bridiem

I really hope that's not the case. If people only post when they concur with the majority, we're not really sharing our experiences and opinions as a group - which is the whole point of this forum. I know it can take a certain amount of courage to voice minority views, but it's really valuable and important! I for one very much appreciate it when someone expresses a different viewpoint, and sometimes it makes me review my own opinions.

True that it doesn't mention 'classical', but it does repeatedly use 'ballet' (and nowhere does it use 'dance'). So I think the aim is clear (and shows a welcome confidence in ballet - specifically - as an art form).

I think one of my biggest/pleasantest surprises was Akane Takada's Giselle last season. I had never before found her an interesting dancer, but it was just thrilling. And Tierney Heap's Myrthe in the same run - I had no real expectation since I hadn't really noticed her, but she was unlike any other Myrthe I've seen and totally brilliant. And, in fact, Sarah Lamb's Giselle in the same performance - I had no idea she could be so moving, but her Giselle was so exquisite it broke my heart. Also, Woolf Works. Not being a McGregor fan, and not being familiar Virginia Woolf's work, I feared the worst; but got the best.

True; which is why I almost never go to the theatre nowadays. When I was a young adult, you could go to performances in the West End quite cheaply (in the cheap seats, obviously) so I went all the time. Now it has to be a rare treat. Whereas the ballet tickets I get are still affordable (normally max c £28 and often a lot cheaper). Strange. But no, I can't afford the Mariinsky either, whether or not their prices are justifiable.

Impossible question!! Maybe Scènes de Ballet/The Firebird/Song of the Earth - covers the trinity of head, heart and soul. But what about Balanchine? Symphony in C, or Serenade, or The Four Temperaments, or Emeralds, or... And, what about Symphonic Variations, Concerto, Requiem, Gloria, The Dream, Penguin Café, the last act of Woolf Works, The Moor's Pavane, Dust, La Valse, Bausch's Rite of Spring, Pierrot Lunaire, Rhapsody, In the Night? I think it would have to be Desert Island Triple Bills...

Yes, I think so - I was in Row J last night and it was fine. (But I do use opera glasses.)

Doesn't Bratfisch always drop the hat in the end? I thought it was choreographed, i.e. he stops trying when he realises he's not going to get through to them. Or maybe they do generally just drop it eventually?!

I find every moment absorbing, whether or not it's dancing. The walking, the looking, the various interactions, the inexorable building of tension in the music, all create a hugely powerful theatrical whole.

I thought it was magnificent. I think the only difference with Watson is that he is now absolutely and totally in control of and on top of what he is doing, and he knows he can do it. So although he is clearly drained at the end, he's also happy and proud and knows he has delivered what he was aiming for. Brilliant; what a privilege to see him dance the role for which all the rest of his career seems like only a preparation; the role he was born to dance. I was struck this time by the vortex that the ballet creates. The turning, spinning, crazed vortex, both institutional and personal, expressed so cleverly in the choreography. Each of Rudolf's relationships helps to push his own vortex that bit more out of kilter, and in the end he encounters someone who is willing to join him at the centre of his being and let the vortex take over. Thrilling performance from Osipova - lust both physical and emotional, violently expressed. And superb performances all through the cast. Campbell incredible as Bratfisch - technically astounding but also profoundly moving as he sees Rudolf - and Mary - descend together into hell. Hayward a wonderful Stephanie - Rudolf's bewildered, abused plaything who tries to please, tries to conform, but also tries (unsuccessfully) to stand her ground. Yanowskly the happiest Empress I have seen - so clearly in love with 'Bay' Middleton (Gary Avis as usual able to create a complete character out of very little) and so unable, and unwilling, to respond to her desperate son. And Lamb an excellent Larisch, not just scheming but also still in love with Rudolf and closing her eyes to the damage she is doing. Nunez a very warm and authoritative Mitzi Caspar. I also thought that Hirano was an exceptional Hungarian Officer - really soaring through the air and conveying the thrill and danger of revolution. The only negative was an unfortunate costume issue for Romany Pajdak as Princess Louise. It did make me wonder how much rehearsal time the dancers get in their costumes. But she coped as well as she could with it, and Watson was clearly helpful to her too. Thanks to all the dancers for a great performance.

If agencies can return tickets, they're not actually 'sold' - they're being supplied on a sale or return basis which is not the same as a hard sale. So saying a performance is 'sold out' would not be correct information.

