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Terrific photos, Rob. You really captured the moment. I was there and I wasn't sure who the flower givers were as they were all wearing masks. I thought I recognised Kevin, who was first, then Gary Avis and Christopher Saunders but not sure about the others. 

I'll comment more about the performance when I'm home. I'm on the train and it's very shaky!

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3 minutes ago, jmhopton said:

Terrific photos, Rob. You really captured the moment. I was there and I wasn't sure who the flower givers were as they were all wearing masks. I thought I recognised Kevin, who was first, then Gary Avis and Christopher Saunders but not sure about the others. 

I'll comment more about the performance when I'm home. I'm on the train and it's very shaky!

 

Thank you, Edward Watson is the one in the white shirt

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I was actually very disappointed in Nunez and Muntigarov in the Sleeping Beauty pas de deux. I didn't feel like they had the sharpness they usually have in this piece. Their fishdives were very slow.

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Thanks to a return ticket I was there today. First time in 18 months and I felt it was well organised and I felt safe. I know the seating can’t remain but it was great for me not to have anyone sitting directly in front of me.

 

thoroughly enjoyed the performance - those around me didn’t enjoy the Mats Ek piece. I thought it weirdly amusing but out of place in this programme. Lovely farewell to ms Stix-Brunell.

 

Got to admire ms Naghdi a ballerina fully majestic in the role of Aurora. 

 

i must say it was a bit challenging getting out of Covent Garden- two tube stations shut due overcrowding with football fans. Thankfully I was wearing trainers and walked to Charing Cross but there were a lot of noisy fans there too.

 

very glad I went though

 

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1 hour ago, Ivy Lin said:

I was actually very disappointed in Nunez and Muntigarov in the Sleeping Beauty pas de deux. I didn't feel like they had the sharpness they usually have in this piece. Their fishdives were very slow.

 

Not everyone takes the fishdives at breakneck, jaw-bashing pace, of course.

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1 hour ago, alison said:

With regard to Ms Stix-Brunell, she is one of those few First Soloists who will actually leave a Principal-sized hole in the company.

My sentiments exactly. Hers was always a reassuring presence on the cast list, and I thought her performance today was out of this world. I'm sure she will find an outlet for her obvious intelligence at Stanford, but she will be much missed in London. 

Edited by ChrisG
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1 hour ago, Shade said:

Thanks to a return ticket I was there today. First time in 18 months and I felt it was well organised and I felt safe. I know the seating can’t remain but it was great for me not to have anyone sitting directly in front of me.

 

thoroughly enjoyed the performance - those around me didn’t enjoy the Mats Ek piece. I thought it weirdly amusing but out of place in this programme. Lovely farewell to ms Stix-Brunell.

 

Got to admire ms Naghdi a ballerina fully majestic in the role of Aurora. 

 

i must say it was a bit challenging getting out of Covent Garden- two tube stations shut due overcrowding with football fans. Thankfully I was wearing trainers and walked to Charing Cross but there were a lot of noisy fans there too.

 

very glad I went though

 


Were you in the front left curve of the Stalls Circle? Some people there couldn’t contain their laughs, a bit distracting. I really enjoy it, both Magri and Osipova were fantastic.

 

I was really impressed with Joonhyuk Jun’s Bluebird, so pleased I got to see that.

 

 

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7 hours ago, alison said:

With regard to Ms Stix-Brunell, she is one of those few First Soloists who will actually leave a Principal-sized hole in the company.

 

and she had a justifiably lovely Principal-sized farewell which will be difficult to replicate in other circumstances.

Other takes from yesterday afternoon:

  • lovely to see Hannah Park and David Donnelly finally get on stage in Anemoi (how is it that David has not yet moved higher up the ranks?)
  • divertissements highlights from Vadim Muntagirov and Beatriz Stix Brunell
  • a fine Bluebird from Joonyhuk Jun and Isabella Gasparini (although he needs to learn how to use facial expression to add gloss to his fine technique); and
  • a simply beautiful Aurora from Yasmine Naghdi.

The Company ended on a high as it deserved to do and the audience cheered at full house volume. Happy and privileged to have been there.

 

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1 minute ago, capybara said:

 

Other takes from yesterday afternoon:

  • lovely to see Hannah Park and David Donnelly finally get on stage in Anemoi (how is it that David has not yet moved higher up the ranks


Despite Hanna being listed in the digital cast sheet she didn’t appear, she was replaced by Yu Hang 

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17 minutes ago, Rob S said:


Despite Hanna being listed in the digital cast sheet she didn’t appear, she was replaced by Yu Hang 


I knew Hannah was injured but I didn’t recognise that it was Yu Hang dancing.

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8 hours ago, alison said:

 

Not everyone takes the fishdives at breakneck, jaw-bashing pace, of course.

