I am lucky enough to have a ticket for). I thought Osipova gave a great performance too, very nuanced and passionate. Like earlier reviewers I too thought the 1st act transition between being passionately in love with De Grieux and fallsing for the sleazy 'charm' of Monsieur GM a bit too rushed to be credible but you really saw her struggle with her emotions. She had enough of her brother in her to be seduced by the material trappings of wealth but unlike him she had to sell her own body to achieve it and the struggle definitely showed. I was lucky enough to have a stalls circle seat fairly close to the stage and not too expensive (£36 I think) so could see virtually everything. I found this works well for Macmillan ballets as I think it is better to get up close for them as there is so much going on both in the corps and personal emotions of the principals it is better to have this and sacrifice not seeing the occasional move in the corner of the stage. When Osipova was saying her 'farewell' to De Grieux lodgings she sat on the bed for at least a couple of minutes, rather than just touching the curtains to highlight her struggle. Similarly earlier when she had pulled up her dress to entice him she quickly pulled it down again and physically shrank away from him as if she'd realised what she had done. In the last act she spat on the gaoler when she realised he was dead. There are many more details I'm looking forward to see at the next appearance. Great performance by Sambe after what seemed to me a bit of a shaky start; I thought the landings of some of his first jumps didn't seem quite right but was he making his debut too? Naghdi's performance too got going more for me in the second act when I thought she came into her own more. In the first act I kept seeing Laura Morera's performance as the mistress which I think is pretty definitive. Plaudits too for Gary Avis as Mr GM and Bennet Gartside's gaoler (though I think on balance I prefer Gary Avis' interpretation.) I thought the final pas de deux was terrific (though it might be by that time I was so emotionally wrung out I would have cried if they'd danced a minuet (!)) Shklyrov's final silent scream was so heartfelt I nearly screamed with him! An incredible performance and one I felt privileged to attend.

For me, seeing it at the cinema, the mixed bill was a mixed bag. I quite liked the Macgregor though the rather Buddhist like costumes were a slight distraction but the music and choreography were quite lyrical. Dancers like Francesca were underused; you'd hardly know she was there, but it was quite watchable though quite short. Felt I'd need to see it again to really appreciate it. Sets and costumes for Age of Anxiety were wonderful, especially the finale where Tristram Dyer was walking towards the New York skyline in sunrise. Dancing was splendid; Campbell, Gartside, Lamb and Dyer all brilliant. Good to see Tristram in a bigger role; haven't seen him in many solo roles. But I thought the Wheeldon totally dreadful; didn't like sets, costumes, music or choreography. Also it went on for far too long (though I realise that was more to do with the choice of music than Wheeldon's choice). I found the much discussed costumes really off-putting; white tights for both sexes and a sort of white bra for the ladies (though I quite liked the long skirts worn by some of the ladies) but it was the really ugly broad black straps they both had on their upper bodies I really hated; looked like very thick strips of black elastic which I found very distracting. However fashionable this designer is it didn't do anything for me. I thought I might appreciate the ballet more if they just danced it in the practice costumes we saw at the rehearsal. At least they wouldn't be a distraction. Also as they had their hair flattened it was difficult to tell who was who so I spent time trying to sort out who was dancing (trying to distract myself from the ugly costumes), then spent the rest of the time going thorough which Ashton ballets I'd rather be seeing (answer; any of them!) Debated about walking out but it seemed a bit wimpish for a ballet lover so reluctantly stuck it out. Hope if it is ever staged again it is last then I will walk out. However, the chances of me paying to see this ballet again are zero (unless it's staged with 2 Ashton ballets)

Fonteyns centenary is 2019 so there may be celebrations in the 2019 season.

I must admit much as I'm looking forward to seeing Bayadere again (especially with the hope of some exciting debuts!!!) I don't like the RB version and wish we could acquire another one. I have fond memories of going to see POB's version every day for a week at the Lowry about 12 years ago and this is possibly by favourite version though I like the Bolshoi and Mariinsky as well. I'm not a big fan of the reconstructed final act (though I know it makes more dramatic and plot sense to have it). However, for me you need to leave out too much to accommodate it though at the time the RB acquired it in the 80s I think there may have been issues of orchestra overtime for ballet with the powers that be trying to get programmes finished in 3 hours (not something opera seems to have to bother with). Perhaps it may be possible to review the ballet and put back some of the omissions such as the Indian dance and Nikyia's 'happy' dance at the betrothal when she thinks Solor has given her the flowers. Also, is the slave pas de deux missing? There is no elephant or parrots and the procession that starts the second act which I usually love has hardly anyone in it as there are no Indians and the bronze idol is in the last act. Don't get me wrong, I'm still really looking forward to it. It's been missing for far too long but I would like to see it amended somewhat.

