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Have received an email to say: 'We are contacting you to let you know that, due to injury, Reece Clarke is replaced by guest artist Jacopo Tissi as Romeo on Friday 17 May, Thursday 23 May and Wednesday 29 May.'

 

Post crossed with BBB above.

Edited by bridiem

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I wondered what Tissi was doing in London ...... I don't think he has this version in his rep ? 

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Having looked up Tissi on the Bolshoi website https://www.bolshoi.ru/en/persons/ballet/3575/ Romeo isn't mebtioned in his repertoire but it is in the bio that's now up for him on the ROH website so presumably he's added it recently, as the Bolshoi rep list only goes up to 2018. Born 1995 - he's certainly a lot younger than Nunez! He looks the part alright. However I wonder why, given Clarke got injured a month and a half ago, they didn't get one of the other RB men to learn the role? Surely a dancer can learn a leading role in that time?

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48 minutes ago, Dawnstar said:

However I wonder why, given Clarke got injured a month and a half ago, they didn't get one of the other RB men to learn the role? Surely a dancer can learn a leading role in that time?

 

Reece Clarke’s height makes him very hard to replace. All the other tall possibilities are surely either all overcommitted already, no longer dancing the role, or appearing in their own scheduled performances too close to the dates Clarke was scheduled for.

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The same cast as described in imy review of the Saturday matinee.  Brilliant!  

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7 minutes ago, RuthE said:

 

Reece Clarke’s height makes him very hard to replace. All the other tall possibilities are surely either all overcommitted already, no longer dancing the role, or appearing in their own scheduled performances too close to the dates Clarke was scheduled for.

 

But Nunez isn't particularly tall, is she? Why would she need a tall partner?

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12 minutes ago, RuthE said:

 

Reece Clarke’s height makes him very hard to replace. All the other tall possibilities are surely either all overcommitted already, no longer dancing the role, or appearing in their own scheduled performances too close to the dates Clarke was scheduled for.

 

I meant could they not have got one of the men who hasn't danced it before & wasn't originally scheduled to dance it to learn the role in a month and a bit. I realise that tall, experienced Romeos are in short supply.

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10 hours ago, capybara said:

By deduction, it could be Nehemiah Kish.

I think Luca Acri will be Mercutio.

Yes, Luca Acri is Mercutio, Ben Gartside is Tybalt,  Nicol Edmonds is Benvolio

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24 minutes ago, penelopesimpson said:

Whoopi Doo!!!  Can't wait.  I am also coming with a friend who has never seen R&J.  

Wow what a great way to start!!

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I'd assumed Tissi might have danced Romeo at La Scala (I am thinking of the right dancer, aren't I?)

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Although he was at La Scala it doesn't list Romeo as one of his roles( just looked!) 

But perhaps he is a very quick learner! 

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It seems such a shame that with such a lot of talent in the company the RB can't field its own replacement Romeos :(  I know they've been pretty unlucky so far, but even so ... 

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Finally getting around to my thoughts on my first ever double ballet day on Saturday, seeing both the matinee and the evening performance.

 

I really enjoyed both performances - both wonderful in their own ways. For me the evening performance had the edge but I should point out that I was sitting in the Amphi for the matinee and the front row of the stalls in the evening, so I did get two very different perspectives!

 

Hayward was wonderful as Juliet. She has a very youthful and childlike look in any case, which suited the character perfectly, but more than that, she “projected” right up to the Amphi - I was never in any doubt as to her emotions, both from her face and every movement of her body, which seemed to express everything she was feeling just in terms of its movement.

 

I had come to the matinee specifically to see this cast - I wanted to see Hayward’s Juliet - but had also heard so much about Corrales and really wanted to see him too. I wouldn’t hesitate to see him again, but I did find myself wondering if he was fully recovered from his injury yet, because he did seem a little more cautious in his dancing than I had expected - although “cautious” is possibly too strong a word. Also, I didn’t really “feel” him from right up in the Amphi as I did Hayward, but, as several people have already said, the mop of hair was probably at least partly responsible for that as it obscured his features - and any facial expressions - too much. I did think that they made a lovely pairing although I’m not sure the chemistry was really buzzing as yet, but I think that could well develop if they continue to dance together.

 

Hayward’s terror and revulsion as she contemplated taking the potion was palpable and pitiful and one of the highlights of the performance for me.

 

I thought Ball’s Tybalt portrayal was very good, although I preferred Whitehead in the evening, if I’m honest - more menacing.

 

The supporting cast were all wonderful - Hay in the afternoon, Ella in the evening - and I don’t think I can really add to the plaudits already given to Sambe - brilliant dancing, engaging characterisation, and a special round of applause from me for doing it twice in a day! I even felt that he was even more on fire in the evening, although that may have been partly the effect of proximity!

 

I love Lamb’s Juliet. Possibly a more restrained, gentler, shyer portrayal than Hayward’s, but just as effective. I don’t see the coldness/coolness that some say she has, she has the most expressive face, particularly her eyes, which she uses to great effect. I loved her adoring, smiling looks at Romeo, although hardly surprising when that Romeo is Muntagirov!

 

One of the (many) things I love about Muntagirov’s performances is his sheer exuberance and love of dancing that he always projects, and it’s irresistible when combined with the portrayal of a young man in love as Romeo is. His ecstatic smile could light up the darkest of days, and his dancing was, of course, a thing of beauty.

