Season Highlights?

[Sim]

Now that most UK companies have finished their seasons what have been your highlights of the season?  Productions, memorable performances, debuts?  Over to you…

[BrookeM]

Well mine is a bit odd but I have really only really watched and learnt about the RB in the past few months, I don't live in the UK but had for years just watched random videos, so my highlight is finding out that I can see them in the cinema and finding out about the RB streaming service, but back to the cinema ( I saw Swan Lake which was my first time ever seeing SL) and was particularly happy about seeing Naghdi/Ball as they are two of my favourite dancers. Also to add not so much like performances you could say but also finding this forum and I've been enjoying reading people's reviews of performances and seeing the brilliant photos 

Edited June 30 by BrookeM

[zxDaveM]

I enjoyed the Ashton triple bills enormously, and the visit of Sarasota Ballet (hope they come back before long) - though do wish they hadn't clashed, and they could been a bit more spread out, so we could have savoured them even more. All seemed a bit rushed somehow.

The dancing of Yamine Naghdi continues to delight; I love her in everything she does. So DonQ, Nutcracker, Manon, Swan Lake and The Dream etc, were all highs as a consequence. Also applies to Fumi Kaneko, and Francesca Hayward - though in different ways. Winter's Tale I thought I'd gone mad and booked too many, but in the end, I enjoyed every show I saw

Loved Requiem in the MacMillan triple, for me it's one of those near perfect ballets I could watch over and over.

I always enjoy Nutcracker, no matter how many times I see it, or even who dances it (as long as they don't make a total hash of it), so a bit sad it isn't there for Christmas '24

Away from ROH main stage, really enjoyed BRB's Black Sabbath ballet - an inspired idea! Saw it from a poor view in Birmingham, then with a better one at Sadlers Wells, with the bonus of Tony Iomi showing up. ENB's 'Skeaping' Giselle is always a pleasure to watch, and worth a numb-bum in the Coliseum torture seats up in the Balcony. Scottish Ballet's A Streetcar Named Desire is another inspired piece - I really wish I could have seen it more than once up at Sadlers Wells. From my seat up the back at Sadlers Wells McGregor's 'Universe' wasn't quite as jaw dropping as it was in the Linbury, where I felt more immersed in it. Still a fascinating watch though. Other things in the Linbury that caught my attention, included 'Dark With Excessive Bright' by Robert Binet - getting THAT close to the dancers, sometimes unintentionally when they crept up behind you, was rather awe inspiring for a humble fat bloke! Ballet Black's 'Nina' was a stunning piece. Also really enjoyed 'La Strada' with Alina Cojocaru (and Johan Kobborg) at Sadlers Wells

 

 

[Silke H]

I mainly saw the Royal Ballet and will therefore only pick from RB's shows.

 

My absolute highlight was the Les Rendezvous / The Dream / Rhapsody triple bill - I enjoyed all casts and was smiling from start to end at every performance.  It was such a delightful combination of short ballets.

 

I truly enjoyed Don Quixote, The Nutcracker, Anmoi, Swan Lake, Manon, Winter's Tale, Requiem, The Limit (in no particular order).

 

I feel fortunate to have seen some marvellous debuts: Annette Buvoli - Sugar Plum Fairy, Mariko Sasaki - Odette/Odile, William Bracewell - Basilio, Caspar Lench, Liam Boswell, Daichi Ikarashi - Puck, Sae Maeda + Daichi Ikarashi - Rhapsody

 

Abroad, I finally managed to see San Francisco Ballet live in their home War Memorial Theater San Francisco, and had a great time watching Balanchine's A Midsummer Night's Dream with gorgeous costumes by Christian Lacroix (on loan from Paris Opera Ballet).

[Missfrankiecat]

I enjoyed everything I saw at ROH this season - the programme was a delight from start to finish.  So many highlights - Vadim and Marianela continue, for me, to be the pre-eminent world class pairing at the RB and they were in perfect form on opening nights of DQ, SL and in a Nutcracker performance I saw from row A.  Manon is one of my favourite ballets and I saw multiple casts all of whom were excellent - it was a poignant pleasure to see the Campbell/Hayward pairing for their final fling before Alex moved onto new pastures.  Both the Ashton and MacMillan mixed bills were a treat - The Dream should be performed a lot more regularly!  What a joy to see 'baby' stars taking their first steps - Viola Pantuso and Caspar Lench spring to mind, but there were many great debuts. And Osipova continued both to meet expectations of her dramatic depth - Manon - and occasionally defy them with an interpretation completely against type - Titania.  

[Silver Capricorn]

In this season, I visited 15 performances in RB, 9 in ONP and 5 in other European cities. If I talk only about RB, my interest is focused on classical ballet and its top performers, so my TOPs include Don Q with Nela and Vadim (although I clearly prefer choreography by Nureyev), Swan Lake with Fumi and Vadim and Manon with the same interpreters. The absolute highlight of the season for me was the Giselle performance at ONP, with guest Nela Nunez alongside Hugo Marchand. For me, it is the most beautiful production of this ballet, with an absolutely perfect  women's corp de ballet and a great interpretation of the main roles. In the new season, unfortunately, due to the repertoire, I will not be a frequent guest in London, until the end of the year I have booked only one Cinderella, but fortunately ONP ballet under the direction of José Martinez offers great classical titles, apart from Paquita and Onegin, especially Nureyev's version of The Sleeping Beauty, which I am really looking forward to, and also Mayerling after a relatively short break.

[Tango Dancer]

Looking back I would say a mixture of different companies pleased me the most.

