JMcN

The most exciting thing for me would have been seeing Edward Watson as Rudolf. I had the good fortune to see him at the last revival and he was truly exceptional. This time I am going to a convenient matinee (combining a few days in London for American in Paris (mainly to watch some favourite ex-BRB dancers) and Northern Ballet's awesome new Casanova. I will be seeing Thiago Soares' cast. If I had had the opportunity to choose a cast to see I would choose the dancer performing Rudolf rather than any of the ladies (although they are also important). I chose to see Soares this time because he got such wonderful reviews last time.

PS - Do you mean 28th April 2017?

On the whole, I think the more important character is Rudolf!

The Slovak schedule has (to me) some interesting items on it. The new theatre is fab and Bratislava is a lovely but nicely compact city to wander around. If you are travelling from Europe, especially the UK, it may be cheaper to fly into Bratislava and get the train to Vienna. Several of my friends have done this recently.

Ashton (London Festival Ballet - now ENB) MacMillan (both RB & BRB) Morricone/Gable (Northern Ballet - my favourite) Cranko (Scottish Ballet) Robert North (Scottish Ballet) Pastor (Scottish Ballet) Derek Deane (ENB - both "in the round" and proscenium) Nureyev Neumeier (RDB) Maillot (Geneva Ballet and Northern Ballet) Van Dantzig (?) Dutch National Ballet in late 1980s Royal New Zealand Ballet early 2000s - sorry can't remember choreographer

The extra week this coming September at Sadler's Wells, which was announced ages ago, is apparently already sold out. Sadly I can't see that happening in the barn known as the Liverpool Empire but I expect the hoteliers will be rubbing their hands with glee as I am sure people who can't get tickets to the Wells will be travelling to Liverpool!

I believe Scenes de Ballet was Ashton's Homage to Sleeping Beauty. I absolutely adore this work and wish we had more opportunity to see it. I think with Ashton he makes characters you end up caring deeply about even though the story may be silly and the characters not initially likeable. I adore Two Pigeons and have fortunately been able to see many memorable performances in recent years thanks to Birmingham Royal Ballet. I believe it is a piece about redemption in a way - the young girl realises how silly and flighty she has been and the young man realises that he behaved badly towards her by walking out. The final, reconciliation duet is incredibly beautiful and poignant and a masterpiece in how to make such a quiet and gently dance. I don't think I've ever seen a performance where I have not cried during this final section. There are several performances where I have sobbed out loud from the moment the young man has been thrown out of the encampment. These performances were by Chi Cao and Ambra Vallo (BRB) and last year by Alexander Campbell and Yuhui Choe (RB). One performance that will live with me forever occurred on a Saturday afternoon in Birmingham when danced by Robert Parker and Nao Sakuma. Not only was I sobbing out loud but so was everyone around me. My friends and I couldn't speak for ages afterwards we were all so overcome!

ENB have announced the Autumn/Winter season today. This is the content of the email I received: Our 2017-18 Autumn/Winter season is revealed We're delighted to announce our new Autumn/Winter 2017-18 season. Highlights include: English National Ballet performs Sir Kenneth MacMillan's Song of the Earth and Frank Anderson's La Sylphide both for the first time, with performances on tour and at the London Coliseum. Roland Petit's Le Jeune Homme et la Mort returns with performances at the London Coliseum. The acclaimed Akram Khan's Giselle returns to Sadler's Wells in London and tours to Liverpool for the first time. Rudolf Nureyev's Romeo & Juliet makes a return to Bristol in its 40th anniversary year. The festive family favourite Nutcracker sees performances in Southampton and at the London Coliseum. Booking opens to our Friends this Friday 10 March at 10am, with general booking opening from 10am on Monday 13 March. I'm very excited that Akram Khan's Giselle is being performed in Liverpool and Song of the Earth/La Sylphide in Manchester. I feel a ticket buying binge will be starting very soon...

I saw An Italian in Madrid (with Chacony and Tangent (Lawrence)) last night at The Lowry in Salford. I thought it was absolutely exquisite. I liked the melding of Kathak and contemporary for the Princess and thought it highlighted the cultural differences between the Princess and the Prince in their beautiful duet. I also very much enjoyed the other 2 pieces. Altogether it was a blissful evening.

