Katia Kapustin

Based on the 5* UK newspapers and magazine reviews of The Royal Ballet's "Sleeping Beauty", many feel Principal ballerina Yasmine Naghdi surely is a technical competitor to Osipova ( but two very different Principal dancers). Yasmine Naghdi has a crystal clear, clean, very neat and superb technic, combined with immense control and beautiful artistry this has set her apart amongst the current roster of Principal ballerinas at The Royal Ballet. She is not yet sufficiently known on the international circuit but her performances last season in San Francisco and Tokyo, and her current triumph dancing Aurora in Sleeping Beauty are set to change this. Many have commented after her recent Opening Night performance that she has certainly joined the ranks of Prima Ballerinas.

I agree, unfortunately this is indeed the world of today . The truly deserving who actually DO contribute to our society -and this also applies to the truly great and exceptional ballerinas - (Copeland is a good example of that marketing/celebrity culture: she is not a great ballerina at all but she is marketable because of her background) aren't in the media's interest and they aren't turned into so-called celebrities. They remain anonymous...

Thank you for the explanation Drew. So her atypical background for a RB principal, combined with crossing over into performing in a musical, has made an impact in the world of dance (a little bit like Copeland at ABT I guess??). Yes, good that fashion magazine Vogue also includes features to highlight the arts in general (and ballet in particular), and the impact her atypical background as a RB principal has had on our society. I wish her continued success.

I am really baffled by the obsession of some British ballet goers with regard to Miss Hayward. The British Vogue cover is showing women who supposedly "influence/change society" but what did Miss Hayward exactly do or achieve to change society for her to be included amongst 14 other women on the cover of Vogue? Perhaps nowadays no justification is needed? Please if anyone has the answer I'd like to know and understand. Is it because she was born in Kenya? How does that change/influence society? or because she was born in Kenya AND is one of 8 Principal female dancers at The Royal Ballet? or because she was born in Kenya AND is one of 8 female Principals AND has participated in a musical called Cats? or because the Vogue editor is of African origin himself and he suggested to the Duchess to also include Miss Hayward? (The Duchess is not a known ballet goer!) What am I missing? I really don't get it and I'd like to understand why. What is Miss Hayward's contribution to our society? There are so many black women who have done far more for our society, women who live in total poverty yet really contribute and help our society or their own country in Africa; yet they do not get any deserving attention nor are they trust into the limelight or on the cover of Vogue. Their unknown faces wouldn't sell an issue of Vogue. Is it simply because Miss Hayward is mixed race African that she is considered to have contributed to society? but in which way? I am puzzled.

No, sadly it was not recorded for public release.

I take your points Mashinka but look what happened to Yuhui Choe in the past; and now there is also Fumi Kaneko (a gorgeous dancer) and Mayara Magri (a very different energy dancer) at first soloist level followed by Anna Rose O'Sullivan (highly likely to be promoted to first soloist) so there will be three other dancers besides Stix-Brunell competing to join the top rank. No doubt Mr O'Hare will be the best judge in the end.

I think it is an issue about technic. If you think of the dancers who have been promoted to Principal over the past three years (in 2016 Akane Takada, Ryoichi Hirano, Alexander Campbell and Francesca Hayward, in 2017 Yasmine Naghdi, in 2018 Matthew Ball), three of them (Hayward/Naghdi/Ball) were fully trained since early childhood at the RBS Lower and Upper School), one (Campbell) at the Upper School, two (Takada/Hirano) trained abroad and Prix de Lausanne participants). Soloist Anna-Rose O'Sullivan also trained at the RBS Lower and Upper School. The RBS trained dancers do have an exquisite style of dancing (gorgeous epaulement, fast foot work, in pure RB style, a bendy back necessary to dance Ashton,...) which is not always the case with dancers who trained in a different style abroad (as beautiful as they may dance too but it's different).