Am I imagining things or did the RB used to announce Autumn casting with their yearly schedule up to a few years ago? Does anyone have any idea when Autumn casting will be announced? In time for Premier friends booking on May 29th? Anyway, it's fun to speculate. Perhaps it's had to be delayed these days because of the embarrassment of riches on offer. I agree with bridiem it must be nearly as difficult for KOH to choose dancers as it will be for us to choose performances. I think it's a good job there aren't any Russian Companies coming this summer as it will take ages to save up all I need to see the RB (and even then I'll probably need a substantial lottery win to see everything I'd like!) Incidentally I too am pleased to see the return of Frankenstein as I really enjoy it as a ballet and might even see it at the ROH as well as the cinema relay. For me it's major flaw is not making more of the actual creation scene. Surely it is the pivotal moment of the book and should be of the ballet? It's great to see the creative 'technology' and wonderful set but there should at least be a pas de deux between Frankenstein and the Creature when the latter is expressing his wonder to be 'alive' and then gradually looking for love from his 'creator' and Frankenstein himself expressing his growing horror as to what he has done and rejecting the Creature, resulting in the Creature then exiting hurriedly in great distress. This would not only explain the creature's subsequent actions but make the ballet more dramatically credible.

Yes bridem, you beautifully sum up my reservations about the ballet. I hadn't really got round to articulating them but they are just this; the lack of clarity about relationships. And the ending is more downbeat than joyful which it should be given the amazing revelations in the last act. I think it is ok as a ballet but is never going to be a favourite. I still think there is too much angst in the first act, too much divertissement type dancing in the second and the third act is too rushed. Take 5 minutes off each of the first 2 acts and put them on the third and make relationships clearer and I think the ballet would be a lot better and easier to understand. (IMO) Having said that there have been some wonderful debuts/performances in this run which help to make up for any possible shortcomings in the ballet itself.

Well now I've had time to look at the full press release as well as the performance dates I can give a more considered opinion of the new schedule. First a request to Mr O'Hare: please, please, please could we have Muntagirov in the cinema Bayadere!!?? I know there are rumours that he may be dancing it but I have wanted to see him as Solor since he first came to RB and to see him at the cinema (and possibly a following dvd; one can only hope!) would be really brilliant. it would also be wonderful if Osipova was cast with him as I have long wanted to see them together but it's never happened. Also could we please have more variety in casting the cinema broadcasts, giving some of the more recent principals/soloists a chance. For example I would love to see Hayward/Sambe in Don Q and Nagdi/Ball in Romeo and Juliet. Just examples, I'm sure others would have other ideas, but it is frustrating for those of us who depend on the cinema broadcasts to see the same casts again and again. As I've said a million times, those who don't know the dancers won't care who's dancing and those who do would like to see different dancers. It's great we have some Ashton and really pleased to see Patineurs (keep seeing Sambe as the Blue Skater!) and Pigeons (one of my favourite ballets, have nearly worn out the dvd!); would love to see Hayward and Nagdi in the lead. Just slightly disappointed there isn't an Ashton evening as such; pity Patineurs or Month in the Country isn't with Pigeons. Also disappointed there isn't more different Ashton. Given his huge output it would be great to see something that hasn't been staged for a while. However, intrigued to see the RBS doing Pigeons. That is a lovely idea and a great ballet to allow many to be on stage as a friend or a gypsy as well as 4 leading roles. Re the lack of Swan Lake I've been wondering that as the RB seems to like to film new productions as much as possible to give them greater exposure perhaps this is another reason for it being postponed until later; so it can be filmed again. Just been struck by how often Don Q, Winters Tale and Frankenstein have been filmed for broadcast; it seems more than other ballets. I was particularly annoyed this season when Winters tale was filmed again and not Sylvia which hasn't been filmed for ages. Anyway, really pleased generally with the new season. For the first time in 3 years I'm not disappointed with the rep. The only problem will be how to afford all the performances and debuts I'm sure I'll want to see! The lack of Onegin is a disappointment but we must leave something for the 2019 season so fingers crossed see that then and also possibly Fille and Sylvia (Hopefully Sylvia will be filmed next time, preferably with Vadim) Also as 2019 is Fonteyn's centenary there should be a celebration of this as nothing has been mentioned for later this season.

