bridiem

Well the more 'plebs' who decide to watch a screening the better, in my view.

Interesting to have an alternative view, aileen!

What a tremendous performance this afternoon. Very difficult to believe that Nagdhi and Ball were making their debuts since they both inhabited their roles so completely. Very different from Hayward and Campbell last night, and just as thrilling. Ball’s Albrecht was an arrogant, rather smug young aristocrat, very pleased with life and himself and enjoying his half-real romance with Giselle. But his arrogance was a veneer of youth, and when Giselle died the veneer crumbled and the devastated young man beneath it emerged with now real passion. Naghdi’s Giselle was so lovely, so sweet, so good; and when understanding came, it was too much for her and her mind gave way. Her Act 2 was full of grief; and yet, seeing Albrecht’s now true love, she gained strength from it and returned to her grave at peace. Throughout, the most stunning dancing from both of them. And Fumi Kaneko’s amazing Myrtha, once more flying through the air full of vengeance. Also delighted by Takada and Hay in the pas de six – terrific dancing, and Hay brings such life and ebullience to every role. And a great pleasure to meet some BCF members at the bottom of the escalator! I think we were out in force today (and yesterday). What an incredible and auspicious 24 hours for the RB, the ROH, and for ballet in this country.

I don't know, Fonty! But that's clearly the thinking. As you say it would be interesting if there were surveys of the cinema audience/s to find out why they've come and etc.

But people who wouldn't otherwise think of going may get interested in the possibility of watching the film because they recognise/like the presenters.

Seconded! A brilliant performance, the only problem being trying to watch every move and gesture of both Giselle and Albrecht at the same time… I thought that they both danced beautifully, and in Act 1 Hayward really was a Giselle who LOVED dancing – she luxuriated in her movement and filled it with joy. Campbell was an interesting, unusual Albrecht – I got the sense of someone discontented with his ‘real’ life and finding relief in the delightful peasant girl with the laughing eyes; when he realised his duplicity was going to be revealed, he was initially more concerned to protect himself than Giselle, and only when she died did the realisation of what he had done hit him. Hayward moved inexorably from happy flirtatiousness to bewilderment, disbelief and finally desperation and death. I found Act 2 really moving, because I felt that not just Albrecht but also Giselle had changed. She was no longer the blithe young girl of Act 1, or the anguished, betrayed lover; she had grown and matured so that all her focus was on helping Albrecht, on forgiving him, on stepping outside her past pain and (literally) reaching out to him. And he in his turn begged forgiveness, was overcome with the shame and guilt, and knew that in his grief he had found his true self, no longer selfish and discontented but brave and agonisingly clear-sighted. Hayward’s dancing in Act 2 was so light, so quick, so high; and she and Campbell were so well matched physically, technically and in terms of their musical responses. I though Mayara Magri was excellent as Myrtha – strong, powerful and implacable. I loved Fumi Kaneko in the pas de six – such beautiful and expressive dancing. I hope that she gets more and more opportunities. And in Isabella Gasparini I wondered if we were watching a future Giselle.

But aren't dancers always in the position of rehearsing one or more roles during the day whilst performing another in the evening? (I don't mean to be heartless! Just not sure why it should mean having to not dance a Giselle, which seems a huge sacrifice since there are not that many opportunities to dance these great roles.)

I saw Takada/Ella tonight - what a wonderful performance. Her dancing was beautiful throughout. After the porcelain delicacy of her opening scenes, she seemed to become transparent as the life drained out of her during the mad scene, which was quiet, almost reflective, as if the horror of what she was experiencing was too great to be fully expressed. And in Act 2 she was the epitome of grace and goodness, forgiving and supporting Albrecht without question, and so also winning her own final repose. In forgiveness we not only give but also receive redemption. And I really enjoyed Ella's performance - excellent dancing, and a very credible and touching portrayal of Albrecht as a young, foolish but sincere lover who got way out of his depth and then wanted desperately to turn back the clock. I also loved Fumi Kaneko as Myrtha - light, beautiful and slightly wild. Chillingly happy whilst going about her evil. But also, somewhere, a sense of loss; the knowledge that Giselle's is the better way. Because both Takada and Kaneko were so light, so fast, so exquisite, it made me realise that without her forgiveness, Giselle could have turned into a Myrtha. Slight echoes of Odette/Odile, and adding layers of significance that were very moving. Hilarion was danced by Kevin Emerton - new to me, and I thought very impressive. Full of character and with a strong stage presence, and so full of remorse for his behaviour when he realised its terrible consequences. And a mention for Moyna and Zulme - Olivia Cowley and Beatriz Stix-Brunell (last-minute cast changes) - who ran on for their entry so quickly that it was positively terrifying, as if they really were spirit creatures who didn't need the ground beneath them. Poor old Hilarion.

