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Still, Yasmine is doing a fabulous job once again ūüėć

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I'm not a Friend and get cast change notices as well. 

I often book online so wonder if this is why.....if I went in and bought a ticket in person I wonder if would still get them? I'm trying to think....do they take your name when buying in person? I suppose if you pay with a card you pay online with there might be a link but otherwise they wouldn't know who they had sold the ticket too just that it was sold.

However if there were really last minute changes I wouldn't get them as would be en route to the ROH......hmmm though now have my iPhone perhaps ....my first show with the iPhone in tow will be on Dec 5th so will see .....though of course am hoping there won't be any cast changes that day!! 

 

 

 

 

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18 minutes ago, Richard LH said:

Exemplary dancing from Naghdi and Campbell tonight!

As we would expect!!  

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3 hours ago, Rob S said:

 

I’m a general public and I get notifications although I don’t remember getting one when the change is made on the day of the performance 

 

I got one saying Campbell was replacing Hirano last Monday.

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2 hours ago, Rob S said:

Yasmine is doing a fabulous job once again

 

Rob S, I am going to disagree with you! Tonight Yasmine did not simply do a fabulous job again, she reached entirely new heights. Somehow freed up - maybe because this was an unscheduled performance coming after some recent triumphs - she was simply wonderful and the audience roared their approval. Her first act variation had some of the loveliest dancing I have seen in over half a century of going to the ballet. Reminded me at times of Viviana Durante (high praise indeed for those who remember those performances). 

 

Others will no doubt want to write their impressions of her so perhaps I could add instead that tonight’s fairies were, to my taste, the best collection of the run so far; the most confident; and the most musical: Pajdak, Magri, Hamilton, Hinks and O’Sullivan. 

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Beautiful performance from Naghdi and Campbell tonight - both brilliant technically, but both also masters of stagecraft and so able to present their characters with theatrical flair and confidence. As Geoff has said, Naghdi danced incredibly in Act I - with an openness and grace that surpassed even her first night performance. AND, unlike on opening night, Carabosse (a slightly manic and very effective Hayley Forskitt) was visibly shattered in the mirror over the bed at the moment of the kiss, so clearly showing her defeat and destruction. Yay! (I like the fact that when Carabosse escapes down the hatch in Act I, the Lilac Fairy emerges through the haze of smoke that lingers after her; evil leaving its stench behind, but goodness able to come through it, dispel it and bring the clarity of love and truth in its stead. And Claire Calvert was a tranquil, authoritative Lilac Fairy, well able to bring about the resolution of the drama.)

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30 minutes ago, Geoff said:

 

Rob S, I am going to disagree with you!......

 

I nearly choked on my Pepsi there!!!ūüėģ

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Well, what more can we say about Yasmine Naghdi's glorious Aurora, so much has been said already...and her performance tonight is a truly unforgettable and memorable one. Whilst holding her last balance in the Rose Adagio the audience started clapping and it went over and above the music...and she still held her balance, beautifully and delicately done without any air of showing off. 

Whenever you think Naghdi has given her very best performance she surpasses herself yet again. It was, as others have said, a special night. Her grace, amazing control and technic, combined with her artistry, delivered an Aurora which was out of this world. As Geoff rightly said there was a new found freedom visible in Naghdi's dancing and it was very beautiful to watch, she really shone tonight, it was her best Aurora! Alexander Campbell was an accomplished partner and I also enjoyed watching him. 

Mayara Magri and Cesar Corrales the best Bluebirds I have seen in this run, both danced with so much conviction. I loved Claire Calvert's Lilac Fairy, she gets it just right. Romany Pajdak as Fairy of the Crystal Fountain, Mayara's Fairy of the Enchanted Garden and Anna Rose O'Sullivan's Fairy of the Golden Vine stood out amongst all the Fairies.

 

An unforgettable Sleeping Beauty tonight, well done to ALL the artists.

Edited by Xandra Newman
typo
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A small selection from tonight

 

a2

 

a1

 

a3

 

a4

 

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1 hour ago, Xandra Newman said:

 

Many thanks for drawing attention to this Xandra. Just one addendum: the writer says Aurora pricks her finger on her 16th birthday, which is what it says in the programme (and so presumably reflects the 1946 production, does anyone know?) But there is some confusion: the original Perrault tale does indeed say "fifteen or sixteen years" (Grimm later said fifteen) but the libretto for the 1890 premiere of the ballet clearly specifies she is twenty years old. 

 

Does anyone have any ideas as to why they choose a 20th birthday in 1890 (the manners of the Imperial court perhaps or the taste of the censor)? And why this was changed again in 1946 or more recently?

 

Edited by Sebastian

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I wanted to add a special word for Romany Pajdak as the Fairy of the Crystal Fountain; she is such an expressive dancer, and she made her fairy a real personality so you see the familiar solo as new. Brilliant.

 

I also thought that Mayara Magri was a vibrant Fairy of the Enchanted Garden, and Anna Rose O'Sullivan a thrilling Fairy of the Golden Vine. These two dancers go from strength to strength and are a wonder to behold. Magri was also a dynamic, characterful Princess Florine, and Cesar Corrales a high-flying Bluebird. I do however find his noisy landings distracting (and a bit worrying), and he always looks to me as if his shoulders are slightly hunched. Magri and Corrales do have great chemistry and I hope they will dance together more often. And a final word for Gary Avis's majestic King; gracious, handsome, imperious, loving, and as usual every gesture and every meaning clear across the whole sweep of the auditorium. He is a national treasure!!