Alison, Romeo and Juliet appears to be at the end of the season as it's being filmed for cinema release 11th June 2019. Yes I too am a bit surprised as to no Swan lake repeats now I've had time to think about it but with so many other treasures on offer I don't really care!

Fabulous news!!!!! Several items from my wish list including Bayadere (which ticks all the anniversary boxes of Petipa, Nureyev and Fonteyn), 2 Pigeons, Patineurs, Month in the Country and Winter dreams. Like Anna C above my only disappointment was no Onegin but I suppose we have to leave something for another season! Some great programmes filmed for cinema as well. Where are the details; dates etc? Do they follow later?

For me any version with Osipova/Ivan Vasiliev if one is available. I find their early performances in this ballet definitive (though of course not everyone agrees!). I don't know if an official dvd was ever made of the Bolshoi cinema broadcast they made about 2011 but if not there are loads of clips on YouTube for you to see what you think of their performances and there may be a full length version there. I think there was a dvd made a while ago with Nina Anashiavilli, another brilliant Kitri, and it may be possible to get this second hand if it's not still available new.

Thanks again for the wonderful pictures Don Q fan. They do capture a very special performance really well. I wasn't there that day but I was there when Matthew Ball stepped in for David Hallberg and I thought he was as wonderful then as when he did the full length performance with Yasmine. Incidentally, I thought the RB had a principal on site to take over if anything went wrong. I know it's not possible to cover all roles but I remember what a wait there was when Osipova fell in Don Q and Takada had to come from home and take over having danced the role at the matinee. Surely they must have principals on site if a performance is being filmed or would they just use the footage from the film of the earlier performance as 2 shows are normally filmed? Anyway, though being disappointed about Hallberg I was really pleased to see Matthew again and fingers crossed for seeing Hallberg in Manon. Also looking forward to seeing Osipova/Ball in Swan Lake. What an embarrassment of riches we have to look forward to at the RB these days!

Haven't watched all of it yet, only the first rehearsal of the '3 gents'. I found it fascinating that so much hard work goes into just a very few minutes of the actual performance. I've seen many rehearsals before so I shouldn't be surprised but I think it's because it's a relatively small soloist role, not a principal pas de deux. It's wonderful that so much effort goes into making even a seemingly insignificant dance such as this be given as much time and effort as a principal's dance and I think that is the Royal ballet's secret in producing great ballets and great dancers. Full length ballets aren't just about technique and showing off, they are all about inhabiting a role and being in character. Christopher Saunders was giving fascinating insights about this, about how different characters respond differently to different people and that, Lescault, for example would behave differently towards Mr GM, Manon and his mistress. Also the fact that the 3 gents would be a bit drunk so even though the moves are carefully choreographed they mustn't look too classical. It is this attention to detail and the fact the RB is blessed with such great (and now officially recognised) character artists that make them (IMO) the greatest company in the world. I have seen other companies do Manon and after about 15 minutes I am longing for Christopher Saunders, Elizabeth McGorian, Bennett Gartside and, of course, the wonderful Gary Avis who so enhances every role he plays, however small. The word small is key. The street scenes in a RB Manon are teeming with life and a multitude of different characters who are all very different. it's not all about the principals, important though they are. A whole world of individuals has to be created and this is what brings the ballet to life so gloriously every time it is performed. Can't wait!!

Yes, that's something I've been thinking about too. Given the number of hugely talented First Soloists the RB has at the moment will they have to wait for someone to leave or retire before they can be promoted?