Laura Morera (44) is the oldest principal, followed by Sarah Lamb (38), Marianela Nunez (37), Lauren Culbertson (35), Natalia Osipova (33), Akane Takada (29), Yasmine Naghdi (27) and Francesca Hayward (27). Potential future principals could be Fumi Kaneko, Anna-Rose O'Sullivan and Mayara Magri once some of the older female principals retire. With regard to the male principals, Edward Watson (42) is the oldest, Frederico Bonelli (42), Thiago Soares (38), Nehemiah Kish (37), Ryoichi Hirano (36), Alexander Campbell (33), Steven McRae(33), Vadim Muntagirov (29) and Matthew Ball (25). Marcelino Sambe (25) joins the rank of principals at the start of Season 2019-2020. Potential future male principals could be Cesar Corrales, William Bracewell, perhaps Reece Clarke, Joseph Sissens has potential, James Hay (a very fine dancer) has not (yet) been promoted and I wonder if he ever will but there are at least four potential males to eventually replace the older principals when they retire. I attended Tuesday and Friday Triple Bill and Francesca Hayward struggled indeed with technicalities when performing 4th Movement of Symphony in C, on both occasions. Hayward is an exquisite natural dancer and is mainly cast to dance roles such as Manon, Giselle, Alice in Wonderland, Clara in Nutcracker, Rhapsody but when it comes to the highly classical, demanding technical roles she is no match to Naghdi or Takada. Hayward has danced few highly classical tutu roles besides a few Sugar Plums and one Aurora and I really can't see her getting successfully through demanding full-length classical roles such as Odette/Odile or Kitri as well as Aurora; however she is truly ravishing as Meunier said in the naturalistic roles such as Vera in Month in the Country and Manon to name just a few. The classicists amongst the younger principals are Yasmine Naghdi and Akane Takada. Yasmine Naghdi's debut as The Firebird last Tuesday was truly outstanding, received high acclaim by all the dance critics and audience alike. The Royal Ballet has such an amazing array of superb dancers, some great in naturalistic roles, others exquisite in the classical tutu roles.