 

I absolutely loved Northern Ballet Romeo and Juliet, love the production and the cast. Definitely a high point of the year. I also loved their 3 short ballets last autumn.

 

I really liked the Sleeping Beauty at BRB such a beautiful version and the extremely lovely Miki Mizutani. 

 

I didn't see as much at RB but I liked the cinema relay of the McMillan because Requiem was so lovely.

 

My other favourite was Ballet Blacks new work "Nina" which was absolutely mesmerising.  

[Blossom]

Highlights have to be:-

 

Ashton Celebration - this was an absolute delight. I enjoyed the historical element of some of the lesser known works being presented by Sarasota Ballet and particularly loved the Les Rendezvous programme, it was an absolute joy.

 

The Macmillan triple was a surprising entry - I hadn't expected to love this as much as I did and I certainly didn't expect to find Requiem quite as powerful as it was. My lasting memory cast wise is Melissa Hamilton's serene beauty in her role.  

 

Fumi. Her Swan Lake was a refreshingly different take on Odette/Odile and her dramatic ability shone brightly in this, Manon and Winter's Tale. She was also the better of the 2 castings for Les Rendezvous.

 

The rise of young talent to the fore - Daichi, Liam Boswell, Marco Masciari in some of the exciting soloist roles. Disappointed not to see Masciari recognised equally with a promotion.

 

Luca Acri at the Ukraine Gala - absolutely on fire in Le Corsaire pas de trois. 

 

Finally getting to see Raymonda in Amsterdam and experiencing their beautiful opera house.

 

ENB's Our Voices was a fabulous reminder of their diverse talents and particularly found Balanchine's Themes and Variations a clear signal of the calibre of the company dancers. What I particularly enjoyed here was having my eye drawn to some new dancers in addition to those who had flourished under Rojo's directorship. 

 

Unfortunately BRB always seems to schedule vists to London when I can't be there so no mentions this year. 

[Texan]

Daichi Ikarashi. Amazing.

[annamk]

Once I had watched the unforgettable performances of William Bracewell and Natalia Osipova in The Dream all the other highlights flew away. 

[CCL]

The Ashton programme was my number 1 highlight: pure joy from start to finish, with The Dream my favourite of the three. At a time when I really needed it, I was transported to another dimension- it was blissful. 
I also really enjoyed the Macmillan programme, particularly Requiem, which was so very poignant and beautiful.

I loved the Black Sabbath ballet: huge kudos to Carlos for coming up with that idea. It was dynamic and thrilling. 
ENB’s Giselle: Arrieta stepped in beautifully for Frola and Katja Khaniukova was exquisite. 
BRB’s Sleeping Beauty was heavenly at Sadlers Wells.

Those would be my top 5 I think. 
The season isn’t quite finished for me: I’ve got Carmen on Friday at Sadlers and on Saturday I will be seeing the RBS annual show; so very much looking forward to both. 

[OnePigeon]

I have seen some great work this season and the only works I haven’t particularly enjoyed were some of the NYCB programme, barring the Balanchine, though even then it was so great to finally get to see them live.
 

The Ashton triple will stay with me for a long time, particularly the heavenly The Dream.  I loved Muntagirov and Nunez in Swan Lake and Don Q, there is always such a special energy in the opera house when I see them between the audience and performers which adds an extra special fizz to their performances.  I also finally saw Bracewell in a lead role in Don Q with Fumi Kaneko and they were just wonderful together.
 

Manon was a huge highlight and I loved Osipova’s naturalistic acting in this role.  Muntagirov’s Des Grieux solo (not the Wobblegate one) was one of those breathtakingly beautiful dance moments that I will always treasure. I loved the Macmillan triple bill and the big surprise was how much I was engaged by Different Drummer and how impressed I was with Clarke’s portrayal of Wozzeck (and how he still managed to look so handsome in a onesie 😆).

 

A special mention goes to the always superb Gary Avis who lifts every production he is ever in.  He was an especially grotesque and licentious Monsieur GM and will be hard to top.

 

Of the ENB productions I saw, I fell in love with Dawson’s Four Last Songs.  It was hypnotically beautiful and my senses were flooded by the glorious flowing movement to Strauss’s sublime music.  Skeaping’s Giselle was also another highlight for me and bravo to Katja Khaniukova’s moving portrayal of a delicate, ethereally lovely Giselle.  She stepped in at the last minute and was a brilliant replacement for Oliviera, the Giselle I had booked to see.

 

Finally, Northern Ballet’s Romeo and Juliet was just brilliant.  I didn’t compare it to the Macmillan or Cranko and it stood up wonderfully on its own merits.  It had a strong dramaturgy, it was paced well, danced beautifully and it moved me incredibly.  Joseph Taylor was everything I could wish for in a Romeo and Sarah Chun’s youthful Juliet brought me to tears.

[Linnzi5]

It would probably be quicker for me to say what wasn't a highlight for me this season. I've loved this season so much, though I can only comment on RB.  

 

I think the highlight for me (by a whisker) is the Ashton triple, especially The Dream. I saw all casts, except the surprise one of Naghdi/Muntagirov and enjoyed various aspects of all of them so much - no two were identical and I enjoyed the various interpretations. The one that surprised me most was Osipova/Bracewell, which gave me goosebumps in the final PDD.  I loved seeing newer and younger dancers feature as Puck and just felt whisked away to a magical land each time I watched it. The orchestra were perfect and  the choir just wonderful. Also very much enjoyed Les Rendezvous - especially the second cast (all of them, though Fumi was particularly gorgeous), they just simply 'nailed it' for me. It just was delightful.