Thanks Alison. I haven't really mastered the quotes facility yet and usually avoid it because it often seems to go wrong! However, I managed your quote so perhaps I'm getting the knack! I meant to thank Don Q fan for her lovely photos earlier in the postings. They are a great memento of a wonderful performance. it was wonderful meeting up with her and Bruce and Bluebird, and seeing Jillikins for the first time. Great to put a face to the posting. My only disappointment was that we could only see the one public performance by Frankie and Yasmine and may have to wait possibly a couple of years to see another. However, I'm sure there will be plenty of great performances by both in the years to come so I shouldn't get too greedy.

Actually I feel just the opposite. I know what LinM means about wanting time to digest individual performances and I can sympathize with this but from a financial point of view it was great for me to see 2 performances for my overnight stay and 200 mile train journey. I suppose it doesn't have to be debuts. I seem to remember a Vadim Sleeping Beauty one night and Frankie's debut the next day was also very helpful. Anytime where I can see 2 performances for my trip is a red letter occasion for me! Already planning (hopefully) for Yasmine's Swan Lake matinee on May 28th with Osipova's performance in the evening though it would have been more helpful if this wasn't a Bank Holiday Monday!

What else can I add to the other wonderful reviews for last weekends brilliant performances, except 'WOW! (and even that's already been said.) It's so wonderful to think that we have such amazing dancers just starting performing principal roles and think of all the years we have seeing them develop and perfect their art even more. We are so lucky in this country to have such fantastic dancers and an equally fantastic Company (the corps de ballet are so vital for ballets such as Giselle and soon for Swan lake and - hopefully next season, please?- for Bayadere). Francesca and Alex were really stunning together. Especially in the second act her jumps were so high and light it did bring back memories of Alina and they went together so well, as if they had been princpals together for years and not just over a year. But though they seemed so experienced they brought a freshness to the role and make you feel you were experiencing the ballet almost for the first time. Yasmine and Matthew were also amazing. She may have been a little nervous to start with as, unlike Francesca, she hadn't done the full rehearsal to an audience or the Schools matinee (a pity perhaps she couldn't have done one then they would both have performed before their official debuts). However, you would never have known that and her innate musicality and luxurious ports de bras made her performance really special. Her mad scene too I found really touching in a way that I've found few others and I was virtually in tears when the interval came. But it was Matthew's performance that really surprised me (in the nicest possible way). I was very close to the stage and just the way he made his first entrance really got my attention; his very bearing seemed to epitomise the Romantic Hero he was meant to be and (for me at least) he just got better. He gave everything he had to his solos and pas de deux in the second act and also in the acting. I always thought Yasmine was rather ahead of him both in technique and acting and hoped she wouldn't be 'held back' by a not too experienced partner. Though she still may have a slight edge Matthew seems to be catching up and I am disappointed not to see them together in Swan Lake though (as someone has already pointed out) hopefully Osipova will develop his acting and technique even more and stand him in good stead for more future partnering with Yasmine. After the performance they both came to the stage door (Yasmine still in full make up!) and chatted and posed for photographs for quite a while which was lovely as they must have been exhausted. I can only hope that next season will enable some of their brilliant performances to be shown at the cinema for all the world to appreciate the great and unique talent currently in performance at the Royal Ballet. As Jeffrey Taylor from the Express said 'There is something going on at the Royal Ballet; and it's very good'.

I too will be at the Saturday matinee so will try and get to the bottom of the escalator in the interval. May even try and remember to wear my blue badge which I found languishing at the bottom of my travel bag, unworn!

Living at a distance from the ROH and having had family illness problems I find e-tickets a huge boon as if they have to be returned (or I subsequently see better seats and want an upgrade) all I have to do is email the box office. None of that cumbersome having to post tickets back and hope they've arrived. Also if I want to re-sell to a friend or on the Forum it's so much easier. My only problem is when I book tickets on first day of public booking I always seem to forget to select the e-ticket option in my hurry and then have to email them asking for them as e-tickets as the default is always printed tickets! However, they've always got back to me very promptly and sent them as e-tickets. I do have a smart phone but am not very good with it and would never want to rely solely on it as I'm always afraid it won't work or the battery will die on me or something. Our printer hasn't been working lately so I just go along to my local library and print out e-ticket, hotel accommodation voucher, train ticket etc there. There's never a problem and it is a way of supporting your local library.

Thanks to Bluebird I did manage to get a ticket in Friday Rush.