I didn't see the screening so I can't comment on the presenters, but I do agree that in general for these screenings there is far too much gushing about how brilliant and wonderful it all is; that, frankly, is for the spectators to judge, not the presenters. It's fine to explain why works, or performers, are famous or respected etc, and to give plenty of context and background. But if the works/performances are brilliant, they will be seen to be so. (Having said that, I do generally enjoy the interviews etc simply because it's fun to see the people involved.)

Depends how 'new' they mean I suppose! Anna Rose O'Sullivan? Tierney Heap?

I've just caught up with this documentary too, and I thought it was terrific. Really interesting, and illuminating even for someone who has seen the ballet many times. E.g. Cojocaru's interpretation of the moment of Giselle's death was completely new to me. And there was one piece of mime that I have been misunderstanding all this time - when Hilarion confronts Giselle about Albrecht, I thought he was asking if she really believed that A loved her; apparently he is in fact asking her if she loves him, i.e. the other way round. I agree with northstar that some of the shots were formulaic and I think there was too much of Rojo strutting (very elegantly) or staring (very knowingly). I also found her delivery a little slow, but what she was saying was well worth listening to as were the comments from Akram Khan. And wonderful footage of both productions - reminded me all over again of how brilliant both are. It would be wonderful if we could have regular documentaries of this quality; they might also help people understand (if they don't already) what ballet is capable of and why it matters.

IMHO Song of the Earth is immortal... However, I personally suspect that if Judas Tree hadn't turned out to be MacMillan's last ballet it would have died a quiet and deserved death. Having said that I suppose I should really see it again to see if my opinion of it changes.

And swans, mythical characters, Shakespeare characters, vengeful spirits, snowflakes, jazz dancers, contemporary dancers, ballet dancers. The whole gamut really.

The Royal Ballet is a ballet company. The clue's in the name. That doesn't mean that more contemporary techniques can't be welcomed to enrich the repertoire. (Of course, contemporary dancers are unable to come out of their own 'comfort zones' because the flexibility doesn't work both ways.)

No, I wouldn't class Scarlett or Wheeldon as contemporary choreographers either. I was talking about Tharp, Pita and McGregor. Which gives plenty of opportunity for the RB dancers to come out of their so-called 'comfort zones' (or perhaps 'areas of expertise' would describe it better).

Well there are 4 new works, all but one from 'contemporary' choreographers (which in my view is actually rather odd, but hardly 'conservative'), a big new production of a classic and a lot of interesting revivals (whether or not I like all of them). And I'm not sure why ballet dancers from different companies collaborating is any less interesting than ballet and contemporary dancers collaborating.

I find quite a lot to be excited about! I can imagine some interesting Sylvia casting. Thrilled to see Gloria, Concerto, Le Baiser de la Fee, Song of the Earth; pleased to see Elite S. Would prefer an Ashton one-acter to one or other of the new or revived works, though I'll be interested to see all the new works. Collaboration with the other companies - brilliant idea. Can't write more now - I'm at work!!

Maybe life as a dancer in a touring company and the pressures that puts on the practical aspects of life; or a corps de ballet member in London who has to travel home by tube after performances, etc. I imagine such things have been covered somewhere, but perhaps less than the studio/stage aspects? Not sure. (And depends who the film is aimed at too.)

Thank you so much, Don Q Fan! Lovely reminders of a great afternoon.

This often used to be an issue in the front/side amphi; so I now never book rows B, C or D because I got tired of either having my view blocked or having to psyche myself up to ask people to sit back. Very strange that people are so oblivious of others behind them! But in contrast, a very nice young woman yesterday afternoon asked if she was blocking my view because she had to lean forward slightly to see - in fact it was OK, but it was a refreshing change. A message on the tickets is a good idea. (And after all, if you buy a restricted view ticket you should expect to have a restricted view! And not lean way forward in order to make it not restricted; all that does is restrict the view for others who have bought more expensive tickets.)

I don't think so, LinMM. I'm very much looking forward to seeing her perform it, even though I have very mixed feelings about the work. The only time it's really worked for me was when Rojo and Polunin danced it in 2013, though Yanowsky was an impressive Marguerite some years earlier.

The ROH certainly knows how to set us hares running!! You'd think there would be an announcement before mini-signs on the website - odd way to handle things.

Funny you should say that, Sim - I was so moved by the performance that at the end of it I offered up my thanks to Mr B in heaven! (I fully trust that's where he is.) Very much agree with your comments. So much wonderful dancing! If I was forced to choose one desert island ballet (impossible prospect), this would be high up on the list of candidates.