 

Another big highlight for me was Don Q - just love, love, loved it, all of it! I also particularly enjoyed Requiem  - so moving, and I'm still listening to Fauré's wonderful work! 

 

Manon has to feature prominently too. I saw many of the casts and was so impressed by this moving and tragic tale - again, goosebumps in some memorable performances. Swan Lake has to feature for me too. It was such a lovely surprise to see Kaneko/Bracewell, as I'd thought that wasn't going to happen and really wanted to see them - I loved every second, as I knew I would. 

 

I enjoyed pretty much everything else too - from the opening night of Nutcracker (which really was magical), to the opening night of Dante and the New Works bill.  Even works that weren't my favourite, I'm glad I saw. 

 

 

[Jan McNulty]

 

Highlights:

 

1.  Northern Ballet's outstanding revival of the Gable/Moricone Romeo and Juliet.

I loved all 15 performances I saw.  This was such an iconic production for Northern Ballet and long time fans of the company were thrilled when the revival was announced.  I'm not ashamed to admit that, on the opening night in Leeds, I welled up during the overture let alone the rest of the ballet.  All 3 leading casts we saw were exceptionally well cast and all 3 brought their own specialness to the performances but the two that absolutely had me sobbing out loud were Dominique and Joe on the Saturday afternoons in Sheffield and Norwich.  I finally got to see Abby on her final performance  before retirement at Sadler's Wells (yes I know she temporarily came back for Beauty and the Beast) with her longtime partner Joe as her Romeo.  What an unforgettable and poignant evening that was ... definitely one to treasure.

 

2.  Aakash Odedra and Aditi Mangaldas in Mehek.  This was exciting and enthralling to watch and I never wanted it to end.  I can't wait to see what Odedra does next.

 

3.  Birmingham Royal Ballet's revival of SPW's Sleeping Beauty - I saw 7 beautiful performances.  Cesar Morales penultimate performance was just beautiful.  

 

4.  Birmingham Royal Ballet and Sinfonia at Symphony Hall is always a joyous evening and this year it was as thrilling as ever.  Just wonderful.

 

5.  The announcement that BRB's Fille is coming back in the Autumn!!!

 

 

Lowlight:

 

1.  The announcement that Northern Ballet will be performing to recorded music for the Autumn Tour.  Although Jane Eyre is being performed to live music in the spring my guess is that autumn 2025 will also be performed to recorded music.

 

 

[JNC]

I think I’m just repeating mainly comments but here goes:

 

Ashton programme (Les Rendezvous) opening night - overall every work hit the spot, from Nela and Gaspirani radiant in LR, to Hayward being the perfect Titania for me. I have to say I didn’t love the Rhapsody that evening much but the programme overall was fantastic. Not the same night/programme so cheating a bit here but yes special mention to Osipova/Bracewell in the Dream and Pajdak in the Duncan piece in programme 2 (if RBO can only bother to produce one programme for the two then I will lump them together here…!)

 

Sarasota visiting ROH - again may be cheating with a wide range of programmes here but I think just having this small American company here dancing little known or seen works by the RB founder choreographer was just so brilliant. In particular I adored Sinfonettia and Varri Capricci worked so well on the company. 
 

MacMillan’s Requiem - a masterpiece, I can’t add much further. (Shame the Different Drummer let the overall evening down for me though, too dark and unchoregraphically exiting for me). 
 

that’s probably it for me - it was a light ballet year compared to previous as much of the RB offering didn’t appeal to me.

 

Honourable mentions for ENB’s Skeaping Giselle, NYCB at SW (I loved them being here and the quality of the dancing, not a spectacular highlight due to the overall programme selected works not wowing me), Swan Lake with Nunez/Vadim showing two of the world’s best ballet dancers in probably the best production of Swan Lake I’ve seen (but oddly not a highlight maybe because I’m spoilt with the other amazing performances I’ve seen from them before). 
 

Lowlights 

mentioned already but Different Drummer.
 

Also sorry to say but Hamlet and Ophelia and walk to Paradise Garden did let down the Ashton programme 2 for me, maybe not fair to call them lowlights but in comparison to other works on offer and knowing Ashton’s wider repertoire I was annoyed these two had been selected. 
 

Acosta’s Don Quixote at RB just doesn’t do it for me, maybe unfair to call it a lowlight as I suppose it’s personal preference but I just wish either it would be revamped or not staged (when we have Coppelia, Bayadere, Sylvia etc waiting to be performed!) I think overall my biggest lowlight is the lack of diversity in RB repertoire (in terms of number of programmes over the year) and the lean towards contemporary dance (not ballet!). Oh and ticket prices but that’s probably out of the scope…!
 

I can already predict what my highlights will be next year already (BRB La Fille, Balanchine at RB). 

Edited July 1 by JNC

[MaddieRose]

Dominique Larose as Juliet and Harris Beattie as Mercutio in NB's Romeo and Juliet. Also the orchestra, who were proving how live music can enhance a ballet. 
 

The entirety of Les Rendezvous, mainly because I was happy to have a chance to see it but the dancers were all superb. 
 

Osipova and Bracewell in The Dream - the only word I could really use is enthralling. Also Osipova in Swan Lake, which was my first time seeing Swan Lake live. 
 

And finally seeing Joonhyuk Jun's spectacular debut in Rhapsody. 

I haven't actually seen that much ballet this season but am looking forward to more next season, which for me begins with BRB's La Fille! 

[MJW]

For me: two in particular - "New Works" in February at Covent Garden  (especially Jessica Lang's "Twinkle" - perfect in every way other than its title) and Northern Ballet's Romeo & Juliet at Sadlers Wells. Depending on timings I will try and see more of the run in the autumn.

