jmhopton

Interesting to hear peoples thoughts about the Osipova/Muntagirov partnership as, like many others I've been hoping to see them together but it's never happened before. I know this is not a true test as the partnership was very last minute but how did those members who saw them together think they gelled as a partnership? Was it a partnership you would go and see again? Would it be worth repeating as a scheduled partnership? I'm going to the Saturday matinee and keep wondering if I'll see it again when they've had more chance to rehearse together( though I love Bonelli as a dancer also and would be more than happy to see him. Certainly don't want to wish anyone to remain injured longer than they have to.)

Also there is a strike by Virgin trains West coast line this Friday. I am coming to the Sylvia matinee this Saturday from Lancashire. I hoped to get there and back in a day but because the matinee starts at 11.30 am (!) I am worried about trains being out of position Saturday morning so I've just booked overnight accommodation for Friday. Apparently Virgin still hope to run 2 trains an hour Preston to London and if I haven't a performance that night hopefully I'll get down sometime but it just seemed too risky leaving it until Saturday.

Oh dear.... perhaps SkyArts will show something though I'm not holding my breath. What about Northern Ballet's Casanova? has that not been filmed?

Just had a thought; do you know casting for the filmed performance, Toursenlair? Any idea of dvd release date?

This is brilliant news. I always enjoyed the Canadian version on video but a new version would be wonderful. However, when I think of all the wonderful RB casts that might have been filmed and which are now lost forever it makes me very cross that filming rights have never been given. Cranko mustn't have minded it being filmed as he permitted the first cast to be filmed and also (presumably) the Canadian Company. I'm sure Onegin would have been included at least once if not more than once in the cinema screenings if permission had been given and some of these amazing performances might have been captured; Alina/Johan, Mariella/Thiago and my favourite Tamara/Adam Cooper with Alina and Ivan Putrov. Also didn't Yasmine play Olga in the last run? Can't wait for the next RB run of this great ballet with all the new Principals and First Soloists (it was on my wish list for this season). Who knows, perhaps now permission might be granted to film one of them. That would be amazing.

Can only confirm what JohnS said in the previous post. I had never seen Alice live before, only the cinema broadcasts which I don't think did it justice. it made far more impact seeing a live performance and Francesca in particular was splendid. I'd forgotten what a physically tiring role it must be as Alice is hardly ever off stage and is heavily involved with the dancing much of the time; how do the Alice's remember everything as well as how do they keep going? Tierney Heap was splendid also, and there wasn't any noticeable disturbance from the many children in the audience so I hope they enjoyed what was probably a first balletic experience for many. There was certainly plenty of clapping and cheering at the end though I thought some of the performance response was rather muted. Koen Kessels goes from strength to strength with his ballet conducting; I wish he could conduct everything but I know he has international commitments as well. we're lucky to have him as indeed we are lucky to have many of the up and coming young dancers at the RB though the list of injuries just at the start of the season is worrying. Does anyone know what is wrong with Marcellino? Tristram Dyer was a very engaging Jack but I was looking forward to seeing Marcellino and wish him a speedy recovery from whatever injury he has. All in all a very successful visit, especially as I was in the right side SC near the stage so could see most of the action close up. Though be warned if anyone has booked seats in this area you are right next to the brass section and it is very noisy!

One or 2 Rumer Godden titles of which I have Thursdays Children about a boy trying to make his way in ballet. Also Veronica Tennant, ex principal ballerina with Canadian Ballet. I have On Stage, Please. Don't know if she wrote any others. Felicity Dances by Arnold Haskell the ballet critic. A Time to Dance by Robina Beckles Willson. Helen Snow The Ballerina Mystery. Finally, the Mara Kay book; A Circling Star set in an historical ballet school in St Petersburg where the discipline is very strict. She also wrote Masha, and The Youngest Lady in waiting though they're set in the Smolni Institute in Russia and aren't directly connected to ballet. I think the Helen Snow and Mara Kay titles would be better for slightly older children. They are all old titles; 1950s to 70s so probably not in print. Good hunting!

