alison Posted February 24, 2017 Share Posted February 24, 2017 What particular bit of misrepresentation, JamDancer? Link to comment Share on other sites More sharing options...
Wulff Posted February 24, 2017 Share Posted February 24, 2017 I wonder who it was who originated the idea that Act 1 of SB was the celebration of Princess Aurora's 16th birthday. In fact Petipa's original libretto states that it is her 20th. When you think about it, that makes more sense. Aurora is no teenage bride about to be married off "out of the schoolroom`' but a princess of marriageable age endowed with all the talents bestowed on her by the fairies and just approaching what used to be considered the age of majority. Of course the matter of a woman's age is often liable to be subject to economies of truth, so perhaps Aurora is starting early in this respect. 7 Link to comment Share on other sites More sharing options...
CHazell2 Posted February 24, 2017 Share Posted February 24, 2017 (edited) I wonder who it was who originated the idea that Act 1 of SB was the celebration of Princess Aurora's 16th birthday. In fact Petipa's original libretto states that it is her 20th. When you think about it, that makes more sense. Aurora is no teenage bride about to be married off "out of the schoolroom`' but a princess of marriageable age endowed with all the talents bestowed on her by the fairies and just approaching what used to be considered the age of majority. Of course the matter of a woman's age is often liable to be subject to economies of truth, so perhaps Aurora is starting early in this respect. Maybe it reflects the historical fact that Princesses were considered ready for marriage when they reach puberty. Also the phrase "sweet sixteen and never been kissed" might come into play here. There is a theory that when Aurora pricks her finger on the spindle, it signifies that she has began her journey into womanhood (namely the start of her periods, if I am allowed to be crude). Sixteen would be a better age for that than twenty when you would expect Aurora to have started her periods long before then. Edited February 24, 2017 by CHazell2 Link to comment Share on other sites More sharing options...
annamk Posted February 25, 2017 Share Posted February 25, 2017 The Sleeping Beauty was created as a francophile dance extravaganza which was intended to flatter the autocrat who funded the Mariinsky theatre and its ballet company ; to show off Brianzi its latest Italian star guest ballerina,the resident company's own star dancers of every type; its corps and the skills of the theatre's machinists and its other staff. Although it was generally described as a ballet feerie by its critics, Alexandre Benois said that it was really a "ballet a grand spectacle" .. " the type of heavy ballets, whose traditions have become obsolete, and are now regarded as the belonging to the feeries or musical revues". If Petipa had died in 1889 he would be remembered as the creator and stager of melodramatic dance dramas such as Esmeralda and Le Corsaire. In Sleeping Beauty he created a ballet in which the story set out in the libretto is little more than a tenuous excuse for the display of the various types of dancing which were regarded as the essential elements of ballet in late nineteenth century Russia.The ballet provides a complete compendium of all the skills which a ballet company requires. It is not a one dancer ballet,nor even a five or six dancer ballet like Manon or Romeo and Juliet are. You may have a dancer who can dance Aurora but if you have not got dancers who can do justice to the other roles including the less obvious dance ones like the King, Queen, Catalabutte, Carabosse, Gallinson without tipping over into caricature or coarseness as well as the obvious dancing roles of the Lilac Fairy,Fairy Variations, Prince, Bluebird and Princess Florine and you have not got a corps who look good in exposed choreography then you had better think of another ballet to stage. I have yet to meet anyone who actually goes to Sleeping Beauty for the plot except as an excuse for the beauties of the Tchaikovsky score and the quality of the choreography throughout the ballet. There is so much to enjoy in listening to the music when it is played in a way which respects the composer's intentions and savours its historical allusions to music and dance styles of earlier generations. The sound world created by the score is extraordinary and it is a great pity that the Hunting scene no longer ends with the Farandole. But it has to be admitted that the ballet can be heavy going if a company has not got enough dancers of the