Mary

I think after Johnny Cope's very sad acccident , his first role back was in the Firebird, - (correct me if I'm wrong) so I had a sense of deja vu. Ed Watson was perfect in this role which, though it is not a dancing role as such, does require enormous expressive power if the balllet is to have its effect, especially at the end when his one simple gesture -raising the sceptred arm - speaks volumes- and indeed it did- of right triumphant and order restored ( if only). It was marvellous to see him back, and may we see more of him in future.

Yasmine Naghdi was a beautiful and fiery firebird indeed. Such classical speed and precision- just what is needed.

The highlight of the evening though had to be Nunez in A Month in the Country which is a work of genius- of deep and profund genius. I;ve watched it many times on video and it is enthralling to really dwell on the level of detail in the characterisation, the built up motifs, the way the steps fit the music, the movement of characters in and out of the set- and the exquisite expression of love and loss, set off by the innocent observation of Kolia, a boy who can't quite understand what is going on.

Nunez was heartbreaking as Natalia, and Ball a dashing Beliaev ( no he does not -yet?- have Anthony Dowell's line- who does? perhaps Muntagirov and I look forward to his performance again soon).

Symphony in C is  ballet heaven every time and the combination of these two ballets is almost too much joy.

The company in such great form can do full justice to a ballet that has to be done perfectly- so much timing, symmetry that must be right, speed but also proper restraint. Everyone was good, Fumi Kaneko was ideally regal I thought, Alexander Campbell on top form and so well able to show off the lilting rhythmical fun in the dance,  but Muntagirov was the really sparkling jewel in this lovely piece.

Seeing it once is just not enough....

However, Month did remind me yet again that I want very much to see more Ashton: such masterly choreography should not be lying in a vault.

Can you sit there if you just buy a drink- even just a tonic or a coffee?

I often do that- but, it looked more like part of the restaurant so I didn't try....

a shame.

Wonderful evening. V fascinating Firebird and two works of sublime genius ...with  superb dancing! Bliss.

Many thanks: beautiful.....

I can't find the photos...being slow and on my phone...where? .....

1 hour ago, Nogoat said:

It’s also been mentioned that her prior encounters with her parents and Paris show her taking control, but I see those more as her just having a tantrum (she does, after all, end up hiding under the bed clothes); though I’d like to mention that I thought Osipova was simply amazing in those sequences – she seemed to be at the mercy of powerful forces, and was propelled from parent to parent to nurse as if in some demented game of pinball!

 

Oh I don't think she is 'having a tantrum' at all- always think it's a big mistake to play for any kind of laugh here in the bedclothes moment- which I would change: - this is serious. She is being forced into a marriage she doesn't want. A man she doesn't want is trying to touch her and bend her around:-  'ugh'- should be the audience's response. Sounds as if Osipova got it right.  Juliet is at the mercy of her parents/society/convention here isn't she?

I thought Naghdi was good too in showing her horror at the unwanted physical contact.

Yasmine Naghdi exquisite and a believeable Juliet: Matthew Ball: strong, passionate but also lyrical and a complete Romeo. 10 out of 10 for his dancing and acting. A performance that made the ballet live again for me.

Delighted to see Ms O' Sullivan as Swanilda, - perfect role for her! and delighted too at the prospect of the Hayward/McRae pairing:

altogether, with Coppelia back after so long,  something a bit different.

The crush bar used to be a very special treat indeed but I don't think it is any longer. I once went with a very kind friend who treated me to smoked salmon and fizz ( a reward for some extended baby sitting)  and we sat next to all sorts of ' ballet royalty' in great splendour and peace. But having walked through a few times recently it seems to me they have put too many tables in it and the atmosphere has gone. I don't think I would recommend it.

I have also been treated to the old and the new amphi restaurant as a birthday present.  It is wonderfully relaxing as Fonty says- and so nice to leave your things there. The staff are nice. But the food is average and very expensive inDEED. Also they want you to order everything in advance online using a fiddly system.

If you are seated right in the  middle it can be hard to hear a conversation and it is a bit 'busy.' Seats on the edges are nicer.

 It is less good value than it was-  £35 for 2 rather average courses, extra for wine and coffee.

How wonderful that it has been saved for posterity- what a fabulous clip, Lamb and Campbell at their best, dancing as one (hope we see them together again soon) and a very beautiful moment. One to watch many times over.

I am reassured to find others not really liking Flight Pattern: not just me then.

I found a second viewing of Medusa brought me closer to Darlex's succinct 2 word view of it- really it is not a finished piece of work.

Why were so many replaced last night? Is this all injuries? even Muntagirov? now that is worrying.

16 minutes ago, JohnS said:

 

Agreed!  

