Mashinka

Cesar Corrales has an injury problem going back to his time with ENB, Although his comments on that are in the public domain I won't repeat them here for risk of being deleted, He is now back dancing and I saw him as Romeo where he didn't appear to be dancing flat out. I thought the same about Hallberg's Romeo, though he really showed what he can do in the balcony pas de deux at the Fonteyn gala, Corrales, did not participate in that. Perhaps a question mark still hangs over Corrales's fitness, thus hindering his immediate promotion, but if he fully recovers principal status must be assured. RB style can be acquired, just as any other style can be. That style is indivisible from Frederick Ashton's choreography and Beatrix Stix-Brunell is one of the finest Astonians in the company which she proved without question when she danced the young girl in The Two Pigeons, she has what I would call an understated technique, very like Fonteyn's I fact. It would be a tragedy if she is overlooked in favour of more extravert colleagues.

So long as he fully recovers from those injury problems, Cesar Corrales is the prime candidate for the next principal, perhaps Stix-Brunell also. Joseph Sissens is a sure bet for future stardom, he should move up at least one rung, hopefully more.

And I was illegitimate, the product of a brief fling by my unmarried mother who put me up for adoption the minute I was born. I don't share Zefferelli's views on abortion because I believe nothing is worse than bringing an unwanted child into the world, however I can understand how growing up in ultra religious, conservative Italy would have coloured his views. We have just commemorated the anniversary of D Day and honoured the memory of those that fought. Zefferelli put his life on the line fighting with the resistance, for that alone I believe he deserves our respect.

Being accused of sexual assault isn't the same as being convicted of sexual assault. I hate to break this to you but molestation of children is universal. Frederick Ashton was molested by his elder brothers but bore no grudge, Do you consider him vile too?

A couple of lines about politics within a lengthy list of achievements. How lucky the not-famous are that they are not subjected to microscopic examinations of everything they have said/done in their lives.

His Tosca production at Covent Garden with Callas was the stuff of legends and they kept that production for decades. Strangely enough I was watching Tosca at ROH last night and a friend told me in the interval that Zeffirelli had died. There was a time a curtain announcement would have been made and the performance dedicated to his memory, but those days are long gone in London now.

I was one of those people who finished up heavily booked during SFB's two weeks and consequently only got to see two programmes, however I believe the hard core ballet fans turned out for as much as they could manage as I spotted a whole lot of familiar faces sitting around me. So much to admire, both dancing and choreography. I'm pretty certain I won't see anything more impressive than the Ratmansky trilogy this year. There are huge problems involved in bringing over companies now, both costs involved and dwindling audiences, it seems this company suffered from the latter.

It was an extraordinary evening, but it was performed in the present season not the next.

Your views on this triple pretty much match my own, strong dislike of the new shiny costumes for Golden Hour and the memory that SFB used to do it better. Flight pattern is a revival, I missed it first time around as had to leave the theatre with raging toothache. I didn't read the reviews. Rather thought it might have something to do with aircraft, titles can be so misleading, but it's Pite's usual block movement fare, the couple next to me clearly had been before and exited after Medusa as did a few others, Pite doesn't quite empty a theatre on the Hofesh Shechter scale, but it seemed for a number of people catching an earlier train is the more attractive option. I absolutely loved Medusa. As Graham has always been strictly rationed in the UK. I didn't make the connection at the time but on reflection I see what you mean. Music is very important to me when watching ballet and the Purcell music sung by Tim Mead was worth the price of admission on its own, even though the 'cold song' from The Fairy Queen sung by a counter tenor rather than a bass sounded a little strange. It was the sense of atmosphere that struck me about this work, the creation of a mythical place between time and reality. Cherkaoui has created for Osipova before and she performs his choreography with great conviction. Yes the beheading was very clever indeed and yes the costumes for Perseus and his men were awful, but the girls looked very good in their drapery and Athena and Poseidon conveyed an aura of other worldliness, godlike indeed, This is one I'd very much like to see revived.

Delighted to have got it wrong.

The birthday honours were published today with the usual list of 'celebrities' I've never heard of, but in the midst of athletes and rappers, two very deserving names stood out. Firstly Robert Cohan who has received a CBE knighthood, such a great pioneer of modern dance in Britain, he is now 94. Congratulations to him. The second honour to catch my eye was a knighthood for Simon Russell Beale, always my favourite of the younger generation of actors, richly deserved. Off topic, if you get a chance to see the wonderful series he made on sacred music, I strongly recommend it. The ballet fans were hoping for a knighthood for David Bintley who is about to stand down from Birmingham Royal Ballet. Sadly nothing.

