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Oooo I sooo hope your numbers come up !!

Well, last night's cast certainly would have made you cry....!! We are so lucky to have such wonderful, world class interpreters of dramatic roles at the RB. Bring on Nela and Thiago on Saturday. I can tell from Dave's fantastic photos that they are going to be very special.

I assume that Jason Reilly is standing by to do all performances, which would make sense, especially if they knew in advance that Kobborg wasn't going to be able to do any of his shows. Otherwise, I guess she could dance it with Bonnelli...

Sorry, I didn't realise she's done it before....probably only because I hadn't seen her myself!

DavidW.....not only was this the first time they'd danced this ballet together, it was the first time they'd danced anything together! My tuppence worth: I really enjoyed this performance. I thought that both Alina and Jason were a bit tentative in Act 1, but by Act 3 the chemistry and passion between them had developed more, and I'm sure that in their next performance, and (if they do it on the 30th) even more by the last one, it will be much more evident that the chemistry is there. I liked Reilly's interpretation; he reminded me very much of a Mr Darcy in Act 1, the way he brooded around the place and was very evidently disdainful towards the 'country bumpkins' by whom he was surrounded...laughing at the book Tatiana was reading, refraining from their dances, etc. Alina was her usual wonderful self in this role. Of course, the problem with all of us who have seen her dance this with Johan is that no matter who else she ever dances it with, it is never going to the reach those heights of passion and emotion...they are so well matched in that regard, and they understand each other so deeply, that it just couldn't be the same with anyone else. Steven McRae was such a wonderful Lensky, so very moving. He really caught the young boy in love in Act 1, but the depth he brought to the pre-duel solo of Act 2 was startling. Despair, fear, a sense of waste, goodbye....all were beautifully and clearly conveyed by every movement of his whole body, right down to his fingers when he threw his arms up into the air and slowly brought them down again, his face contorted with grief. He knew he had no chance against Onegin in a duel, and this gorgeously danced solo made that abundantly clear; he was saying goodbye. Akane Takada danced superbly as Olga, but I think she needs a bit more time to develop her character. I didn't get much sense of the silly, shallow girl versus the sudden growing up she has to do with the realisation that her fiance's death is partly down to her responding positively to Onegin's flirtations. This was her first outing in the role, however, so it will come as she is such a lovely all-round dancer. The Act 3 pdd between Alina and Bennet Gartside as her husband, Prince Gremin, was astoundingly tender, and the affection between them there for all to see. A marriage of love and mutual affection, but maybe not passion....the contrast between this pdd showing a comfortable situation, and the one at the end of the act wherein there is real passion and emotion requires a lot of the ballerina dancing Tatiana; two completely different mindsets in 15 minutes; difficult to achieve but Alina succeeded very convincingly here. As to how Onegin should be portrayed....as has been said already, I don't think there is any definite, proscribed way. Having seen it many times, I was actually very surprised when I finally read Pushkin's tone poem a couple of years ago. I was surprised at how kind Onegin is in rejecting Tatiana...."it's not you, it's me, I'd only hurt you" sort of thing. I guess it makes for more drama in the ballet context if he is cruel to be kind. Or is he just cruel? Only the interpreter knows for sure.... A very enjoyable start to the run of this most wonderful of ballets, and I look forward to seeing the other casts too.

Thanks so much for that information, Katherine and Angela. Having seen him last night (and liking him very much) it was great to have some more details about him.

Farfallina....it is about even more than that, according to various press reports. There have been bitter jealousies and rivalries ever since his appointment, with sides being taken and factions being formed...all very political. Allegedly. It sounds like a real nest of vipers...terrible stuff. If this is the way someone deems it acceptable to settle artistic or political differences, there is really not much hope for any of us.

I' ve just read that Sergei Filin, AD of the Bolshoi Ballet, is in serious condition in a Moscow hospital after being the victim of an acid attack...it was thrown in his face. Sending him, his family and all at the Bolshoi my hope for his recovery, as much as it can be.