 

I have seen the  highest number performances this past year since I first started watching ballet about 12 years ago - I think that most of my colleagues think I spent most of my time at the ballet 😄

[DelphiumBlue]

This season has definitely taken me out of my perceived comfort zone! 

 

Thanks to @Sophoife’s encouragement, I did see the cinema relay of Manon and was able to appreciate the dance, the designs, the storytelling and the drama in a way that the 19 year old me couldn’t .
The Macmillan triple   bill … well, I was very hesitant  about Different Drummer  but in the end found it worth watching ( the once). As a counterbalance, I found Requiem incredibly uplifting and positive - from darkness to light indeed. 
The Winter’s Tale was going to be on my ‘give it a miss’  list but all the enthusiastic reviews here swayed me and again, I’m so glad that I did see it. Apart from the choreography and the music , I  loved the colourways of the production , those deep colours in Act 1 and especially the glorious tree in Act 2 . Am now prepared to see ‘Alice’ next season with a more open mind .

 

The Ashton triple bills & the Sarasota Ballet/ what a treat! As a non-Friend, I was so happy to be able to pick up a decent ticket in the stalls at the Linbury and to see Facade after hearing so much about it . I managed to see both triple bills on the main stage. Loved the Dream both times - I think I preferred Caspar Lench as Puck but oh, William Bracewell as Oberon . His interpretation really deepened my view of Oberon - as an other worldly fairy  than  just another standard Alpha male getting his own way . The children’s choir was magnificent too btw- such excellent diction.

 

I found Rhapsody a little hard going the 2st time, perhaps it was a  let-down after Les Rendezvous & the Dream or perhaps it was because of desperately hunting for some water and a cough sweet in the middle of it.However, the 2nd time round  it had a different impact and I really didn’t want it to end - all that energy.

 

The Festival of New Choreography was a great chance to see different styles and pieces  as was the recent RBS performance at the Linbury. 

 

Back in to my comfort zone… saw  Swan Lake in April and then in June . Found Mariko Sasaki’s interpretation of O/O really  moving and thought that the corps de ballet were most impressive. 

 I  couldn’t manage to see Don Q live at all so was grateful for the relay & its  behind the scenes extras. 
Thanks to the forum I was able to pick up a ticket to see the Nutcracker live. There’s always so much to see and notice in the production and each year something else resonates.

Away from the ROH ( or is it the RBO) , at ENB’s Carmen was okay to interesting . I enjoyed seeing most of it even if the  ‘ rolling dancers ‘seemed to go on for ever

 

Northern Ballet’s Romeo and Juliet was mesmerising  and  I was glad to see ENB in Mary Skeaping’s Giselle , having heard ( well, read) so much about it . The discussion on here was more than an added bonus. 
And another thank you to the forum for mentioning La Strada and the chance to see Alina  Cojocaru dance. How wonderful ! 

 

[Emeralds]

1. David Dawson's new Four Last Songs for English National Ballet, danced by Francesco Gabriele Frola, Erina Takahashi, Sangeun Lee, Gareth Haw, Ivana Bueno, Lorenzo Trossello, Minju Kang, Eric Snyder, and other dancers of ENB, with ENB Philharmonic and soprano Madeleine Pierard. 

 

2. Birmingham Royal Ballet's new Black Sabbath The Ballet, with choreography by Pontus Lidberg, Raul Réinoso, Cassie Abranches, music by Black Sabbath (of course), Christopher Austin, Marko Nyberg, Sun Keting, performed by RB Sinfonia, Marc Hayward and....Lachlan Monaghan (singing!) with Tzu-Chao Chou, Matthuad Dingman, Celine Gittens. Momoko Hirata, Mike Mizutani, Lachlan Monaghan, Beatrice Parma, Yaoqian Shang. Tyrone Singleton, Javier Rojas, Enrique Bejarano Vidal, Riku Ito, Regan Hutsell, Lucy Waine, Hannah Martin, Kit Holder, and dancers of BRB. Exhilarating and fun! 

 

3. Northern Ballet in Hans van Manen's Adagio Hammerklavier at Linbury Theatre with Colin Scott playing Beethoven's Piano Sonata no 29 live, with Amber Lewis,  Jonathan Hanks, Alessandra Bramante, Jackson Dwyer, Dominique Larose and Joseph Taylor in the six roles. Glorious. 

 

4. Fernanda Oliveira (Clara/Sugar Plum), Aitor Arrieta (Nephew/"Prince"), Emily Suzuki and Julia Conway (lead Snowflakes), Ashley Coupal, Miguel Angel  Maidana, and Van le Ngoc in Chinese Dance. Best wishes to Van for his future  endeavours! (21 years of service- impressive!) Ivana Bueno, Chloe Keneally, Lorenzo Trossello and Rentaro Nakaaki as Lead Couples in Waltz of the Flowers (Bueno also luminous as a Snowflake among the stellar Snowflakes ensemble as always). Eagling's production has sentimental significance for us and will miss the substantial roles for the ballerina and lead danseur, the beautiful Snowflakes, Grand Pas de Deux, and Chinese Dance choreography in it (this season was the last for this production). Wonderful dancing and acting by ENB and Tring Park children (great singing too), beautiful playing by ENB Philharmonic with conductor Daniel Parkinson.