I've never taken small children to the ballet but having seen many people who have I am constantly struck by how little research some adults put into ensuring the experience is positive both for the child and the people around them (though I'm sure this won't apply to you). Selecting a suitable seat where the child has a good view and isn't constantly having to move from side to side (don't forget the photographic view from the seat on the ROH website can be misleading especially for a small child as it is from an empty theatre); bringing a comfortable cushion 'just in case' and not having to rely on plastic blow up ones or lumpy coats. Selecting a seat on or very close to an aisle then if you do need to make an unscheduled exit during the performance you're not disturbing anyone else are just a few tips that can make all the difference and hopefully ensure a magical first ballet or any sort of theatrical experience. I think even Alice could put a bit of a strain on a 5 year old as the first act is very long though obviously it depends on the child and how keen they are on ballet. The 'First ballet' option sounds an excellent idea and if enjoyed what's wrong with the Nutcracker? Don't knock it just because it's an obvious choice and the whole ROH experience could be amazing for a young child.

Whenever that is!!!! One of my major gripes about next season's offerings is no Ashton mixed/double bill and no cinema relay of Sylvia. WHY?????????? As I've said before I don't understand why we needed another relay of Winter's tale when it was shown comparatively recently, and certainly years later than the last Sylvia recording which was so long ago I don't know if the cinema relays had started and it was filmed for dvd/tv. A very poor decision by someone as I'm sure there would have been a far bigger market for a Sylvia dvd (especially if it featured Vadim and Marianella) than Winters tale. Indeed as the Winters tale cast is very similar to the previous cinema relay (again why!!) there is probably no intention to issue another dvd.

Of course it is. Sorry, my mistake!

Well I got in no problem this morning and got the 2 Sylvia tickets and the 2 Alice tickets I wanted. However, I thought there seemed to have been a price increase in the side stall circle tickets. Earlier this year I booked SC A14 for Mayerling for £49 and it was a really excellent seat. This time I managed to get A17 for Sylvia and it was now £64! Similarly for the 2 Alice tickets the matinee was only £1 cheaper than the evening one, surely it used to be more?

Yes, I was at last night too and though I enjoyed the performances of individuals neither the production as a whole or the overall performance really excited me and made me feel I'd seen something really special like I did at the first Vasipova performance at the Coliseum (Is it 10 or 11 years ago now?) For me the 2 of them (especially Osipova) totally encapsulated the virtuosity, attack and charisma that for me constitutes a perfect Don Q. This lack of excitement was reflected by the lack of people at the stage door afterwards. I've never seen so few and for an opening night too. By the time Kim and Tereshkina came out (and they weren't that late) there was only about half a dozen of us. A far cry from the milling hordes for Osipova and Vasiliev) Though I enjoyed Tereshkina and especially Kim, also the matador and Mercedes I thought the production as a whole looked rather tired and dated and some of the men's costumes were bordering on the ridiculous (those awful knickerbockers and berets). Also bits were missed out such as the introduction of Kitri by the flower girls, the 'business' by Basil 'stealing' Lorenzo's money bag (made all the odder by Lorenzo having previously flourished the bag ostentatiously) and the puppet show which was a relief as I've always found it very boring. if only they would also leave out Gamanche's blind mans buff which is the last word in tedium. having said that I've never seen him tossed so high and without even a blanket to catch him in. There was a huge gasp round the auditorium I've never heard before and I'm surprised the health and safety people in this country allowed it. it would have been terrible if they'd dropped him. However, to compensate for the omissions as others have said there was an exquisite solo for Kitri in the vision scene and a bizarre dance in the final act that rather resembled the Nutcracker's Arabian dance and looked as if it belonged in Bayadere rather than Don Q (I could see it being performed by a temple dancer) The prologue was performed just in front of a plain backdrop and looked even more irrelevant than usual. Also the gypsy scene seemed out of place somehow as if it could have done with something else. Without the mime scene it seemed rather redundant. Perhaps they could have 'borrowed' the pas de deux that Nureyev choreographed for Basil and Kitri using the Bayadere music? Also the Dons attack on the windmills was very badly mishandled.Kim seemed to rush the 'death scene and jumped up before Lorenzo had agreed to the marriage! However, the final pas de deux was really spectacular. Kim really came into his own and his solos were virtually on a pas with Vasiliev's. Tereshkina too produced the most amazing fouettes; she was so fast she was just a blur! I don't think even Osipova or Ananiashvilli could have done them better and to me they have always been the 'fouette queens'. So a spectacular end to the evening but I still think it was a mistake to bring it straight after the Bolshoi's wonderful version. They would have been better with their Le Corsaire which I think is the best ever and is very different to the other current productions on offer and (as I keep saying) hasn't been seen over here for nearly 20 years. I also had to tell the person in front of me to switch off her mobile. She kept bringing it out for a minute or 2 at a time (despite being told by the usher). the ushers near me in the amphi were quite good in that they came into the auditorium when the overture was going on and were actively looking for those with phones still on and told them to switch them off including the person sitting in front of me. Then another usher appeared during the vision scene when she had it on again. he looked towards her and I pointed and he nodded but by then she'd switched it off. I thought he would return when the curtain came down but he didn't so I thought well it's down to me. She seemed genuinely surprised when I mentioned it and pointed to the fact it was muted. I said it wasn't the sound but the screen glare that was annoying. She didn't say anything but didn't switch it on again later. I think some phone users think if the phone is muted it's ok to browse or text and don't realise (or care) how distracting it is for those around them. just another example of the total lack of awareness for others some people have today.

