sylvia

I hadn't thought of that but it's an interesting thought. I get the impression from interviews, books etc that some/most principal dancers have a coach that works with them for most ballets. (A question for the next insight day!) Darcey Bussell's written her principal coach is Donald Macleary. So I'll be curious to see if Cope has a continuing role in Watson and Pennefather's development. I agree 100% about Watson and Pennefather's confidence in Dream and Month! I've said somewhere else that having seen Watson dance a number of somewhat passive roles - Romeo, Palemon - it was thrilling to see him dance Oberon so commandingly and with so much vigour. Likewise for Pennefather, he made the role of Beliaev belong to him. I thought both performances were infused with little details that must have come from many hours in the studio.

Happen to still have my cast sheet on me Symphony in C staging was by Christopher Carr and Grant Coyle. Looking at The Dream's principal coaching, Jonathan Cope is included. He's never danced Oberon although he expressed a wish that he wasn't too tall to dance it a couple years ago. It makes me curious if he danced any other role in Dream, (though dancing a role doesn't appear to be a pre-requisite for being able to coach it here) - I'll have to ask around! Carol, I preferred the casts for Symphony in C a few months back myself - Roberta Marquez, Darcey Bussell, Deirdre Chapman and Tamara Rojo/Sarah Lamb. Sarah reprised her role in the 4th movement last night and stood out for me the most. I've never seen NYCB or POB live on stage sadly - will need to rectify that somehow, someday!

Still a relative newbie , I saw Symphonic Variations in the last run but for sure I'm learning a great deal, especially from discussions on boards like these. I couldn't possibly comment on what SV is supposed to be like, but I do know what I loved about it. I wouldn't agree that Cojocaru or her partnerships stood out or outshone anyone in SV - on the contrary, what amazed me was how perfectly balanced the first cast seemed to be. Especially at the rehearsal and first night, they seemed to be in harmony, equally and perfectly matched from the angles and curvature of their arms, the timings of steps and jumps, the way they instinctively appeared to come together, form positions and break apart again, the way they were listening and responding to the music. From the amphitheatre I watched through binoculars for a few minutes, then put them down and just watched it in it's entireity...although I could more or less recognise the dancers without them, it didn't seem to matter because the quality of each was so brilliant and made up to one gorgeous whole. I am a Cojocaru fan admittedly and in anything else my eye would be drawn to her, but this was not the case here. I think the fact that the dancers allowed the ballet to shine through more than their individual performances must mean they are doing some kind of justice to it. I hope I'm making myself clear here! I have to respectfully disagree with Kate and say that as naive or as inexperienced I'm sure I may be, that "Symphonic is a ballet where no dancer is greater than the sum of the parts, they are servants" is exactly what I saw. If anyone surprised me, it was Steven McRae. I've enjoyed watching him in the corps all season. This is only his first year in the company, and he while he catches the eye in the corps it was a shock to hear he was covering another injured dancer in SV. It was an even bigger surprise to discover how exceptional he is - I could rave for quite a bit but, put simply, he looked like he belonged alongside Kobborg and Bonelli. I enjoyed 2nd cast as well, but I didn't think they achieved the kind of unity that the first one did. Certainly I felt they weren't hearing the music in quite the same way! I want to see them again before I say anything more. I preferred Bussell to Guillem in Month in the Country as well. Watching Darcey as Natalia for the first time, I was surprised at how much of the Ashton style she had. I mean, I'm hopeless at spotting these kind of things unless they're pointed out to me and I'm usually content to enjoy a ballet all the way through rather than worry at how the style is being lost. But I noticed it in Darcey, the twists and turns in her upper body, they made her and made the choreography seem so alive. I then was anxious to see how Sylvie did and was terribly disappointed, at how she moved her arms rather than her back, she seemed so stiff in comparison. From an acting perspective, Sylvie's more subtle, very naturalistic, but the changes in emotion barely register in her face, and while she's wonderful to watch with binoculars, I can see why people can find her rather cool. I preferred Darcey's more vibrant and I suppose more hysteronic approach. I liked Murru more than I thought I would given my doubts about him in the last run. But he and Guillem didn't thrill me the way Darcey and Rupert Pennefather did. Pennefather's also still in the corps but has been thrust into principal roles this season and next. I thought he was absolutely terrific, displaying a confidence in his dancing, in the choreography, and displaying so much charisma and leading man qualities that for me he didn't have before. He has a beautiful, understated manner in his dancing as well as his acting that made me recall Cope's perfomances, (so I guess it wasn't a surprise to see later that he's coached him in this) I think his age certainly helps - he can't be more than 24, but looks younger and helps crystallize certain aspects of Natalia's personality. I was pretty late in cottoning on to the fact that she's meant to be significantlly older in the Guillem-Cope, Guillem-Murru casts last time! Les Biches isn't really for me. I'm having a bit of trouble with the music to be honest and found myself drifting away several times during the rehearsal. Admittedly I've been arriving late to the mixed bill and haven't made it to any of the actual Les Biches performances, but I shall give it another go next week!