right quality. There have been many occasions in the recent past when I have felt that it was quite safe to skip the RB Prologue as the casting so often produced near terminal boredom in performance.Indeed I often thought that randomly drawing names out of a hat might have produced a better allocation of roles and thus of performances of what are masterpieces of concise choreographic invention than the application of human intelligence to the task was doing. In Beauty Petipa created choreography which continues to test and display the technical skills of a company and in particular those of its principal dancers,female soloists, and corps de ballet, focussing on their pointe technique, as well as testing the skills of its demi-character and character dancers.The proportion in which these elements are mixed varied from ballet to ballet. In Beauty the emphasis is on classical technique rather than acting skills. In the original production Cecchetti displayed his versatility by performing the role of Carabosse and dancing the virtuoso role of the Bluebird and Maria Petipa danced the Lilac Fairy and displayed her considerable skills as a character dancer in the role of Cinderella. No one is asked to double these roles in modern productions but staging Beauty is still the litmus test as far as a company with pretensions to be described as "classical" is concerned. If a classical company can stage this ballet and cast it with dancers who can deliver the goods in every role then it has the resources to perform anything. Sleeping Beauty is a showcase of dance the story is merely incidental. I know that to describe a work as an entertainment is not to commend it because it suggests that it is light. frivolous and of little worth. I know that I should be watching ballets with stronger story lines or at least dance works with more meaty and substantial themes like "Untouchable" but if I am honest I have to say that I find so many of these "serious" works indescribably earnest, worthy and boring and often downright pretentious.Sleeping Beauty was created as an entertainment not a melodrama or a morality tale.and with music and choreography of such quality and the sort of performances we have seen during the last week I am happy to embrace my shallowness. Yet another great post Floss. For me also it's about the quality of the dancing in the minor as well as leading roles and which includes how the dancers embrace the character of the role. In this run I've seen some excellent performances but sadly not yet a compelling prologue. Only a few dancers have delivered quality fairy variations, generally the Cavaliers have been hopelessly out of sync (some of them seem to be only concerned with showing off how high they can jump) and not one Lilac Fairy I've seen has been able to give a decent account of the variation (maybe the RB should change the choreography if no one can dance it well) the Carabosse portrayals have all been impressive but it's not enough to prevent overall sag. Act 3 has similarly delivered some variable performances but because all the Aurora/Florimund I saw were executed to a high standard (Takada/Hay, Nunez/Muntagirov & Naghdi/Ball) the fact that some of the other variations were not seemed to matter less. However, when the wedding grand pas is preceded by a brilliant Florian (Sambe), and Bluebird/Florine (Hay/Takada Sambe/O'Sullivan) It's the icing on the cake. I already commented how impressed I was with Hay's outstanding Prince in the earlier part of the run & I still consider that performance to have set a new benchmark for me. On Wednesday though the theme of an unexpectedly good Prince Desire continued when the downside of missing Cuthbertson/Clarke was compensated for by seeing Naghdi/Ball. Naghdi is an impressive classical dancer who is understandably confident in her technique, it was Ball who surprised me. He's a dancer with a presence who acts well on stage but when I saw him in the Giselle pas de six last year I worried that he would not be able to execute the wedding pas to a good standard. However in the intervening months his classical technique seems to have improved considerably. For a young soloist it was an excellent performance & better than some principal performances I've seen in that role on the Covent Garden stage. There are some promising dancers coming up in RB & as I have no more performances I'll be interested to see how they've developed by the time of the next run. O'Sullivan/Magri for Lilac Fairy perhaps ? You never know maybe they'll re-choreograph the garland dance 6 Link to comment Share on other sites More sharing options...