Manon Wednesday 2 October at 7.30pm Lamb, Muntagirov, Hirano, Mendizabal, Saunders (Manon, Des Grieux, Lescaut, Lescaut’s Mistress, Monsieur G.M.) Thursday 3 October at 7.30pm Cuthbertson, Ball*, Zucchetti, Stix-Brunell, Gartside Saturday 5 October at 12 noon Lamb, Muntagirov, Hirano, Mendizabal, Saunders Wednesday 9 October at 7.30pm Nuñez, Bolle#, Sambé, Naghdi, Avis Saturday 12 October at 7.30pm Nuñez, Bolle#, Sambé, Naghdi, Avis Tuesday 15 October at 7.30pm Osipova, Hallberg#, Hirano, Calvert, Saunders Wednesday 16 October at 7.30pm Takada, McRae, Hay, Choe, Whitehead Thursday 17 October at 1.30pm Cuthbertson, Ball, Zucchetti, Stix-Brunell, Gartside Saturday 19 October at 1.30pm Hayward, Campbell, Corrales*, Magri*, Whitehead Saturday 19 October at 7.30pm Osipova, Hallberg#, Hirano, Calvert, Saunders Wednesday 23 October at 7.30pm Morera, Bonelli, Acri*, Hinkis, Gartside Tuesday 29 October at 7.30pm Hayward, Campbell, Corrales, Magri, Whitehead Thursday 31 October at 7.30pm Morera, Bonelli, Acri, Hinkis, Gartside Wednesday 6 November at 7.30pm Takada, McRae, Hay, Choe, Whitehead Concerto/ Enigma Variations/ Raymonda Act III Tuesday 22 October at 7.30pm Concerto: Takada*, Sambé*, Cuthbertson*, Clarke*, Kaneko* Enigma Variations: Morera*, Saunders, Hayward*, Ball* (The Lady Elgar, Edward Elgar, Dorabella, Troyte) Raymonda Act III: Lamb*, McRae (Raymonda, Jean de Brienne) Friday 25 October at 7.30pm Concerto: Hayward*, Corrales*, Hamilton*, Brændsrød*, Calvert Enigma Variations: Arestis, Avis, Naghdi*, Campbell* Raymonda Act III: Cuthbertson*, Bonelli* Saturday 26 October at 7.30pm Concerto: Takada, Sambé, Cuthbertson, Clarke, Kaneko Enigma Variations: McNally*, Gartside*, O’Sullivan*, Bracewell* Raymonda Act III: Lamb, McRae Monday 28 October at 7.30pm Concerto: O’Sullivan*, Hay*, Naghdi*, Hirano, Magri* Enigma Variations: Morera, Saunders, Hayward, Ball Raymonda Act III: Osipova*, Muntagirov* Saturday 2 November at 12 noon Concerto: Hayward, Corrales, Hamilton, Brændsrød, Calvert Enigma Variations: Arestis, Avis, Naghdi, Campbell Raymonda Act III: Osipova, Muntagirov Tuesday 5 November at 7.30pm† WORLDWIDE LIVE CINEMA RELAY Concerto: O’Sullivan, Hay, Naghdi, Hirano, Magri (Naghdi/Hirano dancing the 2nd Movement) Enigma Variations: Morera, Saunders, Hayward, Ball Raymonda Act III: Osipova, Muntagirov Wednesday 18 December at 1.30pm Concerto: Stix-Brunell*, Richardson*, Lamb, Edmonds*, Heap Enigma Variations: McNally, Gartside, Hinkis*, Bracewell Raymonda Act III: Cuthbertson, Bonelli Wednesday 18 December at 7pm Concerto: Takada, Sambé, Naghdi, Hirano, Kaneko Enigma Variations: Morera, Saunders, O’Sullivan, Ball Raymonda Act III: Nuñez, Muntagirov Friday 20 December at 1.30pm Concerto: Stix-Brunell, Richardson, Lamb, Edmonds, Heap Enigma Variations: Arestis, Avis, Naghdi, Campbell Raymonda Act III: Cuthbertson, Bonelli Friday 20 December at 7pm Concerto: Takada, Sambé, Naghdi, Hirano, Calvert Enigma Variations: McNally, Gartside, Hinkis, Bracewell Raymonda Act III: Nuñez, Muntagirov The Sleeping Beauty Opening Night - Thursday 7 November at 7.30pm Yasmine Naghdi, Matthew Ball (Princess Aurora, Prince Florimund) Saturday 9 November at 1.30pm Kaneko*, Clarke Saturday 9 November at 7pm Hayward, Campbell Monday 11 November at 7.30pm Takada, McRae Wednesday 13 November at 7.30pm Hayward, Campbell Thursday 14 November at 7.30pm Naghdi, Ball Friday 15 November at 7.30pm Takada, McRae Tuesday 19 November at 7.30pm Hayward, Campbell Wednesday 20 November at 7.30pm Osipova, Hallberg* Saturday 23 November at 7.30pm Takada, McRae Monday 2 December at 7.30pm Osipova, Hallberg Thursday 5 December at 2pm O’Sullivan*, Hay Thursday 5 December at 7.30pm Lamb, Hirano Saturday 7 December at 7pm Naghdi, Ball Wednesday 11 December at 7.30pm Lamb, Hirano Thursday 12 December at 7.30pm O’Sullivan, Hay Saturday 14 December at 1.30pm Cuthbertson, Bonelli Saturday 14 December at 7pm Lamb, Hirano Thursday 9 January at 7.30pm Nuñez, Muntagirov Saturday 11 January at 7.30pm Cuthbertson, Bonelli Wednesday 15 January at 7.30pm Nuñez, Muntagirov Thursday 16 January at 7.30pm† LIVE CINEMA Cuthbertson, Bonelli Coppélia Thursday 28 November at 7.30pm Hayward*, McRae*, Avis* (Swanilda, Franz, Doctor Coppélius) Friday 29 November at 7.30pm Nuñez, Muntagirov*, Avis Wednesday 4 December at 7.30pm Hayward, McRae, Avis Tuesday 10 December at 7.30pm† WORLDWIDE LIVE CINEMA Nuñez, Muntagirov, Avis Monday 23 December at 2pm Morera*, Campbell*, Gartside* Monday 23 December at 7pm Naghdi*, Ball*, Marriott Saturday 28 December at 2pm O’Sullivan*, Sambé*, Mosley Saturday 28 December at 7pm Naghdi, Ball, Marriott Monday 30 December at 2pm Magri*, Corrales*, Whitehead* Monday 30 December at 7pm Morera, Campbell, Gartside Tuesday 31 December at 12 noon Takada*, Bracewell*, Whitehead Tuesday 31 December at 5pm Choe*, Acri*, Howells* Thursday 2 January at 7.30pm Takada, Bracewell, Whitehead Friday 3 January at 7.30pm O’Sullivan, Sambé, Mosley Saturday 4 January at 2pm Magri, Corrales, Whitehead Saturday 4 January at 7pm Hayward, McRae, Avis Tuesday 7 January at 7.30pm Morera, Campbell, Gartside