Awwww....thanks you! I cannot believe I missed that!! (should've made my mum wait another hour, lol.) Did you mean he lead her up and down the stage during the curtain calls? I'm glad they like dancing together - it does show in their curtain calls! I love how emotional Tamara + Jonathan's are and the way he unreservedly plants the biggest kiss on her! And Irek made me laugh after Judas Tree and Mayerling, the way he ran Mara up and down the stage so she could take bows from everyone in the house.

I have to be honest, I had to rush home and missed the bows (I have an excuse! My mother is visiting from abroad!) so I missed the curtain calls. Please tell me about the bows? There wasn't a flower throw was there? He did kiss her didn't he - I know she's married but I'm a sucker for feigned romance anyway

Kenneth Greve is coming back to guest in Manon with Zenaida - she, and her fans have been waiting a long time for her to dance Manon, so it's wonderful she's found her Des Grieux as well. I'm looking forward to principals and soloists from the RDB coming to dance in London at Sadlers Wells as well this summer.

Am a little perplexed by the mixed reviews Roberta's garnered by critics/fans/friends. I thought she was wonderful last night - still up there with Tamara! (though I agree she didn't dance act 3 so strongly.) I prefer her Odette to her Odile - in act 2 I felt she giving such an emotional, expressive performance, using both her body and her eyes. Oh well, it's just me, I don't mind agreeing to disagree! Re Ivan, he's been guesting a bit with Roberta since they started dancing together 2 years ago - I think he danced Spectre with her at the Diaghilev Festival this year. So I presume his international profile must be on the up. He seemed to go quite a bit further technically than dancers normally do in Swan Lake - the first solo in act one I is usually more refined than full of pyrotechnics, but Ivan threw in some incredible things I couldn't begin to name. Well it was last night, and the last SL we'll be seeing for a couple years!

Will be there too - only just got my ticket today! The 4th and the 8th as well, maybe more if I can. Will drop by where the regulars bunch together in the interval Ami

Carol, I think Mara finishes her run of Rites this Friday, and it's Symphony in C to end the bill again in June. I'm very excited, I love this work (and there are only so many Rites I can take in 1 week ) and given that it's not returning next season, am going to see every single one. For Three Songs, there's only one cast, but I can give you most of it from memory: Zenaida Yanowsky, Gary Avis Tamara Rojo, Johannes Stepanek Deirdre Chapman, Ricardo Cervera Gemma Sykes, Laura McCulloch, Pietra Mello-Pittman, Sian Murphy James Wilkie, Steven McRae, Ludovico Ondieva, Brian Maloney, Bennet Gartside I'm sure there are 2 or 3 others - I'll have to add them later I'm afraid, I don't remember who they were, or at least I couldn't match names to faces. It's a fun new work, whether it will last I don't know. (It's not being revived next season - personally of all the new works we've seen in the last 5 years, Wheeldon's Tryst, Bintley's Les Saisons, McGregor's Qualia and now Bruce's Three Songs, I'd love to have Qualia back.) So the audience here may as well catch it while they can!

