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Starting this thread perhaps a little early, but I've just noticed that the first night tomorrow starts at 7 PM, and hope everyone who has tickets has realized this!

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49 minutes ago, alison said:

Starting this thread perhaps a little early, but I've just noticed that the first night tomorrow starts at 7 PM, and hope everyone who has tickets has realized this!

 

Thanks Alison - I'd noted the time, but then failed to register it when arranging to meet my friend beforehand! So thanks very much for the reminder.

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On a similar note, I snapped up an SCS place from the ROH website for the 6th March performance yesterday morning....it was only because, later in the evening, I saw someone selling an opera ticket for the 6th on this forum that I checked the ROH webite and saw that Swan Lake is at 12pm....that could've been embarrassing turning up at 6.50pm as previously planned!!

Edited by Rob S
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Was listening to the requests programme on Classic FM this afternoon and there was an advert for the ROH which I didn't recall hearing before. it went something like 'if you want a night at the opera but can't make the theatre go and see the Royal Opera production of Fidelio at the cinema on March 17th' . It then followed it by saying You can also see the ballet Swan Lake at the cinema on April 1st. Why start off saying a night a the opera if you were also including ballet in your advert? Surely they could have said something like 'If you want to see world class opera and ballet but can't get to London you can see Fidelio and Swan Lake in cinemas worldwide'. Classic FM is broadcast all over the world but I don't think there was a mention of the international reach of the cinema broadcasts.

 

A little later on there was a request for Swan Lake music by a lady who sounded super excited as she was having her first visit to the ROH tonight to see Nunez/Muntagirov in Swan Lake. Lucky lady to see such exceptional dancers in such a great production as her introduction to the ROH! I only hope she has good enough tickets to see everything and would be interested to know what she made of her experience if she reads this column.

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24 minutes ago, Rob S said:

What a great first two acts this evening. Added bonus, seeing Samantha Raine (with notepad) and Christopher Saunders heading for the stage beside door 1A at the first interval 🙂

 

I have often seen Chris Saunders, Kevin O'Hare and other RB staff on the last two rows of the Grand Tier right - obviously the best seats for viewing!

 

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A vision of pure beauty with  Nunez and Muntagirov heartbreakingly lovely, Sambe flying more than dancing and  it's such a beautiful production...those sets... those frocks...if .not a perfect one ( the ending) 

 

 

 

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Just when you think Nunez couldn't possibly get better, she does.

Just when you think Muntagirov couldn't possibly get better, he does.

 

AND Sambé, Magri, Kaneko - scintillating.

Gartside a sleazy, pale, sordid Rothbart - embodying Evil, and finally eclipsed not with a bang but with a whimper.

McGorian such a beautiful, imperious Queen.

The four princesses (Mendizabal, Hamilton, Choe and O'Sullivan) giving full value to their roles and watching Odile capture their prince with a mixture of awe and hatred.

Terrific swans and perfect cygnets.

 

The ending - sadly anti-climactic.

The sets and costumes - gorgeous.

The performers - unbelievable.

 

 

 

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Oh, Bridiem, there is absolutely nothing that I can add to your post. A pitch-perfect appraisal of a memorable and quite wonderful evening. I was about to say extraordinary but when Nuñez and Muntagirov dance together the extraordinary becomes the expected norm and, as you say, each superlative performance somehow manages to surpass the last. Just magical. And so glad that I was there. 

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Echoing all the praise for Nunez/Muntagirov last night - although in my case I skipped Act IV because I find Scarlett's choreographic contribution and the ending unmoving and disappointing. 

 

In her recent Auroras and last night as Odette/Odile I feel Nunez has reached astonishing new levels of virtuosity in her dancing and artistry in her portrayals. Muntagirov equally has attained a new maturity and confidence last night showing extraordinary refined elegance and perfect partnering in the White Act, and in the black act throwing off 6 double tours with sheer joy and complete nonchalance.  

 

Random other thoughts: 

I still find the whole Rothbart story line doesn't hang together.

Sambe's dancing as Benno a touch forced - and that Act 1 costume is one of the few fails. 

Kaneko and Magri divine. 

The costumes for the princesses are unflattering. 

I have seen better Neopolitan dances than Hinkis/Zucchetti yesterday. 