 

5. Sarah Lamb, Ryoichi Hirano, Meaghan Grace Hinkis (Clara), Giacomo Rovero (Hans-Peter/Nutcracker), Aiden O'Brien (Drosselmeyer), Melissa Hamilton (Rose Fairy), Marco Masciari (Clara's partner), Stanisław Węgrzyn and Martin Diaz (Chinese Dance)- glorious dancing and some standout season debuts in this performance. Tchaikovsky's  genius and Peter Wright's creativity always work their magic! (Will miss Stanisław but congratulations to him on his [de facto promotion to] soloist position at Semperoper Ballett- fab company and what a wonderful opportunity).

 

6. Mary Skeaping's Giselle with Katja Khaniukova & Aitor Arrieta, and Katja Khaniukova & Francesco Gabriele Frola simply sublime in two different performances. Daniel McCormick (stellar debut as Albrecht at short notice!) with Erina Takahashi. Alison McWhinney and Emily Suzuki dancing up a storm and absolutely formidable as Myrtha on different nights. Ivana Bueno and Francesca Velicu, or Minju Kang and Chloe Keneally, all ethereal and stunning as Moyna and Zulme. The magical ENB corps de ballet as Wilis (perfect Romantic Era grace and lines) or lively villagers. Most dreamy and gorgeous production of a ballet classic this season. So pleased it's returning for Jan 2025. Specially for @LinMM and other fans.  😉 Glorious, dreamy music from ENB Philharmonic and Gavin Sutherland. 

 

7. Johan Kobborg making a spectacular and absolutely "OMG how does he do it" mind boggling solo chock full of virtuosity and technical pyrotechnics in Alina Cojocaru's production of La Strada at Sadler's Wells. Natália Horečná's choreography came in for fierce criticism but hey, she gets four stars from me just for getting Kobborg that solo....and unicycle riding! Alina Cojocaru poignant, graceful and moving as Gelsomina  of course. A wonderful ensemble of dancers. More please, Alina and Johan! 

 

8. Megan Fairchild and Anthony Huxley dancing Duo Concertant at Sadler's Wells Theatre with Elaine Chelton (piano) and Kurt Nikkanen (violin)- this pure gold. This is how it's meant to be. Worth the ticket just to see them and Daniel Ulbricht, KJ Takahashi, Roman Mejia, Adrian Danchig-Waring and Unity Phelan dancing in Rotunda. 

 

9. Melissa Hamilton, Calvin Richardson (his debut as des Grieux), James Hay (Lescaut). These theee leads making pure magic. A night to remember! 

 

10  Alexander Campbell's farewell performance as des Grieux with Francesca Hayward (Manon),  Valentino Zucchetti (Lescaut), Meaghan Grace Hinkis (Lescaut's mistress), Marco Masciari (Beggar Chief)- stellar performances from all, supported by wonderful performances from the company. Emotional and tissues a plenty for the magnificent dancing, music and MacMillan's choreography, and again for the speeches and flower parade for Campbell. 

 

11. Seeing MacMillan's Danses Concertantes again after so many years out of the repertoire. Francisco Serrano (originally understudying!) turning out (pun unintended) to be one of the best Drum Majors ever! Hayward and Sambe gut wrenching and incredible as Marie and Wozzeck. Reece Clarke's powerful portrayal of madness as Wozzeck. Both casts of Requiem I saw simply sublime, moving and heavenly: Lamb/Hamilton/Hirano/ Ball/Acri or Lamb/Hamilton/Brændsrød/ Bracewell/Sissens. Zucchetti, Dubreuil,  Donnelly, and the ensemble magnificent. Isabela Diaz and Josef Jeongmeen Ahn, ROH Chorus, ROH Orchestra wonderful performing Faure's beautiful Requiem with conductor Koen Kessels.

 

12. Birmingham Royal Ballet in Peter Wright's Sleeping Beauty. Momoko Hirata a sublime Aurora for the ages. Yu Kurihara very promising in another cast with glorious Lachlan Monaghan as her Prince. Wonderful Fairy variations from Beatrice Parma, Olivia Chang Clarke and Alisa Garkavenko, Philip Prowse's designs looking as gorgeous as ever, beautiful music from RB Sinfonia conducted by Philip Ellis or Charlotte Politi.

 

13. Cuthbertson (Hermione), Corrales (Leontes) Hayward (Perdita), Sambe (Florizel), Hamilton (Paulina) a pure gold cast in Wheeldon's The Winter's Tale, with Marco Masciari (Brother Clown), Meaghan Grace Hinkis (Young Shepherdess), Thomas Whitehead (Antigonus) excellent in support. Sarah Lamb and Nicol Edmonds very moving as Hermione and Leontes in another cast, with lovely supporting performances from Itziar Mendizabal (Paulina), Lukas B Brændsrød (Polixenes) and Leticia Dias (Young Shepherdess), as well as the ensemble. Kudos also to the children portraying Mamillius and the 2 kings as children. 

 

14. Northern Ballet's powerful, dramatic Romeo and Juliet by Christopher Gable and Massimo Moricone at Sadler's Wells. Sarah Chun and Joseph Taylor, or Saeka Shirai and Harris Beattie, both couples equally perfect as Juliet and Romeo.  Abigail Prudames as Lady Capulet. Aaron Kok and Jun Ishii both incredible as Mercutio. If only I could have fitted in more casts! Wonderful dancing and acting from the whole company. The staging is spectacular- that "rain storm"!! Northern Ballet Sinfonia sounding wonderful in the special arrangement for chamber orchestra under the baton of Daniel Parkinson. 