Am disappointed that the filmed cinema cast is very similar to the first filmed cast in Winter's Tale. This also seems to have been done in Alice and possibly Nutcracker. Why film the same casts when there are other newer casts that the cinema audience can enjoy? it's not as if these ballets are likely to be ones ones that non- regular ballet goers will go for the casts, and regular cinema/ballet goers would love to see (for example) Francesca as Sugar Plum fairy or in Winter's Tale or Vadim in Alice or Winter's Tale. However, like everyone am really looking forward to the Giselle debuts (and I too am really pleased about the Friday evening/ Saturday matinee combination). Just a pity as Giselle has been filmed so recently there will be no cinema capture of either of these what I'm sure will be, wonderful debuts. Also interesting to see Hallberg as I too have never seen him dance live, only the recordings of Sleeping Beauty and Marco Spada.

I must echo Melody in this sentiment. One of my biggest disappointments of next season was no Ashton mixed bill. I felt sure that after the public and critical acclaim for the last 2 Ashton mixed bills it would become a regular (hopefully an annual) event. As Melody says, it's not as it there is a shortage of material and it does keep the dancers grounded in the Ashton style, so important to the Royal Ballet style. Done regularly, it would also give an opportunity to be more adventurous and perform short ballets not seen so often while there are people still around who can coach them.

http://www.roh.org.uk/news/yasmine-nagdhi-promoted-to-principal-dancer Fabulous news; virtually everyone's wish list in one (apart from promotion for James Hay) Congratulations to Yasmine, the Royal's newest principal dancer; really well deserved; couldn't happen to a nicer person or better dancer. Marcellino and Matthew too; hopefully their next step on the way to principal. Re previous discussion on the role of principal character artist apparently it does exist as several have been promoted to it including Bennett Gartside, Thomas Whitehead, Christina Arestis and Kirsten McNally. Matthew Golding is leaving the Company so leavers are mentioned as well. Many congratulations to all these and everyone promoted. it's been such a wonderful year for the company it is a pity everyone can't be promoted; they all deserve it!