https://www.roh.org.uk/showings/romeo-and-juliet-live-2019 Worldwide live cinema relay of Kenneth Macmillan's "Romeo & Juliet" on 11th June 2019 directly from The Royal Opera House in London - Many cinemas here in the USA participate in the live cinema relay. Principal ballerina Yasmine Naghdi will be dancing Juliet. She's partnered by Principal Matthew Ball.

Mr. Kevin O'Hare's interview: https://www.thestage.co.uk/features/interviews/2019/royal-ballet-director-kevin-ohare-we-have-a-breadth-of-new-talent-i-cant-help-but-be-a-proud-parent/ Mr. O'Hare says: "Fostering fresh and diverse talent...People like Francesca [Hayward] and Yasmine [Naghdi] came out of the company and are now principals. You can’t help but be a proud parent.” I assume the reason why we'll get to see Manon and Swan Lake again during the 2019/20 Season is that his two youngest principals will now each star in Manon as well as in Swan Lake.

https://www.roh.org.uk/showings/romeo-and-juliet-live-2019 Worldwide live cinema relay of Kenneth Macmillan's "Romeo&Juliet" on 11th June 2019 directly from The Royal Opera House in London - Many cinemas here in the USA participate in the live cinema relay. Principal ballerina Yasmine Naghdi will be dancing Juliet. She's partnered by Principal Matthew Ball. It will also be shown on a giant BP screen in Trafalgar Square, London, and other outdoor screens all over the United Kingdom. Admission is free.

Besides Principals Lauren Cuthbertson, Sarah Lamb,Laura Morera, FrancescaHayward and Marianella Nunez, two superb Principals Yasmine Naghdi and Akane Takada are to be included in the list. Osipova is force of her own, some like her wild style others don't. She's perhaps fascinating to watch but there it stops for many like myself: she has no finesse or elegance nor does she possess a clean, pure classical style of dancing. She has her own very impulsive style of dancing which imo does not fit into the RB style/English style of dancing.

Well well...what a truly sensational performance by Yasmine Naghdi and Joseph Walsch. The audience went wild for them, what an unforgettable night at San Francisco Opera House! Her Rose Adagio... never ever seen anything like it! The audience clapped after every adagio. She is a most stunning and perfect ballerina and a true Royal Ballet gem. I was already a fan of hers since the RB came to USA in 2015, and even more so after tonight's performance. She simply dazzled her audience and I was totally hypnotised by her dancing. She's so beautiful. The San Francisco Opera House got very loud indeed and she fully deserved the Standing Ovation. I don't know when we'll get to see Miss Naghdi again here in USA but I am very grateful I got to see her here in San Francisco. Miss Naghdi, thank you for coming to San Francisco, you captured my heart, and thank you for your gorgeous artistry. I will never forget your Aurora performance here in SF!

I totally understand your point pherank, no doubt there must have been some young (hopeful) soloists dreaming of dancing Aurora, at least Wona Park was given the opportunity. I assume the Director took it all into consideration but perhaps felt that for a soloist to debut as Aurora with an established Principal such as Walsh - dancing his own debut - was not the best solution. I am sure they will be able to develop in other classical roles to come. The R&J cinema screening in San Francisco is on July 9? How strange because the Royal Opera House link to the live R&J screening shows June 11: the date Yasmine Naghdi is performing Juliet in Covent Garden.