 

I didn’t find this performance too “tidy,” as someone suggested. The passion was there in spades. And both portrayed the tragic downward spiral as events overtook them so well. Muntagirov emotions dancing with Juliet’s “dead” body felt heart-wrenchingly real - Lamb’s scream of realisation and despair was visceral and ugly. No wonder they both looked wrung out with emotion when first taking their applause.

 

I love the ballet itself but it always bothers me that nowhere does it hint that Friar Laurence sent a message to Romeo to explain the situation, but it never reaches him - to me, quite a crucial point. It does explain it in the synopsis but there is no indication of it in the ballet itself. But that’s just me nit-picking! The practical part of my mind takes over too much sometimes and I always find myself wondering why Juliet doesn’t stab herself on the bed rather than having to drag herself on to it and over it to reach Romeo.... but I’d better stop that now! 😂

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12 minutes ago, Balletfanp said:

I love the ballet itself but it always bothers me that nowhere does it hint that Friar Laurence sent a message to Romeo to explain the situation, but it never reaches him - to me, quite a crucial point. It does explain it in the synopsis but there is no indication of it in the ballet itself. But that’s just me nit-picking!

 

It bothers me too. Am I right in remembering that the Nureyev version fills in the gap?

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6 minutes ago, Rob S said:

Beatriz is doing brilliantly 🙂

 

You have that right!! 😎😍

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48 minutes ago, RuthE said:

 

It bothers me too. Am I right in remembering that the Nureyev version fills in the gap?

Yes, Nureyev shows Friar Laurence handing a letter to a friar to deliver to Romeo and then adds a scene to show him being killed by rogue soldiers on his way.  Nureyev also added a scene showing Benvolio reaching Romeo to tell him Juliet is dead.  Nureyev really did try to follow Shakespeare's play as closely as possible - even more so than Prokofiev!

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55 minutes ago, Rob S said:

Beatriz is doing brilliantly 🙂

 

Agree. Her expressive joy in the balcony pas de deux seemed to radiate both for the love of her Romeo and for her own milestone of this debut. 

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Finance, or the lack of it, and the promise to accompany my ballet going friend who has been ill, means that my one visit to R and J is the final one. Intrigued as to who I shall see, apart from Naghdi and Ball, and thoroughly enjoying everyone's comments. 

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3 hours ago, Odyssey said:

Meanwhile there is an ''embarrassment of riches' for the role of Juliet.

 

For me, especially for this ballet, I choose the debuts. It is magical to watch a dancer bring to life a role they have dreamt about their whole career and worked so hard to achieve. 

 

Beatriz Stix-Brunell was beautiful tonight. I left totally inspired by her (though I had some tears from Juliet’s emotion). 

 

And, as a serendipitous bonus, I was sitting next to her brother. Beaming with pride as you’d imagine

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Well, there you go, you never can tell what a visit to the ballet will deliver. I originally booked tonight's ticket because Will Bracewell was dancing Romeo (so sad he wasn't) but decided to stick with it and go anyway - not a difficult decision really.

I came away having witnessed a delightful Juliet debut from Beatrix Stix-Brunell who managed to bring freshness and much joy to the role. My best Juliet yet! (I haven't seen them all BTW).
I had a brief conversation with Ryoichi Hirano last week and he said tonight was all about Beatrix, which I thought was a lovely sentiment, so remembering that, I decided to concentrate on Beatrix. I was near the stage so could see the multitude of expressions which passed through her face right from the first minute she came on stage.  It was immediately different from any other Juliet, and continued to be so as she met Romeo and fell in love: so much characterisation. I've never seen this in Beatrix before, but perhaps she hasn't had the chance to ever show it.

Her dancing was exemplary too and she definitely benefitted from Rio's very secure partnering (contrast Corrales/ Hayward). The balcony pdd was delightful.  A lovely debut.

 

The rest of the case did not stand out for me as on Saturday (either performance). Nothing wrong at all and I thoroughly enjoyed it: there just wasn't the electricity, especially between the 3 leading males and Tybalt.  

 

So, well done Beatrix and let's hope she gets further chances to impress us.     

 

 

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Every time I’ve seen Beatriz dance, up until now only in soloist type roles, she’s always drawn my eye. So I was really desperate to see her dance Juliet and I’m so glad I did. Her innocence, overwhelming love for Romeo and desperation were so incredibly portrayed. She grew from childish and shy to determined. Her artistry was beautiful and Hirano supported her wonderfully. I’ve never really watched him properly but tonight I really enjoyed his interpretation of Romeo and felt his growth as he matured as he met Juliet, who he supported wonderfully with beautiful partnering. It was a stunning performance.

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6 hours ago, Dawnstar said:

Having looked up Tissi on the Bolshoi website https://www.bolshoi.ru/en/persons/ballet/3575/ Romeo isn't mebtioned in his repertoire but it is in the bio that's now up for him on the ROH website so presumably he's added it recently, as the Bolshoi rep list only goes up to 2018. Born 1995 - he's certainly a lot younger than Nunez! He looks the part alright. However I wonder why, given Clarke got injured a month and a half ago, they didn't get one of the other RB men to learn the role? Surely a dancer can learn a leading role in that time?

I seem to remember reading that he was at La Scala before Bolshoi - so wouldn't he be familiar with Macmillan's R&J from there?

Edited by Sharon
Typo

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