 

15. Sarasota Ballet at Linbury Theatre (self explanatory!)

 

16. Sangeun Lee and Gareth Haw pitch perfect as Odette-Odile and Siegfried in Swan Lake at Royal Albert Hall, elegant lines to die for, simply devouring space, with arabesques and grand jetes reaching to infinity. Anyone who hasn't seen them, do go the next time Swan Lake is staged by ENB. Ivana Bueno's astonishing first season as Odette-Odile covering for Fernanda Oliveira at short notice- amazing! Frola an outstanding Siegfried too. Fun to see so many soloists- McCormick, Woolhouse, Saruhashi, Nakaaki, Suzuki, McWhinney, Adams, Kang, Otani, Conway etc - all in the same performance. 

 

17.  William Bracewell as Hamlet. Bracewell with Francesca Hayward as Hamlet and Ophelia! Macarena Gimenez and Ricardo Graziano as A Village Romeo and Juliet in Walk to the Paradise Garden.  Hayward and Sambe in The Dream, Liam Boswell's incredible debut as Puck. The entire cast of The Dream. (Look at all the Shakespeare characters- ROH/RB  would probably have sold out if they had named the mixed bill Ashton and Shakespeare! Calvin Richardson's Oberon - the most supernatural, Fairy like Oberon I've seen in years.  Yasmine Naghdi as Titania at last. Caspar Lench's astonishingly assured and beguiling Puck for such a young dancer.

 

18. Les Rendezvous back at the Royal Ballet at long last!! Marianela Nunez, Reece Clarke, Isabella Gasparini, Harrison Lee and Leo Dixon and the ensemble totally magical in Les Rendezvous. ROH Orchestra sounding great in Auber's score- thank you ROHO and Barry Wordsworth!

 

19. Galas- Dance for Ukraine II gala. Sad that we are still having them for the same cause but humbling to see the devotion, humility and compassion of those continuing to work to help the vulnerable, suffering and bereaved. Stunning performances from Cuthbertson, Ball, Acri, Tsembenhoi, Bosenko, Bracewell, Lee, Haw, Denis Matvienko, Olga Smirnova, Nunez, Brændsrød, Cherevychko, Velicu, Zagrebin, Hidaka, Yonekura, Stroksa. Fedulov, Golytsia, Kutuzov, Minju Kang, Trossello, Joseph Taylor, Jabbari and Putrov himself. Thank you Ivan Putrov and colleagues.  

 

(If it sounds like I just copied and pasted every show in the ballet calendar, there's actually some I didn't enjoy as much and didn't include, and lots of shows I didn't or couldn't attend! We are indeed lucky to have all this variety and creativity of such high quality. Thank you to all dancers, musicians, coaches, creators, producers and theatre staff who work to get the show on day in day out, night after night.)

💐 💐 💐 💐 💐 💐 💐 💐 💐

 

Edited July 1 by Emeralds

[Emeralds]

Forgot to include (I knew there'd be one!) Sarah Lamb and Reece Clarke as Odette-Odile and Siegfried in RB's Swan Lake. An unexpected pairing due to Ryoichi Hirano having to commence treatment for an injury, but it turned out to be a brilliant partnership. It felt like they both inspired each other to be bigger and bolder in their dancing, yet confident and rock solid with no wobbles or stumbles. Teo Dubreuil was an excellent Benno too. So 20 highlights altogether! 😊

[MAB]

The best revival:  Danses Concertantes

 

Best performance:  Osipova as Isadora.

 

Event of the year:  Visit of Sarasota Ballet.

 

Special mention:  Stuttgart Ballet's Remember Me programme, Initials R.B.M.E. and Requiem.

[Paco]

My season was shared btw Royal Ballet (all productions, sometimes with 2 or 3 casts), Paris (DQ and Giselle) and Scala (Onegin).

 

I think that if in 5 or 6 years I ask myself "what do you remember about 2023-2024 season as the most unforgettable experiences"...

 

... I would definitely mention Manon with Osipova and Clarke. It has been the highest emotional experience of the season for me (even higher than was Osipova Shklyarov a few years ago).

 

Then I would mention Giselle at Paris Opera with Nunez and Marchand.

 

Then a few outstanding moments here and there: Woyzeck (RB), Requiem (RB), The Dream (Osipova Bracewell Zuchetti), Swan Lake (the Osipova Act I, Clarke Act III variation, the corps de ballet...), the amazing Kitri by Magri, the so moving Tatiana by Nicoletta Manni, and Magri-Ball-Acri in the Corsaire Pas de trois in a Parisian gala last winter.

[Candleque]

❤️ I can't call it a highlight as it made me so sad, but my most memorable moment was saying goodbye to Alexander Campbell at his last performance of Manon. Wonderfully emotional 🌺🌸🌺🌸🌺

🧚‍♂️ Loved The Dream and everyone in it. Wish I could have seen every show. Wish they would do it every season. All the Pucks I saw were highlights, but was especially thrilled to see Caspar Lench. When he gets his own flower throw in 25 or so years, I will be boasting that I saw him make this debut 💚

[Bruce Wall]

The Ashton was ALWAYS going to be the highlight for my UK ballet going - and so definitively it proved to be.  As I said to the Sarasota Ballet's leaders in sincere appreciation it was 'like Christmas all at once'.  So many treats I had heard / read of suddenly liltingly dancing lithe in front of my eyes.  Loved the humane grandeur of Valse Nobles and simply adored the attack of Sinfonietta.  What a treat it was to see tricks of the Charlot Reviews' trade (a heavy influence on Balanchine as well - and, indeed, where the two men originally met) being vividly on display on the Linbury Stage.  It was also a rich joy to be re-acquainted with Varii Capricci.  I had been at its premiere in NYC and was so aply reminded of Dowell (being so completely IN being OUT of his element) and Sibley as ever oh, so witty - as well of course as that painted Hockney swimming pool so inviting you just couldn't wait to dive in.  Then as now one left each programme feeling completely cleansed.  A total gift.  I also enjoyed the Royal's contributions - most expressly the Dream - and only - as ever - have a concerted wish that they would do more Ashton so that the balanced balletic technique would once again sit as a primary tool under the umbrella of the Company's now established regime.  (That said I'm not holding my breath.)  I was entirely enraptured too by their revival of Les Rendezvous.  A ballet which itself defines festivity.  