 

 

 

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A luxurious Swan Lake opening night and much to admire, not least the fabulous Corps de Ballet. I do have a couple of quibbles. I thought the tempi were at times too slow, particularly in Act 2, and I feared the performance was approaching the point of becoming self indulgent. I would like to feel much more the pulse of the music and do hope other Odettes/Odiles will be a shade more measured. I thought the Neapolitan Dance could have done with a bit more polishing, and not just the tambourine playing. I know the ending is not generally admired. I have always liked it but had hoped Siegfried might respond more quickly to the exhortations from the swans so that the final moments were not so rushed. Perhaps singing ‘happy birthday twice’ might provide another guide - even once I think would make a huge difference?

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Agree about the tempi JohnS, the same thought passed through my mind more than once- let's pick up the pace just a shade.

 

But still thought Nunez was beyond praise, so totally in control of every phrase and creating  an equally effective and stunning Odette and Odile with a faultless technique and ravishing lines.

 

Agree entirely about the 'Nutcracker Buttons' costume which does Benno no favours and clashes with the - utterly beautiful - rest of the sets. I remember commenting on that on the first night- it looked as if he'd rushed in from the Kingdom of the Sweets with a telegram....

 

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29 minutes ago, JohnS said:

A luxurious Swan Lake opening night and much to admire, not least the fabulous Corps de Ballet. I do have a couple of quibbles. I thought the tempi were at times too slow, particularly in Act 2, and I feared the performance was approaching the point of becoming self indulgent. I would like to feel much more the pulse of the music and do hope other Odettes/Odiles will be a shade more measured. I thought the Neapolitan Dance could have done with a bit more polishing, and not just the tambourine playing. I know the ending is not generally admired. I have always liked it but had hoped Siegfried might respond more quickly to the exhortations from the swans so that the final moments were not so rushed. Perhaps singing ‘happy birthday twice’ might provide another guide - even once I think would make a huge difference?

 

I do agree about the tempi at times, JohnS. In particular, when Odette came on to protect her swans from Siegfried in Act II and started to plead with him, I thought for a moment that the conductor and/or orchestra had actually gone home since there was complete silence when the music normally starts. But in general I found that just when I was getting dubious about the tempi, they either picked up sufficiently or were used so luxuriously by Nunez that I no longer cared. I also thought the Neapolitan was both somewhat slower than usual and less sparkling. And I did get frustrated by Siegfried lying there in a comatose state in Act IV for so long (or indeed at all).

Edited by bridiem
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1 hour ago, bridiem said:

 

I do agree about the tempi at times, JohnS. In particular, when Odette came on to protect her swans from Siegfried in Act II and started to plead with him, I thought for a moment that the conductor and/or orchestra had actually gone home since there was complete silence when the music normally starts. 

 If that had happened during the cinema screening I’d have definitely thought the speakers were on the blink

Edited by Rob S
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Rob S, really appreciate you taking the time to post the cast sheet so that we can see the dancers in the minor roles. Would be lovely if this is something that those fortunate enough to have tickets for this run could continue. Thank you .

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Thanks Rob.  I am seeing this cast on Tuesday, so do let us have your thoughts please!  I wonder why three of four cygnets have been changed? I guess this is one bit where you really, really need to have rehearsed together!

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1 hour ago, Odyssey said:

Rob S, really appreciate you taking the time to post the cast sheet so that we can see the dancers in the minor roles. Would be lovely if this is something that those fortunate enough to have tickets for this run could continue. Thank you .


Now I’ve mastered Flickr on my phone I’m happy to  do it for the other casts I’m seeing 👍

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33 minutes ago, Sim said:

Thanks Rob.  I am seeing this cast on Tuesday, so do let us have your thoughts please!  I wonder why three of four cygnets have been changed? I guess this is one bit where you really, really need to have rehearsed together!


 I think you’re in for a treat, even though Takada is never my first seat booking I’m always glad I see her

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Just now, Rob S said:


 I think you’re in for a treat, even though Takada is never my first seat booking I’m always glad I see her

Same...but as time is going on I am starting to book to see her, as with this run of SL, and I would rush back to see her Juliet again. That knocked me for six!

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Well, I was a lot more emotional just now compared to last night. That was amazing.

 

I’m sure I didn’t see Siegfried’s sisters in the curtain call last night, certainly not the red run...but they were there today 😍

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