My apologies as I have no intention to highjack the postings about Sleeping Beauty but as we are on the subject above... Drew, for now we can hold on having to fly to London as I was told by my UK friends that there are many cinemas all over USA showing her live performance as Juliet, directly from the Royal Opera House in Covent Garden, in "Romeo & Juliet" on 11th June! Here is a link so you can find your nearest cinema. https://www.roh.org.uk/showings/romeo-and-juliet-live-2019

She is a dancer who seriously captured my attention when The Royal Ballet came to USA in 2015 and performed in Chicago, Washington and New York. They have many good dancers but for me she stood out in a special way. I was fortunate to find myself in London last summer and saw Naghdi dance Odette/Odile in "Swan Lake". I really wish I could go more often to London and watch The Royal Ballet as I really like their style of dancing. For the record I am also a big fan of SFB and they have lovely dancers too! I remember watching this video of Naghdi - in the early rehearsal process of SB - it was filmed during the World Ballet Day about two or three years ago I think when she was preparing her Aurora debut. Naghdi is one of only three female RB principals who fully trained at The Royal Ballet School and I am not surprised you comment so favourably about her lovely epaulement, her perfect combination of control and alignment whilst simultaneously being so expressive with her head, shoulders and hands. I think she is a real showcase for the English style of ballet dancing, with her purity and clarity of dancing, and without any mannerism, which I appreciate and love so much. I do hope we won't have to wait too long before she returns to the USA or a trip to London will have to be planned! As for now... there is still Saturday evening to come

Thank you for the list Dreamer. Interesting to note there have been very few invited guest artists at SFB. I think it is great that the Director prioritises the development of his own dancers but in the Yasmine Naghdi case it was fully justified: Joseph Walsh had/has a partner to dance with and the SF audience got to admire and appreciate a stunning guest ballerina from The Royal Ballet in London.

Not two out of three fish dives. It was only one - the second fish dive - and Joseph Walsh very skilfully partnered her into the next fish dive. Anything could have caused this, may be something as small as a ripple in the stage lining. Imo not worth a mention after such a remarkable and memorable performance by the whole company.

Yasmine Naghdi's show is not on Friday Drew but on Saturday evening. We are group of ballet fans, we love SFB and their dancers, and we are going again on Saturday night to enjoy the last opportunity (for now I hope) to see Naghdi here in USA. Apparently she is not coming to LA with The Royal Ballet this summer, such a shame, so we will enjoy her last show on Saturday. Is this the first time a RB Principal is a guest of SFB?

What a wonderful "Sleeping Beauty" SFB delivered tonight, with the stunning Yasmine Naghdi skilfully partnered by Joseph Walsh. They both danced so well together and yes Naghdi's Rose Adagio blew us away, the most beautifully executed Rose Adagio I have ever seen (and I have seen many). Such an amazing control Naghdi has over her balances, she did indeed bring the house down! Her technical control, precision and clarity are impressive to say the least, and Naghdi dances with so much ease, she makes it all look so beautiful and effortless. The Act 3 Grand Pas was another highlight. With regard to those fish dives perhaps Walsh and Naghdi were standing a fraction too far apart in order to execute the pirouettes leading into those fish dives; what exactly happened in the partnering there is difficult to say. I am very appreciative SFB invited Naghdi to dance with Walsh, a great opportunity to see Naghdi here in USA! Naghdi and Walsh fully deserved the standing ovation. The whole company danced beautifully, congrats to all!

Alina Cojocaru was recently (on 19th February) honoured with a National Dance Award for "Outstanding Female Classical Performance" as Aurora in "Sleeping Beauty" by the UK Dance Critics 'Circle.

I hate the practice too whenever it's not skilfully and elegantly done. I have seen it done by a few truly exceptional ballerinas and I found it very beautiful, there was nothing "look at me" about their performance, they were musical and all was done within the music. To me it really depends on HOW it is done but I do respect you dislike it.

Tamara Rojo used to do exactly the same: hold and hold and hold for as long as she could. Dancers not only dance for their audience but also for their own pleasure and satisfaction, and if they are technically capable of doing so - combined with artistry and musicality - thus giving meaning to their balances - I am happy to make an allowance for their own pleasure. They are artists after all, they have their own interpretation and give individual meaning to a role. (Perhaps the comparison is a bit extreme but one would not have told for example Jackson Pollock that he threw too much paint on his canvas. He simply expressed himself the way he wanted to express himself) Some appreciate, others dislike it.

I am very surprised and really shocked to see Misty Copeland - at this stage in her advanced career (!) - struggling to control her hyperextensions, so much tension in the body and stiff epaulement. Surely she should have all this under control by now...? It seems (based on these videos) she really needs to go back to basics and re-train. I find this very odd for someone who is after all a principal ballerina.