How wonderful....something to look forward to when I'm snowed in this weekend! Many thanks John.

It sounds like the last thing that baby needed was an energy boost! I never cease to be amazed by the stupidity of so many people. Imagine giving a child a can of Red Bull. Appalling.

They' ve also mis- identified dancers in photos on their website a few times recently...

Thanks Blackdove, but is this reliable info? Originally it had said that it will be Vasipova on the Mikhailovsky website, but on the Coliseum website it still says that casting for the 26th is to be announced...

Many thanks indeed, Lartiste. I have bought tickets for the same two performances as you! Fingers crossed for the 26th....

Yes, a very interesting topic. I think that watching large companies will always involve compromises....I have been watching ballet for 50 years and I still haven't found one company that has it all: perfect technique across the board, perfect corps, uniform dancers, great dramatic skills, amazing orchestra, etc. etc. I think what you enjoy from a performance is very subjective. For some people, Swan Lake is ruined if the corps is ragged, no matter how wonderful the principals might be, whereas others would forgive that if they get an amazing Odette/Odile. My personal preference is to get the drama and emotion out of a role, so if an O/O only manages 28 fouettees instead of 32, but she makes me cry at the end, job done as far as I'm concerned! This is why I have such affection for the Royal Ballet (and of course, they are the company I see all the time; I would love to see more of ENB but they aren't in London enough)...as someone mentioned above, they have a wonderful line-up of individual dancers, all of whom have something unique to give, which is why I am never bored (my 'non ballet' friends often ask me how I can see the same ballet 6 times in a month and it is hard to explain how different each one can be depending on who is leading it). I have seen many companies in my time, and always go to the foreign companies visiting London, but I have never seen a company that comes close to giving me the emotional and dramatic experience that the RB does. Maybe this is also because of the repertory; I know that dancers come here from all over the world because they want to dance what must be one of the most varied reps around. So....I am willing to overlook a bit of raggedness in the corps if I get an amazing emotional journey. I often compare this feeling with the two great opera singers of the 20th century. In my humble opinion, Joan Sutherland had the most amazing voice, technically. It was clear and crisp with wonderful timbre and no-one sang the coloratura roles like she did. However, give me Maria Callas every time, because you can feel the emotion in every note she sang, even though those notes were often not quite there...but Sutherland never makes me weep when she sings Vissi d'Arte or Casta Diva, whereas Callas puts a lump in my throat whenever I hear her sing the great tragic heroines. When comparing the RB with the Russian companies....I love seeing them when they come to London, as it is a completely different style and we usually get technical perfection across the board. However, as Aileen said, the performances always leave me emotionally cold; I can't remember ever coming out of a Russian performance feeling drained. On the other hand, I always come out thinking 'wow, what amazing technicians they are; you will never see corps like that anywhere else on earth'. So...to sum up my ramblilngs, no one company has it all, and that is why I like to see different ones, so that I get technical perfection on one day, and high drama and deep emotion on the next...but if I had to choose, give me the latter every time.

Good luck with your project, Jemma.