Yes, the Mariinsky Bayadere always used to start the Kingdome of Shades act behind gauze. Then when they were all on the ground they ran into their positions and the gauze lifted to see them in beautiful rows in position perfectly balanced en pointe. That was amazing but I'm not sure they still do it now. I've a feeling the gauze lifts when they're scurrying into position which removes all the magic. We'll soon be able to see anyway. Keeping with the Mariinsky I still vividly remember my first viewing of their Corsaire in Birmingham in 1990. I was just transfixed as I've never before seen such colour and spectacle in ballet. The overture (by far the best Corsaire overture there is) combined with the shipwreck of the Corsaires was terrific. it counts as one of my all time favourite ballet scenes ever and when a few years later I was attending a rehearsal and something went wrong with the opening and they had to do the entire scene again that was the highlight of my day! The wonderful fountains mentioned previously are also amazing, especially the central one which seems to rival the fountain in Geneva for height! One of the reasons I've always been disappointed with all the other Corsaires I've seen is none of them have fountains. Perhaps the Mariinsky don't do them now; difficult to know as they haven't performed it here since about 2000/2001. Every visit without it is a disappointment as it has significant differences to anyone else's, also there are always the memories of the supreme performances in the 90's; Altynai, Zaklinsky, Ruzimatov, Zelensky, Larissa Lezhnina to name just a few, plus the wonderful conducting of Viktor Fedotov; those were the days!!! Some scenes from Onegin are also very special; The gallop across the stage which we see twice and the waltz steps where they lift both legs off the ground are both very simple moves but amazingly effective and memorable. Also the curtain rising on the last act.

many thanks for this Trog. We get the Radio Times and still managed to miss this. I will actually be at the ROH tomorrow afternoon watching the Ashton Triple but I will certainly record it.

Do we know if Sambe will be Puck on the opening night? I was so impressed with him in the insight night.

I do so agree with Floss. Apart from the Ashton mixed bill which is depressingly dropped for next season I find most mixed bills not worth seeing as there is at least one ballet I'm not at all interested in. Also these days there seems to be a lack of more traditional triple bills fare such as the Ballet Russes rep, much of Ashton, Bournonville, Robbins, Cranko and De Valois. it seems criminal to employ someone with Christopher Carr' s encyclopedic knowledge of Royal ballet rep. over the last 40 years and not utilise his knowledge because sadly when people like him are no longer around the ballets can never be revived unless they are notated, and even the best notation is no substitute for actual experience of the ballet. I think the RB would be far better employed in putting money into re-creating 'lost' or forgotten ballets by choreographers like Ashton, Tudor or Robbins (that many ballet goers would love to see) rather than paying for modern new creations that probably won't stand the test of time. Some of our taxpayers money should be spent on preserving our ballet heritage and making it a living heritage rather than just paying lip service to 'the genius of our great founder choreographer' when staging yet another version of Marguerite and Armand.

Slightly disappointed with the casting. I had hoped for Yasmine doing more rather than less; only cast for 2 Nutcrackers and one of them on Jan 1st. Of course she may be dancing other roles such as the Waltz of the Flowers lead and other roles in other ballets but still.... I would have loved to see her as Alice. I've always had a dream to see her dance with Vadim. They are 2 such beautiful classical dancers I would love to see them dance together even if it's just once to see what they're like, and Alice would have been a great opportunity for this even if they're not the greatest classical roles. Speaking of Alice it seems a shame they're filming Lauren again as there is at least 1 recording of her as Alice already. It would have been wonderful if Marcellino and Frankie could have been filmed for it. I suspect it's not a ballet a lot of people will go to the cinema and see for the 'big name stars' but the ballet itself so it would have been a great opportunity to film 2 great new stars (that is new as far as the general public is concerned not Forum members!) I'm still annoyed that Sylvia is not being filmed given (I think) there is only one recording of this ballet with Darcey Bussell and that was ages ago. Wouldn't it have been wonderful to have Marianella and Vadim filmed in this role. What a wasted opportunity. Speaking of filming I see the Kenneth Macmillan programme Concerto, Baiser de la Fe and Elite Syncopations is being filmed. It doesn't seem to be on the cinema list so perhaps it's being filmed for tv seeing as it's part of the Macmillan anniversary celebrations. Ballet on tv? Now there's a novelty!!

