Sim

Hmmm I was so sure I could remember Ed Watson in Siegfried's blue costume, but I guess not!! As you say Alison, probably more a case of wishful thinking!!

Watson has danced Siegfried and Albrecht.....I've seen him as both! It was a long time ago, though.

Yes....much as we all love them, something a bit different might be nice. I think the ROH should be showing the world how much talent it has at all levels right now.

Hi, I have Row A18 for this performance that starts at 2.30. Cost is £18. I will be there to hand the ticket over. Please PM if you are interested and say here that you have done so. The whole run is sold out so the BO will take the ticket back, but I thought I'd try here first as I'd love it to go to a fellow forum member! Thanks, Sim

Yes I am pretty sure that it will be the following season that she is promoted.

I sure hope so!

I agree, Xandra. Naghdi is naturally a very classical dancer, the likes of which we don't often see outside the Russian companies these days.

The RB certainly does not need to rely on guests with the amount of talent currently available in the company.....but having the odd one or two for a special treat is always welcome!!

On the casting in general, some quite interesting permutations. I don't have time to write much now, but I am also very excited by the Nunez/Osipova 'swaperoo' (love that, RuthE!), with Muntagirov in the middle. Sigh. In my dreams they would have got Shklyarov in to alternate with him, as his Solor is one of the finest around, but naturally I understand why they haven't (I am keeping everything crossed that they might invite him back to dance R&J with Osipova....). Also disappointed that there is no Hayward as Mary Vetsera, and no Naghdi at all in Mayerling (mind you, she has her hands full learning O/O at the moment!). I agree with what was said above about Kevin O'Hare graduating the younger principals into roles slowly...much as we would love to see everyone in everything, the company is bursting with talent at the moment and everyone needs a chance to dance. We have discussed this in the past, but I really don't understand what it is about the current RB management and partnerships. Why are they not allowing some potentially great ones to flourish? I just don't get it. Very pleased to see Magri getting some meaty roles; she has been on my 'ones to watch' list for a good couple of years. My guess, looking at the casting (and this is just a guess) is that she will be promoted to First Soloist at the end of the season, and Matthew Ball to Principal. I would be very happy with both of those.

I agree with the part about her being a Larisch, but disagree with the part about 'in a few years time.' Yasmine could go out on that stage tomorrow and deliver a wonderful Larisch. She is one of those rare artists who lives and breathes each role that she dances, and she is such an intelligent dancer that her interpretations are always spot on. On the Manon thread people have said how wonderful she is as the Mistress (which she was, and I can't wait for tomorrow night to see her again). Her Juliet was also stunning, as was her role in Anastasia at the last minute (sorry I am having a blank as to the name....Mme someone!! ), and as the girl in The Invitation. I think she has proved her MacMillan credentials already, so she would be great now without having to wait a few years to dance Larisch. Sadly, though, it appears that we WILL have to wait a few years, which is frustrating!

You and many of us, Anna. McRae is my least favourite Rudolf. I don't get this one at all I'm afraid.

Yes indeed a fabulous evening. The huge and lengthy applause at the end showed the audience's appreciation. That final pdd just cut me to pieces, danced with such confidence and such feeling. Beatriz Stix-Brunell made a very impressive debut as The Mistress and I got a lot more from Marcelino Sambe tonight than I did last week. Bravo to all.

Ticket now returned to BO.

Great SCS ticket available for tonight. Please contact me before 3.30 if you're interested, otherwise it will go back to the BO. Please send me a PM and post here that you've done so. Thanks!

How I dress at the ROH often depends on whether I am standing or sitting, and on whether I come straight from the office, which is usually the case. If I come on a Saturday, I sometimes like to posh up, but again as I often stand it is more comfortable for me to wear trousers (sometimes jeans, sometimes not) and comfy shoes. However, I do love to watch the beautiful people in the Floral Hall; there are always some gorgeous dresses and jewellery around and it makes me happy to see them.....but sad because I will never be able to afford such gorgeous clothes!! So let's all remember that there is room for all kinds of people and clothing, and everybody should try to accept how others want to present themselves....as long as they are indeed clean and don't smell!!

My boss also went last night. His partner left after Yugen, and he left after Age. It was their first evening at the ballet for ages, and he said that didn't make them want to go again for a long time. I need to sit him down and tell him about Manon, SL, the M&A triple, plus everything else on offer here both from the RB and others!