Last night I finally saw this triple, the only one I've been able to see. Looks like I chose the right night; it was wonderful! I loved Roberta Marquez's Firebird; there's a lot of feistiness in that little body, and her angry eyes were visible to me in the amphi even when I wasn't using my binocs. I'm not a big fan of this ballet, but if I start getting a little bored I just close my eyes and listen to Stravinsky's glorious music, played here by an orchestra who really understands it and rendered it beautifully. The only other time I'd seen In The Night was when the Bolshoi brought it over two or three years ago. I loved it then, and I love it now. All three couples last night were very impressive in their own ways....Alexander Campbell and Emma Maguire conveying joyous young love, knowing that there is much more to learn, and so much more to come. Through their dancing, they also showed us why they are two of the company's rising young stars. Nehemiah Kish and Zenaida Yanowsky were elegant, graceful and very respectful of each other...as their characters and as dancers. Kish might have had some negative reviews, but he must have had a bad night that night because last night his partnering was gentle and assured, treating Zen with all the respect she deserves. This was a couple who you really felt were comfortable with each other, and still loved and respected each other even though the passion had long gone. As the third couple, Carlos and Roberta were really electrifying; a dynamic duo who loved and hated each other in equal measure, and trying to find out which emotion would come out on top made for some real fireworks onstage. Again, Marquez showed the passion that is in there, and with Carlos as her foil her dancing was fast, crisp and technically excellent. She rivalled Marianela in the smiles stakes during her curtain calls; she smiled like the Cheshire cat, grinning from ear to ear the whole time; she had clearly so enjoyed her evening, and so she should....she had a great one! I loved Raymonda Act 3 for many reasons, but seeing Gary Avis as a late replacement for Ricardo Cervera (who was already replacing Tom Whitehead) in the Hungarian Dance was just the icing on the cake for me! Gary proved that besides being the best character dancer in the company, he can still actually dance and still looks great in white tights! Zen was Raymonda, and as always her command of the stage was imperious, and her lovely long limbs made the steps look lovely and flowing, even though there is considerable trickiness to some of the choreography. She was partnered by Ryoichi Hirano (this cast was supposed to be Nunez/Pennefather) who made a pretty good job of it. And by the way, I was sitting in row E of the amphi but could hear Zen's hand claps...but being Zen she did it a bit differently and started with a very faint clap for the first one, the second a bit louder, the third loud enough to hear everywhere, and the fourth one silent!! Plaudits too for Hikaru Kobayashi, Yuhui Choe, Itziar Mendizabal and Helen Crawford, all of whom impressed me very much with their variations. A really enjoyable night, tinged with a bit of resentment that I couldn't see any of the other casts!

Othello would make a great ballet for the three main roles, but I don't suppose there are . enough roles in it for a full length company piece.

Only one??!!! You are a much nicer person than I am, then

Many thanks John....unfortunately I can't watch much here in the office, but am trying to sneak in the odd peak. Will have to watch a catch-up verison another time.

Am so sorry I couldn't make this one....but am herewith putting my name in early for the next one!! Many thanks for organising, GR and Minder, sounds like it was a great success!

"The Hare with Amber Eyes" by Edmund de Waal. A beautifully written, fascinating book; am only halfway through but thoroughly enjoying every page of it.

"The only drama at the evening performance was supplied by a doltish Nehemiah Kish, who partnered like a man doing battle with a flat-pack wardrobe" This is totally clear to me....she is not referring to Kish's character at all, she is referring to him, the dancer. It's not the first time she's been rude in print; she even had a go at, to paraphrase, 'the sad people who write on ballet forums' a few years ago!! I've never forgiven her for that one!! Regarding the discussion above, someone once paraphrased Shaw's "those who can, do.....those who cannot, teach" to "those who can, do.....those who cannot, become critics". True or false? Interesting comments on both sides of the argument from Aileen and Anjuli....thanks ladies!

.....that we lost Rudolf Nureyev, one of the best-known figures in the history of dance. He did so much to change the face of ballet, especially for the male dancer, and all of we balletomanes owe him a big debt of gratitude methinks. I wonder what he would have done for the rest of his career had he been given the chance. More choreography? AD of another large company? Travelling the world setting ballets to their original Russian pasts? The ballet world was robbed by his early demise.

Thank goodness for that; it's interesting to hear the hard work involved in coming back after something like this. On this forum we are much more used to hearing about dancers' injuries and illnesses that necessitate such hard work and dedication to get back to where they were; to read about a singer doing it is very enlightening. I wish Toby well and hope that after the completion of his treatment that he makes a full and speedy recovery. Thanks for posting, Alison.

Mine has been completely clear, with the exception of watching the delightful Miyako and Steven do the grand pas on the Guardian page! A record for me, which is why I needed to be clear this year!