Ann

I absolutely agree with Bobbi above. Referring to a dancer by her or his first name - to me at least - implies only affectionate familiarity with that dancer's performances and her/his perceived personality. Keen opera fans usually refer to 'Kiri' or 'Placido', presumably for the same perfectly acceptable reasons. Personally, although I have never met her in person, I can't imagine calling Sylvie Guillem 'Miss Guillem', nor Darcey Bussell 'Miss Bussell'. How stiff and strange it would seem for me to refer to either of these great dancers by anything other than their first names and I cannot imagine that either of them would take the least offence at my doing so.

I absolutely agree with Bobbi above. Referring to a dancer by her or his first name - to me at least - implies only affectionate familiarity with that dancer's performances and her/his perceived personality. Keen opera fans usually refer to 'Kiri' or 'Placido', presumably for the same perfectly acceptable reasons. Personally, although I have never met her in person, I can't imagine calling Sylvie Guillem 'Miss Guillem', nor Darcey Bussell 'Miss Bussell'. How stiff and strange it would seem for me to refer to either of these great dancers by anything other than their first names and I cannot imagine that either of them would take the least offence at my doing so.

I am fascinated too about this comment, Andrei. Do you mean that in Russia Diaghilev is little known, or that he is not known at all (presumably because of Soviet restrictions)? What an amazing thrill is in store for Russians if they are only just finding out about him now!

Alexandra, I just want to add that I too saw the RB's 'Memories' on Saturday, and loved Tudor's 'The Leaves are Fading'. Others have pointed out its similarity to the preceding work 'Beyond Bach', but since I missed this opening ballet ( I was late!) I came to the Tudor work with an unprejudiced eye. Perhaps 'Leaves' was a little whimsical, but nothing could lessen the impact of Alina Cojocaru and Johann Kobborg's partnership in the central pas-de-deux. I felt privileged to have seen it. Cojocaru seemed to be unaware of the earth as she floated through her steps, and Kobborg matched her with the calm effortlessness of his dancing. It was the first time in my thirteen or so years of ballet-watching that I have understood why people get excited about ballet partnerships. It would be fascinating to hear from someone who has seen both Gelsey Kirkland and Alina Cojocaru in this role, but I suppose that's almost an impossibility. I've never seen Kirkland dance - only a snatch of her on video in 'Coppelia' - but I'm beginning to wonder, from what I have read of her, if she and Cojocaru are not rather similar dancers. Can anyone here comment on this?

Many thanks for this considered response, Alexandra. I certainly didn't mean to put down tutu ballets per se - my life would be infinitely the poorer without 'Sleeping Beauty' or 'Symphony in C', for example, and many others so it was probably thoughtless of me to describe the tutu as a balletic cliche. However, in the context of a work like Les Noces, it does seem that for some people a ballet without tutus and pink satin toe shoes isn't worth the name, and these, regrettably, include some of those who would describe themselves as 'balletomanes'. Sad.

Brendan (and all) - it was simply stunning today on BBC TV; the small screen scarcely diminished its power to move. To me, 'Les Noces' has always seemed a work of absolute genius and I find it hard to understand why it is almost unknown to many balletomanes - mention Les Noces and you get a blank stare. There's a certain tutu mentality out there which refuses to accept, or even consider, almost anything outside balletic cliches (and in my opinion the tutu is the biggest balletic cliche of all). Alexandra, do you know if 'Les Noces' been danced by any of the US companies? I think it would look very good on ABT, but it would probably look equally good on NYCB or SFB - and of course we can dream nowadays that maybe the Kirov or the Bolshoi would take it on board. They ought to.

Is it just me? I have always thought that Prokofiev must have been in a very gloomy mood when he composed the score for Cinderella - I find it almost sinister, and quite unsuitable for a sugar-spun fairy story like Cinderella. But there you go - it's all down to personal taste again.

I am so glad this knotty problem is out in the open at last, to be discused without shame or embarrassment. For years I have been innocently pronouncing 'Serenade' in the correct way, i.e., exactly as it is spelt, as if 'serenade' rhymed with 'lemonade' (and after all, nobody would dream of saying 'lemonODD'). Then I saw a video of a Balanchine programme where Peter Martins uttered the dread 'SerenODD', and since then I have been in an agony of indecision as to how to pronounce the name of this most exquisite of Balanchine works. Now I know, thanks to Balletalerters, that I was right all along. SerenADE it is from now on. What a blessed relief!

In fairness though, Patricia, Balanchine was only 24 when he created 'Prodigal', so he has a perfect right to be called 'young'- he just isn't 'new'. I am personally very excited about the way Balanchine is growing, albeit slowly, on Russian ballet audiences (they truly do not know what a treat they have in store). I now have similar hopes for Ashton's introduction to the Russians - the Bolshoi are doing his 'Fille mal Gardee' shortly. Another treat in store for those luckily ignorant Russian ballet fans!

There is a discussion on Ballet.co at the moment on the use of video recording for both training and archival purposes, during which it has emerged that the 'scratch-tapes' used by companies to record rehearsals etc are of inferior quality, and usually shot from the back of auditoriums or on the main stage at a wide angle. This is partly because companies do not have the funds to record properly - that is, employ and pay for professional cameramen and use more than one camera so that the action can be shot simultaneously from different angles. As for studio rehearsals I was undoubtedly naive in thinking that you only needed one camera probably operated by one of the dancers not involved in the action (ha!). I wonder if anyone on this board can say what the practice is with US dance companies? Where a new work is being created, is it routine to have it meticulously recorded by both notation and professional video recording? It seems to me that's the way it should be.