OK, I am locking this thread now before it degenerates any further.

Except we never want him to clear off!! Some of us call him Skylark.....with the greatest of affection!!

On April 3rd I took myself and my little 6 year-old friend Athena to see English National Ballet’s My First Ballet: Swan Lake at the Peacock Theatre here in London. The “My First” series started in 2012 and is aimed at young children in order to get them interested in ballet, and to give them an understanding of what is going on in the piece on offer, both narratively and technically. To this end, there is a narrator present throughout the performance. She introduces the ballet, then participates at various points to keep things flowing. She also explains the mime, which is very important because in the ‘adult’ version of the ballet the mime is incredibly important, and enhances the ballet if you understand it. The dancers are all students from the ENB School, mostly second years. Lou Cope, the dramaturg, has quite radically changed the story, but it makes sense for children. In this version, Odile is the magician von Rothbart’s sister, and Odette’s best friend. Von Rothbart declares his love for Odette, but she refuses his advances and in a rage he turns her into a swan. The bit about changing back to a maiden when true love is sworn still happens, but the deceit here is perpetrated by an unwitting Odile. Rothbart simply takes her along to Siegfried’s party and he falls for her. When Odile sees poor Odette in the background begging Siegfried not to fall for the trick, although she fancies Siegfried her friendship with Odette is the most important thing. All is revealed and all’s well that ends well…. Von Rothbart is even forgiven and sees that his evil ways don’t make him happy. So there are some important messages here about friendship and loyalty, and how being nice makes you happy. You can’t remind children enough of these matters, especially in today’s world. The dancing itself is of high quality. Chloe Keneally as Odette has lovely arms and feet, and expresses the dilemma she is in very effectively. Beatriz Kuperus as Odile has a bit of a hard job because we are all expecting an evil minx, but she is actually a good girl with a kind heart and wins us over with her dancing and her pleasant demeanour. We are discussing fouettees on another thread, and here Kuperus comes out and does singles; very difficult and very well done. Luigi Cifone as von Rothbart, not quite as menacing as in the ‘adult’ ballet, has crisp technique and was having a lot of fun with the role. I could see that he would have been much more dark if he had been allowed to, but I am sure that they didn’t want to frighten the little ones! Siegfried was danced by Harvey Littlefield. He has commanding stage presence and lovely long legs which give him a beautiful, expressive line. He partnered well; combine that with his winning smile and dramatic ability, and this young man is one to watch and could go far. He definitely has ‘danseur noble’ potential. There was a corps of eight swans and they moved beautifully together. The national dances were fun and well danced. All of the dancers in this production were impressive, especially because the stage at the Peacock is small so they had to restrict their movement; I was under the impression that if they’d had more room to let rip and be expansive they would have been even better. I look forward to seeing them all dance in future. With lovely, traditional sets and costumes by Peter Farmer, and the music (pre-recorded) sensitively re-arranged by the ever-wonderful Gavin Sutherland, this performance makes sense for children, and is kept short (two acts of about 30 minutes each) to avoid boredom. However, boredom was not a problem here. The packed theatre was quiet and attentive the whole time, with very appreciative applause in all the right places. When I asked my little companion her opinion, this is what she said: I liked when the swans danced. I liked all the dancing. I liked the music. I liked the set. I liked everything. I couldn’t have put it better myself! This production is touring for the next few weeks (to Bromley, Oxford, Manchester, Blackpool, Woking and Torquay) and I highly recommend it to anyone who wants to introduce a little person (or maybe not so little!) to classical ballet.

What a lovely example of how people should totally disagree with each other!

Yes it will be going ahead on the 19th.

I have watched 9 minutes but no closer to finding out why Claudia left, and now I have to go out so could someone kindly precis this for me? I will say that I was surprised and sorry when she left, just when it seemed her career was taking off. I loved her Myrthe and Chosen One. However, as DDD says above, she seems to be very helpful and happy in her new life and long may it continue.

Welcome to the forum, Xandra!

Yes, I fall victim to that syndrome a lot (like right now)..... ssshhhh!!

David Wall would agree with you there! See what he had to say about Manon and creating the role of Lescaut in the interview I did with him back in 2005 (there's also a lovely photo of him as Lescaut). David Wall interview.pdf