 

Also enjoyed the MacMillan triple.  The Royal does MacMillan and McGregor (look at the fine exemplar's in The Dante Project this season; Calvin - going from strength to strength and Hamilton once again proving herself to be the perfect Royal artisan) better than anyone in my book - and that proved once again to be the case.  Thought Sambe (who I really thrill to see now as a rising Character dancer - having really admired his Mayerling.  I know he will be ripe in Prodigal) in Different Drummer.  He was simply outstanding.  He pulled the pieces together and held them tightly within his firmly vulnerable theatrical acumen.  Most admirable.  Also outstanding in this piece was the exemplary character work of Thomas Whitehead and the magnificent James Hay who actually succeeded in making the irony of the Doctor's final theatrical punchline work.  No small feat in my book.  As a result I enjoyed the overall piece more than I had remembered doing so previously.  Also really enjoyed MacMillan's Dances Concertentes.  It is so very different from Balanchine's but every bit as witty.  I thrilled to see Gasparini and Vadim really stand out in this.  

 

I was also delighted to once again be so entirely engaged by a Romeo and Juliet as I was with the Northern Ballet production.  We have SO MUCH to thank that Company and its fine new leader for.  I went to see it once and ended up going three times.  (I would have gone more if I could have.)  Each time was a privilege.  So, SO much to celebrate there as there was with ENB's ever vivacious Skeaping Giselle.  For me it remains quite the best UK production of this historic work - and that by quite some distance.

Outside of Local events a defining highlight has to be the premiere of Ratmansky's searing Solitude at NYCB.  The fine performances did rightful service to this richly universal masterwork.  It's been such a long time since I have been so thrilled by a premiere.  Ratmansky's NYCB works always sing out so potently and this was certainly - in the end - life enriching.  What a thrill to attend performances where seemingly the vast majority of the audience were so entirely engaged.  The conversations that followed were equally potent.  Those responses alone were worth the price of the ticket.  

 

Another highlight was this past weekend ironically.  I was in Budapest giving a University masterclass and had the great good fortune to see their National Ballet finish their season in that stunningly restored Opera House.  They did Le Corsaire (by Anne Marie Speed - who fashioned those productions of that same for Boston Ballet, ABT, ENB, etc. - but here was paired with Tamas Solymosi, the native born AD of that Company and (for local interest) a former ENB dancer.  Moreover his older brother, Zoltan, was a previous Royal principal, one who often danced with Dame Darcey Bussell of British renown.  I watched three wholly different casts in four performances over three days and could happily have have watched a couple more.  Some true standouts here:  a Cuban soloist - one Claudia Garcia Carriera who simply dazzled with the ease of her enriched technique as Gulnare twice; two STUNNING Brabanto's - Dmitry Zhukov - with placement that could cut glass - and Dumitru Taran - late of the Vienna State Ballet - who will I'm sure make a historic Rudolf (Mayerling being in the Company's rep) given that he is a very tall dancer with a truly stunning legato line.  Doesn't hurt either that he looks (and acts) like the spitting image of Errol Flynn.   Both men are stunning partners - as were so many of the Company's principal males.  That clearly is a prime priority in their regime.  Most admirable.  All the Ali's - here called Rabszolga - were excellent.  Outstanding from that group was one Maxim Kovtun.  This young Asian gentleman not only has the height but speed of Baryshnikov in the role - something I truly never expected to see again in my lifetime.  The audience were electrified.  It was as if a clock in my mind's ear were being turned back.  It came as a hearty and certainly entirely unexpected delight.  

 

Lowlights of the season that stand out in my memory are two:-

 

(i) The programme selected by Alistair Spalding for NYCB at Sadler's Wells.  I understand WHY Rotunda HAD to be done - as it was part of an original (three part) commission - of which Peck's ballet was the only piece completed due to the pandemic.  It was certainly a genuine thrill for London to be able to see Danny Ulbrecht (the dancer who originated that role having since retired).  It won't be happening again - Danny's appearance I mean.  It was also exciting to see Roman Mejia albeit so very different in that same assignment - one so very different from his now traditional castings.  Still the overall construct of this programme was most disappointing - most especially as it is a programme that - as construed (understandably for Spalding's admirably dedicated audience) - would NEVER be replicated in New York.  This is especially heart breaking when you think of just so many things of appropriate size that could have been brought and that Londoners will almost certainly never see unless they travel.  In speaking to several key NYCB figures it appears they felt the same and as a result sadly I don't think such an undertaking will be repeated here in the foreseeable future.  A shame.  

 

(ii) BRB's Black Sabbath.  I literally flew across the Atlantic in order to be able to catch this.  I so wanted this to be brilliant, knowing it was a new cornerstone for Acosta and the BRB, a company I've long admired since its Wells days.  I had too read such thrilling responses - often at length - on these very boards.  Quite frankly I don't know what they saw - as it must have been VERY different from what I did.  Certainly I felt lucky to have been able to garner a ticket for the matinee following its Sadler's Wells opening.  (It hadn't been easy to attain and I had to play professional hooky just to attend.)  I was sad to say bitterly disappointed.  It was a long time since I attended something quite so entirely boring.  Sorry, but they would have to PAY ME to see it again.  A defining low light in my book.  A new personal nadir has now been set within my own balletic framework.  I'm just heartbroken that it had to be by BRB.  