That's interesting, because I've had moreorless the opposite experience - i.e. I go in and am about to show my ticket to the usher (even though I usually know where I'm going) and they just say 'do you know where you're going?' and wave me through (and I'm sure it's not because they recognise me - the staff are too transient for that, and I don't go sufficiently often). Irrationally, I feel quite indignant when they do that, because there I am trying to let them do their jobs and they don't even show willing! If they don't show people to their seats, what are they there for really?! (NOT that this keeps me awake at night, you understand.)

I don't remember having seen this before! Wonderful. Thank you so much for posting it. (Why aren't the audience all leaping up out of their seats?! Such polite applause!).

I have no idea what is happening at ENB. But a few comments about what Charlotte Macmillan says: citing 'you can't please all of the people all of the time' is a time-honoured way of dismissing any negative views about anything, regardless of any justification there may be in them since Kenneth Macmillan's directorship of the RB ended more than 40 years ago, Charlotte Macmillan would have been about 3 at the time of any voting about this issue to dismiss dancers as 'infantilised adults' is grossly offensive to talented individuals who work in very demanding circumstances any abuse of power that may or may not be happening is for others to decide on. It is not, in my view, appropriate for Charlotte Macmillan to seek to close down any such discussion

I suppose the problem with cutting down adverts is that they provide income for/towards the cost of the 'leaflet'.

Thanks Ellie, that's very interesting. I had assumed that each company had their own pay scales.

Or at any of the companies? Is there a standard salary or does each dancer negotiate a separate contract?

So did I! And I forgot all about the tutu because I got so absorbed in watching the clip. This was one evil Odile! (And now I sound like Darcey Bussell on Strictly.)

I would prefer it to be possible to choose - if you don't want printed brochures, it should be possible to opt out of receiving them; if you do, it should be possible to receive them (with possibly a small charge involved towards printing and postage). I think these brochures used to be known as 'throw-aways'; actually, they're a very useful and attractive record of activity. (Not that I receive or keep them myself, nowadays - I don't have the space.)

There is often a lot of whooping at SW, but not so much in my experience for more tradtional classical ballet - maybe they don't offer so many cheap/free tickets to local young people for traditional work. The whooping at more modern programmes (including ones by ENB) tends to be indiscriminate, and so appears to be the expression of pleasure at a night out etc. Which is OK but difficult to take seriously in terms of the impact of a performance. And without wishing to open a can of worms, it's interesting that someone should feel able to openly be disparaging about people for being 'British, middle-aged and upperclass'.

So sorry Alison! I've often noticed that in fact - the booking page says there are x tickets left, but when you go into the seat selection page it doesn't tally (or there are no tickets showing). I suppose if someone else is booking at that moment it could sometimes happen, but it happens regularly even when there are supposed to be a number of tickets available.

Yes I think the Rhapsody redesign/s were a disaster. Thank goodness someone had the sense/humility to return to the originals.

Wonderful! Thank you so much for posting this.

Just magnificent. It doesn't look old fashioned at all to me. It looks perfect!

Wonderful suggestions, FLOSS! And although I agree with the above comment, I think the problem may lie in a lack of confidence as to how to market some works/bills rather than in any hesitancy about their intrinsic worth. (Although since the ROH seems to be pretty well full no matter what is being presented, I'm not sure why that should really be such a concern.)

When I was there for Song/Sylphide there was a couple in front of me who kept canoodling during the performance - heads coming together and snuggling for a while and then moving apart. Since the seats don't seem to be staggered I found it almost impossible to find a good view, and every time they moved I had to move. I'm glad they were so fond of each other; but it was blooming inconvenient. I don't like the Coliseum at all as a venue - uncomfortable seats, poor leg room if you choose wrongly, railing in the way of many rows (in the balcony), staff who don't seem engaged, etc. Much of the balcony also seems a lot further from the stage than the side of the amphi at the ROH. However I've seen many wonderful performances at the Coliseum so it can't be helped.

Wow!! Fantastic photos. Can't wait.

Precious Adams and Antoinette Brooks-Daw (though she's already a leading soloist so probably beyond this category).