Have seen it twice already, three times if you count the rehearsal I love the Dream - I've been waiting a year since it was announced last May for it to be revived! I do think Alina has improved tremedously since her debut 4 years ago - less saccharine, and much more spirited. Johan Kobborg danced Oberon perfectly Jose Martin was a surprise case choice to me as Puck - I've only seen very small dancers in this, but he was excellent, his portrayl was so vivid and mischievious. And Jonathan Howells was lovely as Bottom - he makes the comedy of discovering he's no longer an ass see so natural - it's hard to explain! The quarrelsome foursome were excellent too - couldn't help but notice that they are all RBS trained - Isabelle McMeekan, David Pickering, Joshua Tiufa, and Gillian Revie. The only thing that surprised me this time was the speed of it - some of the dancing wasn't as fast as I remembered. I didn't have fantastic seats I have to admit - I saw Dream for the first time and many more times from the front of the stalls circle and stalls in the last run and remember being absolutely dazzled by the speed of everything, I hardly knew where to look. But this time, watching from the back of the stalls, knwing what to expect, it wasn't as fast as I remembered, but it's probably just me. Just to also mention Edward Watson's debut as Oberon last night, it's been a long time coming - he started covering the role years ago. I've only seen him dance somewhat passive leading roles until now (Romeo, Palemon) so I wondered if he would pull it off, and gosh, he really did. I was so impressed with the authority he brought to the role. A few of his balances were a little wobbly, but overall it was terrific to see those long legs of his whip through the fiendishly difficult solos. Mixed feelings about the new Christopher Bruce, Three Songs, Two Voices. It's very enjoyable, all danced on flat shoes, and bursts with uncontrollable energy. The dancers blaze on stage in waistcoats, headbands, long loose hair and insanely bright red jackets. I loved picking out individual dancers, the dancing is gorgeous, all swinging hips and almost constant rolling movement, huge wild jumps and clinging to the floor. It almost looks unchoreographed, unrehearsed, like Bruce had shown them a few basic steps (including a few ballroom ones!) and then given them carte blanche to run about and do what they like with them. But when they're all on stage at once, doing their own thing, it comes across as a bit...messy. Maybe it's supposed to illustrate the wildness of Hendrix's music (I confess I don't listen to it at all, but the ballet does make me want to find some cds!) but the corps bits didn't really work for me. But again, if I instead picked out dancers to watch, it was good fun. I was also so pleased that Bruce had picked out some of the dancers in corps who I reckon will make an impact in the RB in the hopefully near future. Evening ended with Rite of Spring with Mara Galeazzi making her debut as The Chosen One. It's an indescribably amazing work, best from the amphi I reckon. Sorry, I should have started another thread for this - the post ended up being a lot longer than I intended.

Okay, now one of the moderators or other learned people on this board need to step in and correct my little knowledge of Petipa/Ivanov, but my understanding is that most turns in these Grand pdd turn towards the right - so, if a turn onto pique or en dedans, usually on the right leg, and if en dehor pirouettes/fouettes, on the left leg. From the way I've learned the little rep I know (Kitri, Black Swan, Coppelia, Sleeping Beauty, Corsaire.... racking my brain here), this is just 'how it's done', but there is the 'artistic freedom' to slightly change these/do them the other way on the other leg? However, there are long balances on the right leg in a lot of these - so! Someone who has more knowledge of the choreography? <{POST_SNAPBACK}> Not Petipa/Ivanov, but I remember at a masterclass recently we were told that Dowell used to turn 'the other way', so there are two versions of The Dream notation, one Dowell version, and one for everyone else!

I suppose if she felt she hadn't danced up to her usual standard, she'd still want to make the impression she had by bowing grandly - if she'd taken her bows in a more humble manner then definitely I'd think something was wrong What did you think of Roberta's white acts Carol? I found her very moving, as I said amonst the best I've seen, though the people I spoke to were of mixed opinions, from high praise to a bit disappointed (not that she was bad, but that she wasn't as good as expected). I think I'm a bit Swan Lake-d out, (even though I haven't seen it since November) I've seen certain dancers in certain National dances, pas de trois, big swan variations, so many times. But I don't tire of seeing Laura Morera and Jonathan Howells in Neapolitan. Howell's is dancing Bottom tonight in first night of The Dream/New Bruce ballet/Rite of Spring Mixed bill, and I'm excited about that too.

It was a surprise I guess, just to see her turning the other way. Isn't that one of the technical challenges of Act III - that most of the steps are done on the left, capped off by fouettes on that dying left leg? But certainly she does things her own way - I agree, in the Rose Adage where she actually substitutes the last promenade in attitude for an extra long balance, did make my eyes bulge!