Geoff Posted February 25, 2017 Share Posted February 25, 2017 (edited) not one Lilac Fairy I've seen has been able to give a decent account of the variation (maybe the RB should change the choreography if no one can dance it well)During last May's RB Insight evening ("The Royal Ballet 1946-1956") Kevin O'Hare introduced us to a young dancer who was learning the Lilac Fairy variation, and said we would watch her being rehearsed by a member of staff. After not many minutes, one of the invited speakers - the then 88 year old Dame Beryl Grey - asked if she could intervene, Beryl Grey being of course one of the greatest dancers in the history of the RB (see YouTube). What happened in the next few minutes was most revealing. First, we - and the dancer - learned a great deal about the Lilac Fairy and this variation in particular. But more worryingly it became obvious that not only was all this new to the girl, it was also new to the person who was meant to be coaching her and who should have known it. My thought at the time was whether the RB collective repository of choreographic understanding and performance tradition is getting lost. Edited February 25, 2017 by Geoff 7 Link to comment Share on other sites More sharing options...
alison Posted February 25, 2017 Share Posted February 25, 2017 I hope that insight evening was recorded for posterity, then, even if only for internal use. This is precisely what recordings should be used for, while the opportunity still exists. 7 Link to comment Share on other sites More sharing options...
Tony Newcombe Posted February 25, 2017 Share Posted February 25, 2017 During last May's RB Insight evening ("The Royal Ballet 1946-1956") Kevin O'Hare introduced us to a young dancer who was learning the Lilac Fairy variation, and said we would watch her being rehearsed by a member of staff. After not many minutes, one of the invited speakers - the then 88 year old Dame Beryl Grey - asked if she could intervene, Beryl Grey being of course one of the greatest dancers in the history of the RB (see YouTube). What happened in the next few minutes was most revealing. First, we - and the dancer - learned a great deal about the Lilac Fairy and this variation in particular. But more worryingly it became obvious that not only was all this new to the girl, it was also new to the person who was meant to be coaching her and who should have known it. My thought at the time was whether the RB collective repository of choreographic understanding and performance tradition is getting lost. Beryl Grey just happened to be in the audience and just happened to intervene??? Link to comment Share on other sites More sharing options...
Sunrise Posted February 25, 2017 Share Posted February 25, 2017 (edited) Beryl Grey just happened to be in the audience and just happened to intervene??? Geoff's account says she was one of the invited speakers. Edited February 25, 2017 by Sunrise 4 Link to comment Share on other sites More sharing options...
Jam Dancer Posted February 25, 2017 Share Posted February 25, 2017 What particular bit of misrepresentation, JamDancer? Their character- no hint of aggression or defensiveness to this human prince in their midst? All docile, genteel and shy birds ? A bit protective but that's it? Doesn't quite fit for me given what I've observed on nature photography outings ... Yes... all of it requires a bit of imagination... 1 Link to comment Share on other sites More sharing options...
Fonty Posted February 25, 2017 Share Posted February 25, 2017 (edited) and not one Lilac Fairy I've seen has been able to give a decent account of the variation (maybe the RB should change the choreography if no one can dance it well) Good heavens, this is sacrilege! In any case, we have all been told many times that today's dancers are so much better technically than those of the past, therefore students at the Upper School should be able to breeze through it. Edited February 25, 2017 by Fonty Link to comment Share on other sites More sharing options...
Jam Dancer Posted February 25, 2017 Share Posted February 25, 2017 Did someone say that they didn't think Sleeping Beauty appropriate for small children? I am surrounded by 4 of them for this afternoon's performance and I'm very nervous already. And looking around, I can see quite a few more... Let's see how this goes...there are a couple tantrums brewing as I type .... Link to comment Share on other sites More sharing options...
MAB Posted February 25, 2017 Share Posted February 25, 2017 Would some kind person at this afternoon's performance be kind enough to tell me what time it finishes please as I'm meeting someone watching it afterwards. Many thanks. Link to comment Share on other sites More sharing options...