Thank you Jamesrhblack for articulating my thoughts about both performances far better than I could myself. I too came out of Friday nights performance feeling I'd seen a great performance but it hadn't moved me as much as other recent performances; Vadim in Jewels, Francesca in Sleeping Beauty. However, the Saturday matinee definitely had the 'wow' factor and got the heart racing. the two leads were sensational but ALL the cast were on top form and that seems to be the secret of the Royal's current success. When you see a perfect performance it is not only the principals performances that you remember but everyone else too. I particularly liked James Hay's Bratfisch. I have heard a lot about him on the forum but haven't seen much of him and he was a revelation (though I loved Alexander's Friday performance as well, also his Lead Hungarian officer was brilliant) I was also really impressed with Tara-Brigitte Bhavnani as Countess Elizabeth. it was awful to see her so cold to poor Rudolf who so desperately wanted her love and yet be so flirtatious towards Bay Middleton. To return to the two leads, I was really impressed with Bonelli and Morea in Frankenstein; a ballet I actually enjoyed, and in Mayerling they seemed to carry on where they left off in this ballet in terms of emotional involvement both in the characters they portrayed and in their personal chemistry. They were sensational and I only hope they will be cast together in Manon next season (a cinema broadcast would be good!) and hopefully Onegin the year after. My only regret was this performance wasn't filmed for broadcast. it would have been amazing. I can only echo Kevin O'Hare's words as he left the theatre, 'Wasn't that fabulous'!

I think this is almost certainly so. I know I always try and get left hand side seats for this reason if I can as I often meet people in the interval. Obviously the quality of the seats are the main concern but if there are 2 similar seats on left and right I tend to go for the left ones. Side stalls circle especially you can be up the side stairs to the Floral hall and up the escalator to the terrace while people on the right might still be in the auditorium. Having said that it can depend on the ballet staging and if there are things on stage that would be difficult to see from the left then I would always choose the right.

This is a brilliant doc. it was shown on tv in (I think) 1991 just after Irek had completed his first year at RB. It is one of the very few docs that has a great match of dance and commentary and actually focuses well on Irek and not just a vehicle for the interviewer whom I don't think we really see. I think it should be compulsory viewing for anyone thinking of doing a personal ballet doc. as it is one of the very few ballet docs that don't leave me feeling short-changed about seeing too much interviewer and not enough dance.

Just noticed a block of tickets have gone on sale for the Osipova M and A performance on Monday 5th June. there are 54 tickets listed, mainly in stalls blocks but there are a couple of £44 ones in side stalls circle, quite good ones. None in amphi. Also 35 tickets for the Sat. matinee June 3rd which I thought had been sold our for ages; 22 in amphi (mainly slips) and some side stalls circle. Now only the last performance seems sold out so I don't know if other performances have also had 'returned' tickets.

Why so many performances for Jewels and yet so few for Ashton? It doesn't even make commercial sense as Ashton is so popular and always sells well. Does this reflect management's current position to Ashton? Paying lip service to the great founder choreographer yet seldom reviving old works and staging the same few over and over again. Next season for example, yes Sylvia is being revived at last but it is not being filmed whereas Alice and Winters Tale are. Both have been filmed far more recently than Sylvia and Alice has already been filmed twice. I realise Alice can be seen as a 'family' ballet but my idea of a Christmas Ashton double of Les Patineurs and 2 Pigeons would I'm sure sell well and be a welcome change to zillions of Nutcrackers. Also no Ashton mixed bill next season. I'd hoped that would have been a regular part of programming as they always sell well and provide the welcome change of a mixed bill I actually want to see; not something I can say of any of the next season's mixed bills on offer with the possible exception of the Concerto one but that is only being performed mid-week making access very difficult for those of us living at a distance.