I didn't think their first night was so bad. I found Roberta Marquez's Odette extremely beautiful. She made lovely use of her arms and upper back, and she was deeply moving - expressive, vulnerable, tragic - I thought her dancing took this right to the back of the auditorium. She was equal to Tamara Rojo in my book, who I didn't think could be surpassed. What I found even more interesting was her interpretation of Odile. She dances this very differently from all other casts I've seen - sophisticated but not at all overtly sexy. She doesn't try to seduce Siegfried with big smiles or come across as completely evil that I find a bit over-the-top in other dancers. I felt more like she was letting the dancing do the enticing for her. I read in a Swan Lake review last year of a brilliant Odile, who's dancing had hinted at some backstory, of Odile's own imprisonment by Rothbart - it wasn't something I'd noticed myself, but Roberta's interpretation certainly made me think about this. I did wonder if everything was ok - her balances weren't as long as I expected (and she can hold some impressively long ones), her fouettes were done on the right leg and she did cut them short, leaping to the side to fill up the rest of the music and recover at the back of the stage. And the rest of act III I think didn't seem to go so well for her. But otherwise I thought she was wonderful, everything I thought I'd want to see in Swan Lake and she still surprised me. I like her bows They're very extravagant, and she's one of only two ballerinas who carefully chooses a flower from her bouquet and presents it to her partner. I'm sure you can tell I'm a fan. I wasn't to start with, when she first guested in Sleeping Beauty, and I was surprised she was joining the RB given how top-heavy the female ranks are. But I love dancers with expressive eyes, and Roberta's just sparkled in everything, particularly her Giselle, and her Fille was by far the best I've seen. Ivan Putrov isn't one of my favourites in this role but I thought he danced it beautifully as always. Marquez and Putrov make a marvellous, exciting partnership IMO, even though their training comes from opposite sides of the world, and together they have tons of chemistry and charisma. I think her warmth and joyfulness bring out the best in Ivan, and they're a cast I always make a point of seeing. The top ranks are a bit swamped with great dancers and brilliant partnerships at the moment so I think they'd get more attention otherwise. Monday was Roberta Marquez's Covent Garden debut, but she's danced this with Ivan Putrov before on the Russia tour a couple years ago, and certainly she must have done it many times in Brazil and guesting all over. I'm seeing them again later this month so I'll be curious to see if it's any different. Having mounted my spirited defence of the evening, just want to take the opportunity to welcome Carol too

As a Londoner, I wasn't enthusiastic on hearing that we'd be getting R&J, Manon, Nutcracker, Giselle all in one season - I feel like I saw them all just yesterday! But the new casts, Zenaida Yanowsky and Kenneth Greve, Mara Galeazzi and Federico Bonelli in Manon, Sarah Lamb, Lauren Cuthbertsen, Rupert Pennefather in Nut (he's presently in the corps de ballet and will be parterning Tamara Rojo no less!), not to mention the possibility of new and younger R&J casts that was mentioned elsewhere, are really something to look forward to and I suppose it allows the company to dance lots of works new to the dancers. The mixed bills look terrific - La Sylphide, Tamara's debut in Marguerite and Armand, La Fete Etrange, Pierrot Lunaire, Afternoon of a Faun, My Brother My Sisters, Rake's Progress stand out for me particularly, and I'm so pleased that Sylvia, La Fille and Requiem are coming back. (I was so hopeful that Rhapsody and Symphony in C would be too, but oh well.) And the new Beauty as well - a bit shocking to have another one so soon! So I'm half a bit "hmmmm..." but almost everything in the mixed bills is new to me so it's all very exciting.

I agree, unless you have Eurosport here, we only get the top 3 of each discipline and no anaylsis. It's good the new scoring system makes the judging process more transparent.

Monica Mason coached Zenaida Yanowsky in a Rite of Spring masterclass this evening - someone asked about Carlos and she said he was ok but he twisted his ankle, it's a real sprain and yes he's out of his last Rhapsody. He's supposed to be dancing a new Christopher Bruce ballet in mid-May too. I saw on his website that Carlos is dancing Rothbart in some SL performances at ABT! Is it quite a dancey role?