Jillykins Posted February 25, 2017 Share Posted February 25, 2017 I experienced the magic of Sleeping Beauty last Thursday. I just relaxed into the joy of the music and beautiful dancing. I still experience a rush of tears as the conductor raises his baton and the red curtains glow. I have been like this for 75 years, I never grow up and lose the magic (well it didn't cope with Multiverse!). However nobody I have seen comes up to the glorious interpretation of Margot Fonteyn for me. She seemed so young and joyous, bourrees like silk, expressive face. No over extension but such expressive arms. Sorry I digress. Such poise from courtiers and royals. Tiny pages in perfect step, knowing exactly what to do. So many young, talented soloists. I think Sambe replaced Hay as Florestan. I admit to some disappointment in Nunez' Rose Adage, she didn't seem confident and was struggling to finish with music. However she soon settled and gave a good performance with the talented Vadim. My real disappointment was Calvert as lilac fairy. A stumble at start of her first solo may have affected her confidence but she never convinced me she was a fairy. She is a talented dancer but I don't think this is her role. That is just me! I have read all the previous historical information, thank you all so much. Am I misremembering, as I often do, a sparkling performance in years gone by of Graham Usher and Antoinette Sisley as bluebirds? So the magic of the fairytale lives on for me! 4 Link to comment Share on other sites More sharing options...
Anna C Posted February 25, 2017 Share Posted February 25, 2017 Would some kind person at this afternoon's performance be kind enough to tell me what time it finishes please as I'm meeting someone watching it afterwards. Many thanks. Last Saturday's matinée (1.30 pm start) finished at 4.40 pm, MAB - if that helps. Link to comment Share on other sites More sharing options...
alison Posted February 25, 2017 Share Posted February 25, 2017 It *ought* to be 4.30. Link to comment Share on other sites More sharing options...
Jam Dancer Posted February 25, 2017 Share Posted February 25, 2017 It started a couple minutes late so at the moment it looks like between 4:30 and 4:40. Link to comment Share on other sites More sharing options...
MAB Posted February 25, 2017 Share Posted February 25, 2017 Thanks people. Link to comment Share on other sites More sharing options...
Jam Dancer Posted February 25, 2017 Share Posted February 25, 2017 [quote name="Jillykins" post="202406" timestamp="1488032118 My real disappointment was Calvert as lilac fairy. A stumble at start of her first solo may have affected her confidence but she never convinced me she was a fairy. She is a talented dancer but I don't think this is her role. That is just me! That is unfortunate Jillykins and I was in attendance on Thursday and saw the same thing. But I was also in attendance on the Monday evening before when Calvert gave what I thought was a lovely reading of the role in an unscheduled performance. She was comfortable and in command in a way that she wasn't last Thursday evening. I haven't seen everyone in this role and I can't speak from the historical perspective of when the role was originally created and how it was danced. I can tell, however, when a dancer is struggling and uncomfortable - she wasn't on Monday evening. She also brings a feeling of "bienveillance" to the role and I found her mime clearer and more authoritative compared to some of the others. I think she has it in her to own the role and the stumble on Thursday was unfortunate. Not an excuse but the RB's lilac fairy variation is more difficult than that of some other major companies and it's impressive that they stick members of the corps (Storm-Jensen) in for some of these performances ... great chance for development. 4 Link to comment Share on other sites More sharing options...
Sim Posted February 25, 2017 Share Posted February 25, 2017 Oh my gosh, such a stunning performance from Yasmine Naghdi and Matthew Ball this afternoon. You would never know it was the third time in seven days that they had danced the roles (indeed, that it was their third time full stop!). It was so fresh, so assured, so wistful, so joyous, so classically pure and so purely beautiful....what a partnership, and what respect and understanding each has for the other. Long may this perfect pairing flourish! Oh....and if Miss Naghdi isn't promoted at the end of the season I will be chaining myself to Mr O'Hare's door until he changes his mind....just in case anyone cares to join me!! 14 Link to comment Share on other sites More sharing options...