Good news! My friend and I are booked to see Giselle on the 11th and 12th of July. Anette is one of my absolute favourite Giselles.

It certainly is Naomi! I thoroughly enjoyed it.

As far as I am aware people from many professions can be subjected to drug/alcohol tests.

Don't know if it works outside the UK but you can now register with The Times and read 2 articles per week. I think Nick Allen is correct in that it is an educational issue. We've seen enough reports in the UK over the years about the effects on the body of, for example, long term use of steroids once the taker stops taking them. This message needs to be rammed home.

It was! Perhaps it may not be so easy to get now, judging by this price on Amazon... https://www.amazon.co.uk/Nutcracker-Birmingham-Royal-Ballet-DVD/dp/B00005RHHD Never heard of this company but the prices seem more reasonable! http://www.alibris.co.uk/search/movies/upc/032031149199

Birmingham Royal Ballet's version is magnificent. It was made by Sir Peter Wright, who also made the Royal Ballet's version.

I saw three performances in Manchester (before Madison Keeler made her debut) and was blown away by the production! The scenario places the production in a camp of migrant workers who have lost their jobs in a nearby factory and who dance to entertain The Landlords. Albrecht is of the Landlord class; Hilarion is of the migrant class but seems to be some sort of wheeler dealer known to The Landlords. Act 2 is set in the derelict factory. When you read the scenario it is not far away from a traditional Giselle, apart from the setting. The setting is dark, there is a huge moving wall at the back that separates the migrants from The Landlords. The costumes are in earthy colours - simple dresses for the ladies that show of the swirling movements of the choreography beautifully. The men wear what almost look like salwar kameez. There are some great group dances in Act 1 and plenty of opportunity for Albrecht, Giselle and Hilarion to carve out their characters. There is a beautiful duet for Albrecht and Giselle. You don't really see Giselle's death after her mad scene. The group are swirling around her and as they move gradually off the stage you see Hilarion cradling her body. The Wilis are on point in Act 2, which is quite surreal and scary. At one point you see them telling Hilarion why he is being killed. The performances I saw were tremendous with all the company giving total commitment to the piece. It is not a traditional Giselle by any stretch of the imagination but it is visually stunning with a wonderful new score. I know people who absolutely loathed it and people like me who absolutely loved it.

She didn't really set the world on fire at BRB although she was a nice dancer.

Congratulations to Kizzy Matiakis on her her promotion. Fantastic news!

I hope Mr Bigonzetti recovers well from his serious back problem that has caused his withdrawal from the job.

As far as I am aware, press tickets can be allocated to accredited organisations (and hence their reviewers) in the UK. Having spent a fair amount of time reading reviews I would have to say that most of the reviews seem remarkably unbiased. Having said that, reviewers are also human beings and any review is the personal opinion of its writer. I am a fan and I tend to buy tickets for things I think I will enjoy (who wants to pay for something that they know they will dislike?). People could therefore infer that I am biased because of my positive reactions. I don't write reviews, I may post my thoughts but I would not consider myself "a reviewer". In my opinion there is definitely a need for professional critics (whether I agree with them or not).

She was my first, and never forgotten Sylph in 1985, with Peter Schaufuss as her James. I only saw her do Sylph and Tatiana in Onegin a couple of years later but she was absolutely lustrous and I feel privileged to have seen her.

Just to point out that Celine Gittens dances for Birmingham Royal Ballet - not ENB. And, of course, the wonderful Tyrone Singleton is a principal at BRB.

In my experience as a ballet-watcher, the height of a dancer can make the choreography look completely different. I think it is good to see dancers of all heights! Vive la difference!

Has Hubbe done a new production of Don Q? I have fond memories of seeing them in a performance of Alicia Alonso's production a few years ago (with Anette Delgado and Joel Carreno guesting as Kitri and Basilio).

Although I only saw Ospiova/McRae at the cinema, my preference stylistically was very much for the Hayward/Hay cast. Francesca Hayward is really very special indeed and her performance was so beautiful it moved me to tears.