It did make me wonder if Ivan Putrov was not available who might step up. There aren't many others in the company I could fathom dancing this ballet. I thought he was tentative to begin with - he started a bit too early and had to quickly resume his position with a huge "oops!" smile on his face. But as the ballet went on, I was very impressed, better than his debut a few nights before, and he appeared to enjoy and relish every moment. The roar that greeted him in his first curtain call was huge. I didn't think Carlos was being unprofessional - the way he was looking at his leg, carefully testing it, I wouldn't have wanted him to try to walk off stage (he was right in the centre) and I don't know what more he could have done. I'm amazed Carlos risked coming back on for the pdd - his right ankle was strapped up but if there was any sign of discomfort he didn't show it. I did think he was absolutely brilliant in Rhapsody on first night and I came back to an especially bad seat just to see him and the Royal Ballet dance it again. Re designs, I haven't seen the red swirling backdrop from my vantage point yet. I don't care for the dresses I have to admit - I agree with one critic or poster I read who said they were too Jiri Kylian. But the pastel shaded boys costumes are interesting, and the dancing is clear enough against the floor of the stage.

It keeps changing, but on last night's performance (Roberta Marquez, Ivan Putrov, Alistair Marriot, Giacomo Ciriaci, David Drew), La Fille Mal Gardee. The choreography is so beautiful, and it just makes me so happy!

Re watching dancers feet, yes it is a problem but just in the orchestra stalls. I think the box-office says you can't see feet from A-D and I know you're ok from Row G/H backwards. Unfortunately the rake is completely awful throughout. Rows B-D are terrible for me. I'm 5'2 and whenever I sit anywhere apart from Row A I keep my coat to sit on. I'd bring my biggest, fattest textbooks too! The only other seats guaranteed of a clear view are in Row H Orchestra Stalls Sides, behind the descending staircases where there's a gap of several rows in front. These are the best in my opinion - cheaper than the central section (strange as the view is exactly the same), close enough to see facial expressions and a clear view of everything! H1-6 or H27-32. Get these seats if you can. The other option is Stalls Circle row A - A20s and 30s are pretty good, unlike Row H (where you're head is about level with the stage) you can acually see the stage floor. They're a bit restricted view though - you miss maybe 10-20%? They're quite a bit cheaper but are popular so they tend to go fast. I wouldn't recommend the boxes to be honest if you want to be close. I've sat in the directors and royal boxes before and though they're fabulously close, a huge quarter of stage is out of sight. Plus it depends on which seat you're in - I feel so sorry when I see people in the 2nd row of these boxes, mid-performance, standing and straining to see after forking out £80 or so. Hope you make it over!

Agree! Have found that queuing before 8am nets a good place in queue but for Guillem-Cope there's no telling! Row B of the stalls circle is a bit better than C if you can get a seat far enough around the horseshoe auditorium. If you're short like me, heads can get a bit in the way though But you're pretty close which is great for stuff like Manon, and there's usually sufficient goings-on in the background to watch when the principals dance in the restricted-view parts of the stage. The back of the amphi gives a full view but you'll want binoculars - the seats are way WAY back! There are no shows on Sundays and the box office is closed. Bring a cushion, newspaper and hot drink - and there's usually good ballet conversation in the queues if you're up for it ;)

I'm looking forward to La Vivandiere. Can someone tell me what to expect from the rest of the ABTII program please?

I've never tried 12x magnification and I suspect it might be a bit high as I think most people at the ROH use between 3x and 10x. 8x works for me at the ROH. From the front of the amphi, it's perfect for watching solos or pdds. From the back of the amphi you can still see facial expressions, costume detail etc. It depends what kind of investment you want to make I guess - as I've said I've never tried 12x but it's definitely too high if you plan to come back and try to sit in different parts of the house. You didn't mention what model the binos are. The advice I got was that the more you spend, the clearer the view you get, but my friends are as happy with their £8 binos as I am with my £30 ones. Enjoy the performance! Tell us all about it! Sylvia

And again last night (Thurs 25/11) which was the filmed performance - hopefully when it's televised copies will be winging it across the Atlantic so you can judge for yourselves

I assume he was scheduled to dance one of the Goats in Sylvia as there's a picture of him rehearsing it with Christina Salerno in the programme, but for whatever reason he's been off for the last few weeks. I remember now where I read about him covering in The Dream. It's not officially announced but this question is often asked at the Ballet Association talks http://www.balletassociation.co.uk, to get an idea of what the dancers might be dancing I guess.