bridiem Posted February 25, 2017 Share Posted February 25, 2017 Oh my gosh, such a stunning performance from Yasmine Naghdi and Matthew Ball this afternoon. You would never know it was the third time in seven days that they had danced the roles (indeed, that it was their third time full stop!). It was so fresh, so assured, so wistful, so joyous, so classically pure and so purely beautiful....what a partnership, and what respect and understanding each has for the other. Long may this perfect pairing flourish! Oh....and if Miss Naghdi isn't promoted at the end of the season I will be chaining myself to Mr O'Hare's door until he changes his mind....just in case anyone cares to join me!! I also thought it was a wonderful performance. Naghdi in particular danced with incredible authority and confidence - she just glowed. Ball was very elegant, terrific dancing, more reserved but I'm sure will grow into the role still more over the years. And they make a very touching couple, with an interesting balance between them. I also thought that many of the 'supporting' roles were really well danced. I liked Gina Storm-Jensen's Lilac Fairy very much - very attractive and expansive, and she disguised the difficulties with the solo well. I enjoyed all the fairies, but Anna Rose O'Sullivan was a superb Fairy of the Golden Vine - such animation! Her personality leaps off the stage, and I can't wait to see her in bigger roles. I also loved Meaghan Grace Hinkis and Luca Acri as Florine and the Bluebird - they really sold it and I thought their dancing was excellent. Above all, Elizabeth McGorian is unsurpassed as Carabosse. You almost feel that she's glad she hadn't been invited to the Christening - it gave her a perfect opportunity to employ her awful malevolence. Not a hint of camp in this rendering of the role - this is real evil at work. Brilliant. 8 Link to comment Share on other sites More sharing options...
VickyPage Posted February 25, 2017 Share Posted February 25, 2017 I agree wholeheartedly with Sim on the subject of Yasmine's promotion!! I'm so glad I got to go this Saturday as well. She was just as stunning as last week, dancing with an infectious joy that the audience couldn't help but share. I thought Matthew had improved a bit, particularly in the Act 2 solo, where I think he was starting to have a stronger grasp of characterisation. He told me at the stage door that he enjoyed this afternoon more thanks to the 'practice' of another performance on Wednesday. Leticia Stock managed another beautiful fairy variation and the nasty part of a Florestan sister gorgeously. I also loved Meaghan Grace Hinkis' Florine, although probably not quite as much as Anna Rose O'Sullivan's last Saturday. Poor Gina Storm-Jensen was lovely at every point except those difficult pirouettes in the Lilac solo. I think, since she fluffed them a bit last Saturday too, that she might now be approaching that section of choreography so nervously that it makes things even worse. Anyway, I'm sure I'm not the only one who got a tear in their eye watching Yasmine and Matthew again! 5 Link to comment Share on other sites More sharing options...
alison Posted February 25, 2017 Share Posted February 25, 2017 I'm sorry to hear that: I think Storm-Jensen is a dancer who would have the right sort of characterisation to make a good Lilac Fairy (I haven't really had much chance to assess her from a technical point yet), so hope she can overcome these initial difficulties. Link to comment Share on other sites More sharing options...
capybara Posted February 25, 2017 Share Posted February 25, 2017 I'm sorry to hear that: I think Storm-Jensen is a dancer who would have the right sort of characterisation to make a good Lilac Fairy (I haven't really had much chance to assess her from a technical point yet), so hope she can overcome these initial difficulties. Oooooh, Alison. I don't really like the idea of the audience 'assessing' dancers. ---------------- I so agree with what has been said above about Yasmine Naghdi. I feel that she has made the role of Aurora her own: beautiful; sensitive;musical; technically secure. And this is still only the beginning.............Come on, Kevin, you know what you have to do - preferably NOW!!!! Matthew Ball gave, I thought, a strong performance today. He seemed more 'in role', less concentrated on the steps per se and, as a result, his Prince 'lived' and his dancing flowed. Although it is early days for him in classical works in particular, I really feel that I am watching an artist, not just a dancer. Among the interesting supporting cast, Anna-Rose O'Sullivan, Benjamin Ella, Luca Acri, Gina Storm-Jensen and, of course, Elizabeth McGorian shone the brightest for me. Gina is a benevolent Lilac Fairy and exudes the kind of grace and goodness which seem to elude other occupants of the role this season. 7 Link to comment Share on other sites More sharing options...