While an interesting range of programmes (especially the Kenneth Macmillan doc) it once again seems to highlight the BBCs current obsession with screening ballet docs rather than ballets themselves. After showing an in-depth doc about the Nutcracker without showing the Nutcracker itself they now seem to be showing a doc. about Kenneth Macmillan without either one of his full length ballets or one of last years special Macmillan ballet programmes (which would have been potentially more interesting given the range of companies and dancers involved). Of course they might still be doing this and just not mentioned it as it wouldn't have been commissioned specially by their Arts Dept. but I have my doubts. They seem to think the 2 or 3 minute clips shown in these sort of docs (which often have commentators talking over them) are an adequate substitute for the real thing. It is as if they think modern audiences can't sit through a full length ballet and can only cope with short extracts which to me seems patronising in the extreme. I know they showed Matthew Bourne's Cinderella (which I fell asleep during!) and the other year they showed his Sleeping Beauty but it is as if they think the ballets produced by their 'partner' the ROH somehow aren't suitable; very strange.

If anyone has a ticket for this performance I will be very grateful. I have one myself but my husband would like to accompany me and as he hasn't been to a ballet for ages it would be great if he could get a ticket. He prefers amphi as that's the area he knows but would consider any ticket £50 or under with a reasonable view (preferably not slips) as long as it's not too close to the orchestra. I know about Friday Rush and will try it if I am unsuccessful here. Many thanks

Well done Floss for clearly articulating what I've ben thinking for a while. Every time Kevin is recorded as praising Ashton for being a wonderful founder choreographer it's as if he feels the need to justify his inclusion in the RB rep. and even more so if Ashton is being filmed. if he really believes this why is Winter's tale being filmed and not Sylvia? I do so agree with your list of Ashton ballets that need performing or we may be in danger of losing them. Similarly the Ballet Russes and de Valois rep. They seem to be ignored these days in favour of more modern, cutting edge ballets I usually have no interest in seeing. But if they carry on being neglected, like obscure Ashton ballets, we may find one day there is no one left to stage them who remembers them. Similarly with other Companies like ENB. I have an old recording of Fonteyn introducing a performance of Graduation Ball and Sanguin Fan. Both great ballets but I can't remember the last time I saw either actually performed perhaps because both could be deemed 'old fashioned', and who wants to stage old fashioned ballets these days? It doesn't matter if they are great ballets and many people would like to see them. it would be interesting if they were performed as a double bill next to a Macgregor double bill and see which prove the most popular. I suppose the answer would be they may both attract completely different audiences which is great, but those of us who like more traditional double bills shouldn't be made to feel as if we're being marginalised which I tend to do whenever the new RB or ENB season mixed bills are announced. ENB in particular used to do great mixed bills with their small touring Co. Tour De Force; a good mix of modern and traditional works. However, these days they seem to be following the RB example of heavily weighting their mixed bills in favour of more modern works. A shame when so many traditional one act ballets may be being forgotten through neglect.

I agree Geoff. I know there has been complaints sometimes about the Hochhauser prices but we would have ben deprived of so many great Russian performances without them. They organise things so well we perhaps take them for granted and it's only when someone like Derek Block comes along in the 1990s and tries it and nearly bankrupts himself because he's used to dealing with pop stars not ballet companies that you realise how good they are and how lucky we are in this country to have them. I just hope they can find someone to continue their fine tradition as the time they can do it personally must be fast running out. Incidentally I assume you meant he was in the Bolshoi audience in Russia and not a cinema audience. if so that is pretty amazing for a 94/95 year old and you wonder if he is there to discuss a future visit (she says hopefully!!!)

I always used to watch out for Violetta at the ROH stage door afterwards. She was a lovely lady, very quiet and unassuming and she loved seeing the dancers. I never knew her other name; same with Yvonne who died about 3 years ago and who I've been seeing at stage doors since the 1990s. Indeed Yvonne was keen up to the end of her life and some tickets I'd bought for her just before her death were given to Violetta who apparently often stood for performances despite her age! I know Violetta hasn't been well for possibly a few years and I haven't seen her at the stage door for a while. I didn't realise she had died or that she has been a supporter of the ROH for so long. She will be sadly missed and it was a lovely tribute from Kevin O'Hare and the other dancers.