Felursus - Fascinating that you saw these three couples in the balcony scene from R & J (even on film). I've always wondered what Seymour and Gable would have been like, given that the roles were actually created on them. Equally I would love to have seen what Sibley and Dowell would have made of the star-crossed lovers (Fonteyn and Nureyev are of course on video in the roles). It would be wonderful if you could comment further on this.

Alexandra and all BalletAlerters I know I am speaking for all of us on Ballet Co when I say how deeply shocked and grieved we all are here on this board and indeed in the UK at today's terrible events in New York and Washington. There are no adequate words at times like this, but at least we are thinking of you.

I would go for 'Monotones' too - it seems to me to be a perfect mix of pared-down sculptural movement plus mood, light and music. However, I have a problem with Ashton's costume designs. The all-white leotards are absolutely perfect but he spoiled them, in my view, by adding clunky jewelled belts (ridiculous in particular for the men) plus intrusive white skullcaps for all three dancers. Still, it is a perfect gem of a ballet and it thrills me every time I see it.

Gianna - I'm thrilled by your wonderful review of the RB's mixed bill - I simply didn't want it to end. I think its amazing how passion for something - some art form - brings out the hidden writer in us all. And I agree with you absolutely about 'Monotones'. To me, it's the most perfect ballet, and it moves me almost to tears to. Re Muriel Valtat, she certainly isn't 'old' - there was a thread on Ballet.co a while back expressing amazement that she had been cast as the Nurse in Romeo & Juliet. She can't be more than in her mid-30s, if that.

Flight, could you tell us where you heard about this probable book by Guillem? Its the first I've heard of it and I'm very interested. She gives dozens of interviews but it seems to me the more you read them, the less you know about her! (As you, can guess, I'm a huge Guillem fan...)

I saw the Fokine programme last night, and whilst 'Chopiniana' remains unchanged from earlier Kirov viewings, I did think both 'Scheherazade' and 'Firebird' were disappointing. Since both were 'reconstructions' by Andris Liepa and Isabelle Fokine, perhaps the blame lays at their door. 'Firebird' in particular was a mess, and couldn't even be saved by Irma Nioradze's thrilling technical and dramatic skills. I thought it was a bit of a limp end to the Kirov's triumpant season here in London - better if they'd gone out on 'Jewels'.

James/Juliet/Alexandra: I've now watched my video of the RB's 'Beauty' (1996?)and the solo I'm referring to takes place in Act II at the end of the hunting scene and just before the 'vision' scene. Prince Florimund is alone and sad and he dances this beautiful slow solo to music that I ought to recognize. Although the credits at the end mention only Petipa choreography with 'additions' by Ashton and MacMillan, the piece looks very Ashtonian to me. It's certainly far more lyrical than any Petipa solo created for a man that I've ever seen.

Colwill: I blame the ROH management for the ringing cellphones - their polite request for 'all mobile 'phones and pagers to be switched off' is just too polite. A far sharper warning is needed along the lines of 'the management takes no responsibility for the safety of any member of the audience whose mobile 'phone goes of during the performance'the inference being that the offender will be in danger from other members of the audience (which indeed they would be if they sat next to me). I cannot understand why theatre managements in general don't take a far tougher line with this particular curse of the electronic age.

James/Alexandra We've discussed this solo recently I think (or perhaps in was on Ballet.Co). Surely this is the solo danced by Zoltan Solymosi on the recent Royal Ballet video of SB (with Viviana Durante as Aurora)? I seem to remember saying that it was the only time I had liked Solymosi.

MacMillan's delectable, deliciously immoral 'Manon' of course - oh, all those gorgeous men panting after me..

Thank you for all these wonderful reviews; I've loved reading them. I mean, they are wonderful reviews for the Royal Ballet, but they are also wonderfully written, fresh, direct and heartfelt. (I sometimes think that Ashton is more valued and understood in the US than here in his own homeland, but perhaps that's just me). One little disappointment; nobody seems to have reviewed the Sunday performance with Belinda Hatley and Stuart Cassidy. Did anybody see it and can they comment?

Felursus: I am confused by your remark that Song of the Earth 'was originally choreographed for the Stuttgart Ballet by Cranko'. Surely the work is entirely a Kenneth MacMillan creation? :confused:

Just curious, but does anyone know how to pronounce Xiomara's name? Its unusual.

Helena, I don't yet know what the programme is going to be but why don't you try asking on ballet.co.uk? It's a British-based site so you're probably more likely to get an answer there. I do know that in addition to their appearance at Covent Garden they also do an outdoor performance at Holland Park, which is the one I usually go to because it's so charming, especially if the weather is good. Not sure if they are going to be there this year, though.

Marc I saw the Bolshoi's Drury Lane performance tonight and really loved it. I thought the male soloists were outstanding, in particular Dmitry Gudanov in 'Spectre'. He danced it as well as anyone I've ever seen, with real technical ease and true musicality. I loved the 'Flames of Paris' pdd danced by Goriacheva and Godovsky and I even thought 'Narcissus' was enjoyable (it was comprehensively trashed by Clement Crisp in the FT) As danced by the promising Gennady Yanin, the choreography made absolute sense of the old Narcissus legend. I loved Maria Allash too in the third 'Bayadere' variation; she had a softness lacking elsewhere in the women in this piece. The meagre audience tonight gave the company a warm, richly-deserved, ovation. Glad to note that Akimov promises that the company will be performing next year at the Royal Opera House. It's a much more fitting venue for the Bolshoi.