Nina G. Posted February 25, 2017 Share Posted February 25, 2017 Well.....(sigh)....what is there to add. Yasmine Naghdi has stolen many hearts and her Aurora this afternoon was danced again with incredible confidence, so beautifully combined with her very pure technic. She has danced the role of Princess Aurora three times this week, an enormous achievement in itself. The applause she received upon her first entry in Act 1 felt so warm and welcoming. In fact, the applause she got throughout the ballet felt almost as if she was an already well-established favourite at Covent Garden; she certainly seems to have many fans. Matthew Ball is improving rapidly and this afternoon he really showed himself to be a great young artist. I can only fantasise what this couple will be capable of producing in a few years time! Thanks to all the wonderful dancers this run of Sleeping Beauty has received a new lease of life. 7 Link to comment Share on other sites More sharing options...
WoodlandGladeFairy Posted February 25, 2017 Share Posted February 25, 2017 (edited) What a wonderful afternoon at the Royal Opera House, Yasmine Naghdi and Matthew Ball were just gorgeous together and the dancing was top notch. Yasmine Naghdi's lines were just beautiful, she has such an 'English' style and her moves were full of feeling, she danced from her fingers to her toes, pure classicism in human form. Her Rose Adagio was pure joy, the Vision scene just ravishing and the wedding PDD was elegant and grand. Matthew Ball has the maintee looks and made for a handsome prince, truly noble and he looked so good together with Yasmin Naghdi. Gina Storm-Jensen was a lovely Lilac Fairy, and Anna Rose O'sullivan was a lively Fairy of the Golden Vine. And OMG the costumes are even prettier live, so sparkly and beautifully detailed. The music was played wonderfully as well, the ultimate romantic score by Tchaikovsky. I have always wanted to see the Royal Ballet in The Sleeping Beauty at the Royal Opera House and that dream was fulfilled, I left with a massive grin on my face, just a magical afternoon. Can't forget to mention Elizabeth McGorian who was brilliantly scary as Carabosse. One final thing I must save is that the performance this afternoon was infused with a youthful liveliness, nothing seemed to drag and I just didn't want it to end. Edited February 25, 2017 by WoodlandGladeFairy 12 Link to comment Share on other sites More sharing options...
Scheherezade Posted February 25, 2017 Share Posted February 25, 2017 I feel particularly disappointed to have missed both the Naghdi and Hayward performances during this run. I knew that I couldn't make the Naghdi/Ball dates but had hoped to see Hayward last Monday. Well, that wasn't to be, so thanks to everyone for posting their impressions on her debut, which is the next best thing. As others have said, Takada did a lovely job on Monday, even more remarkable given the dearth of rehearsal time with Alexander Campbell, the Bluebird to her Princess Florine on Thursday. I am assuming that she was standing in for Frankie Hayward on that occasion too? Nunez and Muntagirov were, of course, everything that you expect of them, particularly Muntagirov who, as always, just left me wanting more, and not only me if the bravos from the amphitheatre were anything to go by. Nunez was her usual polished self, hard to fault in any respect, although if I had to criticise I would say that Takada injected more youthfulness into the role when she burst onto the stage in act 1. Nunez, by comparison, was already a fully-formed, mature princess. Jillykins has mentioned that Nunez seemed to be struggling with the Rose Adage. Similarly, on Monday, Takada's balances seemed unsteady. From what I have read, Naghdi has been rock-steady throughout and she also stood out on Thursday as the Fairy of the Woodland Glade and one of Florestan's sisters with her musicality and her beautiful arms. Which leads me on to Yuhui Choe. My daughter asked me on Monday whether she was still dancing as she hadn't seen her for a while. Well, she was dancing on Thursday. She didn't have a lot to do but drew the eye as she always does. And, finally, I absolutely loved the endearing and spontaneous hug that Nunez gave Muntagirov during the curtain calls. 9 Link to comment Share on other sites More sharing options...