Priority booking really helps for more expensive seats which can very quickly be booked up for some productions.  9:00 on booking dates whatever the priority I guess is a busy time with many Friends refreshing their screens as the minutes tick down.

I’ve never bought a package, in part because some seats I particularly like are not included.  I’m therefore unsure of the detail and don’t know if you end up selecting your actual seat or if you are allocated a seat within the area specified for your package.

I have bought a package-only v rarely as the seats I favour are not always included.

However, John, it is the same as normal booking in that you select the seats you want- from what they show you as available.

Friends' rehearsals are a marvellous Friends' perk BUT they often start ( of course) late morning- so if working you can't go, and if like me you live outside London a peak train ticket ( at more than £40 for me now) rules it out too- a big shame.

I agree with Geoff, give it a try. I have been a standard friend for years- it started partly with my love of the RB and the ROH ( years ago) and wanting to put in my mite to support them. I feel a bit less like that now, for reasons easily discovered on the forum,  and each year do wonder whether to cancel as I can't really afford it and  the proliferating higher levels of Friendship all get earlier booking dates, so one is very far from first off the blocks.

But so far I have stuck with it. You do get a nice magazine 4 times a year too, and email updates. But mainly,  it means you get a better chance to get those cheaper amphi seats and I often do manage that.  Those of us- themajority- who want the cheaper seats probably do better, on the whole, from being a Friend than those who can afford the expensive seats-I think so anyway.

The ROH has been rather annoying lately but I still love the royal Ballet and am happy to help support them.

FrankH I agree with you- as do a good few others I think.  I have always liked Wheeldon's abstract work, (and apart from Winter's Tale, disliked his narrative ballets-especially Alice which I can't stand, so there you are, as Sim says there is a wide range of opinion out here...)

Golden Hour I think IS a small masterpiece and you describe why extremely well, thank you. It was even better with the original costumes that allowed you to see the women's movements more effectively though.

'There’s one matter, however, on which Marston is very much decided. This will not be a ballet that dwells on scandal and tragedy. '

Thank goodness for that- I was worried this would be yet another work dwelling on  a female victim, illness and death etc - but it sounds much more like a celebration of talent, for a change.

45 minutes ago, zxDaveM said:

I had thought when he took his helmet off the first time and at several points during the pdd he was looking right at her.  Maybe I need my eyes tested...

That's what it looked like to me in the cinema- that the first time he took the helmet off he did look at her, but thereafter was turning his head and eyes away. That certainly doesn't make much sense in terms of the story.

But it must be exceptionally hard to lift your partner in various imaginative ways without looking. Bit dangerous too! It is a tribute to Matthew Ball that he managed this, while wearing a weird-looking fishnet see-through jumpsuit as well- without looking totally ridiculous -  I salute him.

Re Medusa I have just seen the live relay and I agree Lindsay that 'the musical choices were incoherent'- or just meaningless/random except for Let me Weep at the end. But Osipova- a dancer I have not always booked for by any means-  I thought quite wonderful. A truly unique performance, mesmerising and one for the memory bank.

It was a shame that the piece as a whole did not feel fully formed or complete as there is clearly the germ of genius in it.

I am in a minority perhaps of one but never liked Flight Pattern one bit, so came home.

I loved Golden Hour again- but the original costumes seemed better to me:  the men's new leotards looked a bit daft.

It seemed a discourtesy to the audience and the dancers to tell us the cast had changed, but then refuse to give names (yet there is always time for meaningless banter.)

It is a tad overdue. They must know who is dancing that night..or will they just rope in whoever is standing around? ( which could be good admittedly!)

8 minutes ago, Lizbie1 said:

It’s the “Heritage” (awful word) mixed bill I’m most interested in, and it’s the one we have least information about so far - has anyone heard anything more about it?

Aren't all the ballets, except the brand new ones, part of RB's heritage come to that?

It seems almost a holding-at-arms-length definition....but why?

Can anyone say when Coppelia was last done by RB? A good while ago I think....?

...and do I see Onegin after Xmas?

Can't see Nutcracker - shurely some mistake?

But Sleeping Beauty instead. Good.

The lovely triple bill of Concerto, Enigma Variations, Raymonda Act 3 will be a treat.

John,  I entirely agree-  a most profoundly moving film, which was a meditation on a talent, a voice, a character and the nature of music in our emotional lives.

Agreed: I just lost an hour browsing it- beautiful pictures and lots of happy memories!

I just watched this on iplayer- a very good film by John Bridcut who makes  sensitive and intelligent documentaries about composers and artists.

It is most interesting:  centred on an extended interview with Dame Janet herself, and including many fascinating interviews about her work and legacy, and is also terribly moving- a 3 hankie job in fact. I wonder if anyone else has seen it- I have searched but can't find any posts.

She is an inspiration.