I'm grateful for the list of actual ages. Steven Mcrae at 33 is also a very long way off retirement I would hope. The dancer that grabs my attention even in the corps is Joseph Sissons, principal material or not, I look forward to seeing him in more featured roles in the years ahead. You do not mention Ms Stix Brunell, a dancer I want to see far more of. Hayward is a far better dancer than your assessment, the reason she didn't dance in Don Q. was because she was on leave of absence. She most certainly has danced Aurora though unfortunately she cancelled the performance I had booked for due to ill health so I cannot comment on how good she was. What I will say about Hayward is this, the Royal Ballet is no longer a strictly classical company and its dancers are now required to dance in a variety of styles and Francesca Hayward excels in all of them. Versatility is now the key to success in the RB.

Osipova is 33! I hope she doesn't retire for at least twenty years.

Thank you Katia for this very clear list of next season's ballet's, some very interesting casting in there. However I seem to remember more comprehensive details in the casting of Enigma Variations in the past. Who gets to dance GRS, Wayne Sleep's old role? It's so virtuoso including fouettes, James Hay I hope. Then there is the romantic couple, and Jaeger, the latter role requiring an exceptionally sensitive artist. Lauren Cuthbertson would suit Lady Mary Lygon particularly well, as the beautiful Deanne Bergsma created such a unique air of mystery, she's a hard act to follow. Amazed Corrales hasn't been cast as Troyte, surely his speed is ideal for the role. Still aghast at yet another round of Manons, I for one am Manoned out.

Although I complained above about a hastily arranged gala. I now think it will turn out well as details of Fonteyn's gala have now leaked and although I won't break any rules by revealing the programme, I will just say I am very happy with the contents, and many of us older ballet goers are already excited.. Really looking forward to Saturday now, even considering dressing up.

I very much like this interview with Osipova that showed up on Facebook in which she confides that she is a difficult dancer to partner, all relevant to discussion here. On a personal note she is marrying American dancer Jason Kittelberger this summer, I'm sure you all join with me in wishing them well. https://www.standard.co.uk/go/london/arts/natalia-osipova-interview-royal-ballet-sergei-polunin-a4152626.html?amp&fbclid=IwAR0dNjieyFOUDT3xbCb4JB03iQLoKoeTafA1XTFQTP73V1GpcD2s4aM11hs

What you actually saw was a revival and it was very, very sloppily danced. When first seen it looked very different and I perfectly understand the attitude of the stager.

Thank you so much, I've made a note of the current state of play. Might I ask about Soares? Presumably not Thiago Soares, this will be someone entirely new to me so I would be very grateful for an opinion please.

They did, I think there are at least two more threads about it.

Glyndebourne has a section on what to wear. I hope this helps you https://www.glyndebourne.com/your-visit/what-to-wear/

In the past year or so I've seen more men in evening dress at ROH than I've seen in years, I've even spotted a few (very young) men in tuxedos sitting in the upper slips, which is a bit of a first. Although I would hate to see a dress code imposed, last year I actually saw a bloke in a striped Rugby shirt and shorts sitting in the front stalls. In my view shorts are for the sports field and the beach and nowhere else. I very much welcome seeing your husband in evening dress, I'm all for raising the tone of the place.

A number of UK theatres sell tickets through agencies rather than selling them directly to the public. How serious this is depends on whether or not London Theatre Direct was the sole agent for Palladium tickets or whether tickets can still be obtained elsewhere.

I can remember a time when the Bolshoi had three R&J's in it's rep, so I see no reason why the Ashton version should not be added, other than financial of course. MacMillan's version has changed over the years and doesn't resemble the original now, the last time I saw it I think I fell asleep, it's become that turgid. Of course ENB dumped the Ashton for Nureyev, an inexplicable decision. In a few minutes time it will be the 100th anniversary of Fonteyn's birth, so a reminder of the embarrassing performances of M&A we are currently force fed adds to my gloom regarding the poor show the RB has made of her centenary, So far just a hastily arranged gala (including Le Corsair pdd (well she did actually dance it a few times), a small exhibition in the amphi bar area and this https://www.roh.org.uk/news/margot-fonteyn-a-celebration And there was I looking forward to an entire year of ballets created for Fonteyn, instead we have none. Will complain no more, the tears are welling up.

I very much dislike long distance air travel but feel a visit to Sarasota is something I ought to do.

According to The Times (behind a pay wall) Polunin's performances in Verona later this year may be under threat now. Seems Italians don't care for his utterances either.