 

But isn't more speed preferable, all other things being equal? Is there an argument for taking things slower?

 

(I've been watching the Fonteyn pdd and it's *very* fast in the fish dives.)

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Speaking of the fishdives, I think a lot of people are doing it slower now. The fastest nowadays that I've seen from RB recording is Bonelli with Cojocaru and Cuthbertson with Polunin. After that it's slower

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I thought the last time I saw SB that the fish dives were a bit on the slow side, and consequently felt dull and almost clumsy.  Why take them slower, can't the current crop of dancers manage the speed of the previous generations?  Now that I find hard to believe!

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33 minutes ago, Fonty said:

I thought the last time I saw SB that the fish dives were a bit on the slow side, and consequently felt dull and almost clumsy.  Why take them slower, can't the current crop of dancers manage the speed of the previous generations?  Now that I find hard to believe!

 

Question for the experts - How much does coaching come in to it? After seeing the micro-managing that goes on in the (now unavailable) Swan Lake Insight, my initial thought was that if Alexander Agadzhanov wanted the Nunez/Muntagirov fish dives to be faster, they would have been faster. 

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1 minute ago, oncnp said:

 

Question for the experts - How much does coaching come in to it? After seeing the micro-managing that goes on in the now (unavailable) Swan Lake Insight, my initial thought was that if Alexander Agadzhanov wanted the Nunez/Muntagirov fish dives to be faster, they would have been faster. 

 

This is the thing! I find it hard to believe that such fine technicians as Nunez and Muntagirov aren't capable of doing it faster.

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49 minutes ago, bangorballetboy said:

 

Musicality and lyricism

 

Sorry to disagree but the fishdives segment is one of THE wow moments in the entire balletic cannon...like the 32 fouettes in SL. I expect sheer explosion. Pow! I’ll never forget when Cojocaru/Kobborg   performed them here at the Kennedy Center. 

 

Go Big or Go Home.

 

 

 

 

 

Edited by Jeannette
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A bit harsh indeed….

 

I have seen clips of Muntagirov doing the fish dives with other dancers and they were executed very fast, so it certainly isn’t that he can’t cope (plus I noted he held that last one rock steady for what seemed like ages). And I’m quite sure that Marianela is technically capable of doing anything she puts her mind to. So it is very possibly down to personal preference either of the dancers or whoever is coaching them.

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I will write some kind of review on the two performances I saw this weekend soon, but currently feeling the need to unwind after a fraught journey home involving riotous football crowds between Covent Garden, Leicester Square and, eventually, Embankment, a cancelled train, and a very late arrival in Plymouth in the pouring rain with not a taxi to be had anywhere….

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I agree with balletfanp’s first post but I think I will have to stop reading this thread because it’s dampening the rosy glow with which I left the ROH after yesterday’s fine matinee.

 

I suppose that I’m the kind of ballet watcher who, barring obvious technical errors, let’s the movement, the drama and the artistry ‘wash’ over me ‘in the moment’. I wonder whether streaming makes viewers more pernickety?

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2 hours ago, bangorballetboy said:

 

Musicality and lyricism

Yes I was going to suggest this was the reason for the slower fish dives. I'm very far from an expert so the following may not be the best description! But in my viewing of Nuñez and Muntagirov in Sleeping Beauty (perhaps also in some of the other big classical roles), there seems to be emphasis on drawing out a remarkable lyricism from the music. Remarkable in that for many dancers, just dancing the choreography convincingly can (I believe) be a big challenge. But Nuñez has comfort and time to play with the music at every moment. Having seen them dance this pas de deux both on Friday and 18 months ago, my personal interpretation of the slower fish dives is that to go faster would break the musicality and be out of keeping with the way they approach the pas de deux. 

 

I really enjoy the way they dance it. But I also like having the opportunity to watch other dancers who take a more attacking approach and include the excitement of faster fish dives. I was lucky enough to see Osipova do this in an earlier performance. It's this kind of thing that adds to the joy of seeing alternate casts 😊

 

 

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It’s all subjective but for me lightness and speed are an integral part of musicality – there has to be something to balance the creamy stretch, otherwise it’s too much cream for my taste, and not always a specific response to the music. In the case of the fish dives I do think the music wants something quick and explosive (surely the reason the fish dives were introduced?) but it is the dancers’ choice and also no mean feat after so many months off! Plus the added pressure of international streaming…. As Dan says, so many talented dancers each with different qualities and styles – always plenty to enjoy.

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By the way, now the RB season is at an end, could I suggest a(n international?) moratorium on the use of Spiegel im Spiegel?  It seems to me that it's been used an awful lot during the last year and a half, and I must admit that I'm getting heartily sick of it.

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  • alison changed the title to Royal Ballet: Beauty Mixed Programme, July 2021

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