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6 minutes ago, Sebastian said:

 

Many thanks for drawing attention to this Xandra. Just one addendum: the writer says Aurora pricks her finger on her 16th birthday, which is a common confusion. The original Perrault tale does indeed say "fifteen or sixteen years" but the libretto for the 1890 premiere of the ballet clearly specifies she is twenty years old. 

 

Does anyone have any ideas as to why this change was made, the manners of the Imperial court perhaps, or the censor?

 

That's interesting, Sebastian. The current RB synopsis says it's her 16th birthday, and I've always had that age in my head. I don't know, but perhaps 20 was some sort of coming-of-age age in Russia at the time, whereas 16 wasn't?? And now 16 does still have some of that connotation whereas 20 doesn't? Just speculating. (And 16 - or even earlier in some eras - would be an age when a princess would have been expected to be married off in past ages, whereas by 20 she would have been positively middle-aged!).

 

I was thinking last night that if Aurora hadn't pricked her finger, she would have been married off to one of the Princes in Act I and maybe ended up in India or Russia. I wonder how her life would have turned out then?!

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2 minutes ago, bridiem said:

 

That's interesting, Sebastian. The current RB synopsis says it's her 16th birthday, and I've always had that age in my head. I don't know, but perhaps 20 was some sort of coming-of-age age in Russia at the time, whereas 16 wasn't?? And now 16 does still have some of that connotation whereas 20 doesn't? Just speculating. (And 16 - or even earlier in some eras - would be an age when a princess would have been expected to be married off in past ages, whereas by 20 she would have been positively middle-aged!).

 

Thanks Bridiem (our posts crossed: as you were writing, I was updating my post!) That's a good suggestion: maybe there is a Russian member of the Forum who knows about pre-revolutionary birthday celebrations?

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19 minutes ago, bridiem said:

....and Cesar Corrales a high-flying Bluebird. I do however find his noisy landings distracting (and a bit worrying)....

 

Yes I noticed this too, Luca Acri was far quieter in his section and Alexander Campbell throughout. Someone mentioned earlier that Corrales goes to bits of the floor others don’t but the noise was everywhere he landed. Very enjoyable to watch though  

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Just a query as to who’s likely to be dancing the two principal roles on Saturday evening, if anyone knows. 

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Tonight’s cast 

 

King Florestan: Gartside 

Queen: McNally

Aurora: Osipova

Prince: Hallberg 

Catalabutte: Whitehead

Carabosse: Arestis

Lilac Fairy: Magri

 

Fairy of the:

Crystal Fountain: Turk Churches

Enchanted Garden: Hinkis Sissens

Woodland Glade: Calvert Donnelly

Songbird: O’Sullivan Hay

Jeremy Vine: Yuhuiiiii Corrales 

 

Lilac Fairy’s Cavalier: Clarke

 

English Prince: Clarke 

French Prince: Aumeer 

Indian Prince: Montes 

Russian Prince: Mock

 

Aurora’s Friends: Buvoli Gasparini Grennell Hinkis Bradbury Stock Storm-Jensen Turk

 

Countess: Murphy

Gallison: Montes 

 

Florestan and sisters: Edmonds Dias Calvert

 

Puss/White Cat: Emerton Bradbury 

Florine/Bluebird: Yuhuiiiii Acri 

Red Riding Hood/Wolf: Gasparini Mock

Grand Pas de Dutchie Osipova Hallberg 

 

 

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No cast change notice in the foyer but Ashley Dean is now the White Cat.

 

Oh and Marianela Nu√Īez is sat just in front of me ūü§©

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Does anyone know what happened at the end of the Prologue coda? Only Five Cavaliers and Hinkis was absent sneaking back on round the cradle as Carabosse arrived. And I didn’t think Sissens was back at the end ....

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3 minutes ago, Jamesrhblack said:

Does anyone know what happened at the end of the Prologue coda? Only Five Cavaliers and Hinkis was absent sneaking back on round the cradle as Carabosse arrived. And I didn’t think Sissens was back at the end ....

Noticed that too. Something happened to Sissens?

 

Rob S - where are you sitting?!

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Just now, Tebasile said:

Noticed that too. Something happened to Sissens?

 

Rob S - where are you sitting?!

 

I’m stalls circle B81

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Oh I get it, you don‚Äôt want to meet me, you want to see Ms Nu√Īez in her fluffy coat!! ūüėģ

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4 minutes ago, Rob S said:

Oh I get it, you don‚Äôt want to meet me, you want to see Ms Nu√Īez in her fluffy coat!! ūüėģ

Mostly for the fluffy coat now, sounds unmissable. 

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Just now, Tebasile said:

Mostly for the fluffy coat now, sounds unmissable. 

 

She’s sat a couple of rows up from the right hand entrance 

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Things going on in my head during the second interval, why is the foyer cafe ‚Äėunable to offer espresso based coffees for the interval‚Äô? And why are two occupants of the five (?) seats to my right looking at their phones during the performance?¬†

Edited by Rob S

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3 hours ago, RobR said:

Just a query as to who’s likely to be dancing the two principal roles on Saturday evening, if anyone knows. 


Anyone?

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I often find Osipova fascinating, magnetic; occasionally wilful. Didn’t like that Act One at all: very strange things going on with her hands, an unexpected impression of running out of steam at the end of the solo; and I don’t think this is a ballet in which trying to be overly naturalistic works. Will be interesting to see if Hallberg can settle her ...

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