Jam Dancer Posted February 25, 2017 Share Posted February 25, 2017 This afternoon was my final Sleeping Beauty of the season and it was a fitting end to my 2 weeks of escapism. I am not yet sure how I will get through next week... Anyway... not much new to add. Yasmine's performance was radiant and confident. I love the way she uses her long limbs and her "expansive movement". Matthew was gallant and I was happy to see him do well this afternoon...I'm sure it was nerve wrecking! I really like Anna-Rose O'Sullivan. She brings her personality (what little I know of it) to her dancing and I find that quite infectious. Luca Acri and Meaghan Grace Hinkis were enchanting in the Bluebird pas de deux too. I started with Hayward's performance and ended with Naghdi's and saw Takada and Nunez in between. I enjoyed them all for different reasons. A few observations: Yes Hayward and Naghdi have different styles but I enjoy them both In equal measures. I hope they continue to develop and to delight us in the future and just when we think we've figured them out - may their performances confound all our "expertise" and assumptions. I did notice similarities in how Hayward and Naghdi approached the role in comparison to say Nunez though. After Aurora accidentally pricks herself with the needle and the feels the first effects of the spell, both Hayward and Naghdi hit the floor - Naghdi was on bended knee and if my memory serves me right, Hayward was sitting on the floor. Nunez was still standing after being a bit dazed. Then when it came to the bit where Aurora tries to reassure her friends that she is OK and it was just a little prick of the finger, Hayward went up quite close to her friends so they could see it was nothing serious. Naghdi got close as well but Nunez's Aurora was quite a way back from her friends in comparison. Lastly, there was the passage of dancing immediately before Aurora falls asleep...Hayward was wobbly in her movements and Naghdi wobbled and weakened as she progressed. Nunez went full throttle (not a wobble) and did every step picture perfect and the fell off to sleep. I appreciated the finer details the younger dancers brought to their performances... Award for the longest awakening kiss: Cheeky Matthew Ball! ☺️In most of the performances I saw, the Prince gave Aurora a peck and then lightning flashed, Carabosse gets her comeuppance and Aurora wakes up. Perhaps Matthew went a bit early but it wasn't just a peck this afternoon !!???? I do think the prologue is worth seeing as it is danced so much better than when I saw the production last. Is it all perfect? Of course not but there is so much promise there at the moment, it's exciting to watch. Kudos to Joseph Sissens and Chisato Katsura, two of the artists (amongst all of the other promising dancers) to whom my eyes kept being drawn. 9 Link to comment Share on other sites More sharing options...
Saodan Posted February 25, 2017 Share Posted February 25, 2017 I feel particularly disappointed to have missed both the Naghdi and Hayward performances during this run. You and me both. 1 Link to comment Share on other sites More sharing options...
zxDaveM Posted February 25, 2017 Author Share Posted February 25, 2017 Oh....and if Miss Naghdi isn't promoted at the end of the season I will be chaining myself to Mr O'Hare's door until he changes his mind....just in case anyone cares to join me!! We can share chains Sim! 2 Link to comment Share on other sites More sharing options...
alison Posted February 26, 2017 Share Posted February 26, 2017 Gina is a benevolent Lilac Fairy and exudes the kind of grace and goodness which seem to elude other occupants of the role this season. That was rather what I was expecting, based on what I've seen her do previously - thanks. Choe's Aurora's were all in December, I think, which is why she may be perceived to have rather a low profile at the moment. Link to comment Share on other sites More sharing options...
Sim Posted February 26, 2017 Share Posted February 26, 2017 Any views about Miss Osipova's RB debut tonight please? 1 Link to comment Share on other sites More sharing options...
Mummykool Posted February 26, 2017 Share Posted February 26, 2017 Oh....and if Miss Naghdi isn't promoted at the end of the season I will be chaining myself to Mr O'Hare's door until he changes his mind....just in case anyone cares to join me!! Make room for me too please! 3 Link to comment Share on other sites More sharing options...
nycitybird Posted February 26, 2017 Share Posted February 26, 2017 (edited) Has Yuhui Choe ever danced the lilac fairy? I think she'd be perfect for it. Edited February 26, 2017 by nycitybird 3 Link to comment Share on other sites More sharing options...
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