 

 

 

 

Edited July 3 by Bruce Wall

[Emeralds]

11 hours ago, Bruce Wall said:

 Le Corsaire (by Anne Marie Speed - who fashioned those productions of that same for Boston Ballet, ABT, ENB, etc.

 

(i) Alistair Spalding 

.... Still the overall construct of this programme was most disappointing - most especially as it is a programme that - as construed (understandably for Spalding's admirably dedicated audience) - would NEVER be replicated in New York.  This is especially heart breaking when you think of just so many things of appropriate size that could have been brought 

 

(ii) BRB's Black Sabbath. 

.....Quite frankly I don't know what they saw - as it must have been VERY different from what I did.  Certainly I felt lucky to have been able to garner a ticket for the matinee following its Sadler's Wells opening.  

Le Corsaire- I think you meant Anna-Marie Holmes, Bruce? (Intriguing jump by your autocorrect from Holmes to Speed though!)  🙂

 

Spalding/NYCB- totally agree about the disappointing construct of the programme. Considering that the fantastic chamber orchestra Britten Sinfonia were already hired to play the Nico Muhly score for Rotunda, they could have kept them on for another short ballet like Balanchine's Divertimento no 15, which has both a small cast and uses a small orchestra (strings and 2 horns).

 

Other works they could have danced instead were Balanchine's Sonatine and Robbins' Other Dances, both beautiful ballets for a principal couple and a solo pianist (different enough to Rotunda and Duo Concertant to provide contrast, with  Rotunda or Divertimento the closing ballet).

 

I'm afraid all that the Tanowitz and Abraham works ended up doing was lowering my opinion of them as choreographers whereas my opinion of their work had been quite high prior to seeing those two pieces. The pieces were danced very well by the NYCB dancers, but choreographically look like filler next to Duo Concertant and their creations for RB. 

 

I suppose (somewhat cynically), Alistair Spalding would say his programme was a roaring success as all the performances were sold out, but in truth, they would have sold out regardless of what was on the programme because of NYCB's reputation and their last visit being so long ago. 

 

BSTB- I must admit I bought a ticket purely to see the large cast of principal dancers in the first cast (I think all the BRB principals were in the first cast apart from Cesar Morales and Max Maslen) as I hadn't seen Celine Gittens, Tzu-Chao Chou and Tyrone Singleton for a long time. I didn't have any expectations for the choreography or whether I would like the show/material but I really enjoyed it, despite not being a metal fan. 

 

However I think BSTB requires that calibre of top dancers to work- I also include here the top performances of junior non-principal artists whose solos or pas de deux had been choreographed specially on them. The choreography for the corps in the first act is  intensely demanding and needs a lot of rehearsal time and intense work from the dancers to pull off. I also heard there were some uncharacteristic problems experienced by the cast at that matinee that affected their performance adversely.

 

In retrospect it might have been artistically unwise for the company to have had a matinee immediately after first night, which I don't think companies usually do, but demand for tickets was so great and for some reason they didn't start the run earlier. I would have started the run a day earlier on Tuesday or finished it a day later with a Sunday matinee, to avoid having the first matinee so soon. Sorry you didn't get to see the first cast at Sadler's Wells, Bruce, as I think that would have made all the difference. 

[MAB]

11 hours ago, Bruce Wall said:

I was in Budapest giving a University masterclass and had the great good fortune to see their National Ballet finish their season in that stunningly restored Opera House.

 

One of the most fabulous opera houses in Europe, if you haven't been yet I also recommend the amazing Eiffel Studios on the edge of town.  The company also performs at the Erkel Theatre, not many ballet troupes have three outstanding venues at their disposal.

[jmhopton]

My 5 highlights were Les Rendezvous (the 5 performances I was lucky enough to see by RB) Can't think why it hasn't been programmed for many years and can't wait to see it again. 

 

Also Liam Boswell's Puck in The Dream. He literally leapt to my attention in the rehearsal (including hilariously trying to help out with the Osipova/Bracewell costume malfunction). Was lucky enough to see him in performance and will definitely looking out for him in future performances. His promotion is very well deserved.

 

All the Ashton celebrations were fabulous and definitely the overall season's highlight for me. OK it would have been nice to have them spaced out a bit better and the RB programmes to be a bit more varied but these are minor quibbles and these days you've got to be grateful for all the Ashton you can get, and I was.

 

It's been the dream of my life to see Sarasota ballet after seeing their amazing lockdown streaming performances, and to see them open the Ashton celebrations was just incredible. I'd love to have gone every night. Wonderful to see Facade again after all these years and Dante Sonata was an absolute revelation, and something I'd love to see staged by the RB. Hopefully, there will be some crossover works between them and the RB and they will come again, perhaps to end the Ashton celebrations (if not before) and (fingers crossed) do some performances on the main stage with better sightlines and not so much struggling for tickets.

 

The RB performances of Manon I saw were all uniformly excellent and seeing Alex as Lescault at the cinema knowing it was the last time I would see him dance was very emotional. He's an incredible Lescault and I'm only sorry I couldn't see his final De Grieux with Hayward. They had a very special partnership which will be very difficult to replicate.

 

Finally, it was wonderful to see ENB perform the Mary Skeaping Giselle at the Coliseum. I've long been curious about it and wondered how it would compare with the Peter Wright version. I have to say, for me, Peter Wright still just about does it for me as I prefer the ending and little character details but was very pleased to see the Skeaping version and may go and see it again next season in Manchester.