Meantime...

John Ross was at the Opera House rehearsal/photoshoot on Monday:

Vanessa Palmer as Berthe - Giselle's mother

Roberta Marquez as Giselle

Albrecht - Ivan Putrov and Roberta Marquez - Giselle in Act II

Royal Ballet - Giselle - Jan 2006
Ballet.co Gallery Area
all images © John Ross

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I'm biased anyway, as I love the ballet (and the company), but it was such a joy seeing it danced so well last night, I almost burst with enthusiasm!
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Zen as Myrtha is in her element: regal, imperious, chillingly bent on vengeance. Her solo at the beginning of Act 2 was, simply, beautiful.

I was also mighty impressed with Sandra Conley, as was my daughter. She kept talking about that mime scene all the way home, as well as asking questions about Conley herself. She has never even mentioned the mime before! Having been to the Giselle Insight Evening a couple of weeks ago, I understood every gesture she made, and it was so clear and so poignant; here was a mother worried about her daughter's mistake and its possible consequences, and this anguish manifested itself in every move of her eyes as well as in the miming itself. Wonderful.

As Dave said, the Corps were astonishing in Act 2. Their lines were straight, their hands and feet in complete synchronisation; on both sides of the stage it looked as if there were only one dancer with mirrors making it seem like many more, that's how they moved and stood still as one. They were fluid and frighteningly frosty, yet ethereal at the same time. I was glad they got the applause they so richly deserved. Congratulations to them and to whoever is coaching them.

Rojo and Acosta really understand each other and have a palpable empathy on stage. Rojo's mad scene unfolded as if in slow motion, with every nuance of her descent very clear; it was moving and tragic, yet a joy to watch such passion unfolding. Acosta really came into his own in Act 2, with his fiery technique combining with a deepfelt despair at what he'd done; the look of hope and relief on his face as the curtain came down will stay with me.

A stunning opening night; everyone involved has set a very high standard indeed, and I now look forward to seeing some of the other casts. Long may the RB continue in its present form!

Totally agree, it's amazing, every performance I attend now seems to be special, last night was no exception, plus the extra privilege of seeing Carlos Acosta!

I felt the same, at least to some degree. Although should add it was not so much individual performances because I really felt everyone performed fantastically but just the total effect a little less than you would have hoped for given such fine dancing throughout. I put it down 'firstnightitis', there were a few near misses (actually, one or two collisions too I think) during some of the complex pattern dancing and the corps seemed to be focusing on the stage rather than beyond it at times.

Having said that I was having an off night myself and not in the mood to be wedged, as I was, between two people who's legs/arms/shoulders defied all concept of personal bounderies.

I thought Tamara was absolutely in her element in Act II. But I predict it will be Alina and Johan who will do a 'roof blower' performance - and I haven't got a ticket for them yet! Yikes!

I must say I didn't notice any collisions or even near misses. Maybe that's where the bird's eye perspective comes in handy (or not...I wouldn't have wanted to see anything off last night; it would have ruined the magic unfolding onstage!). I was standing at the back of the Stall Circle, exactly in the middle so as far away from the stage as one can be on that level. I was using my binocs a lot but didn't notice anything amiss. To answer Alison's point, everything came to the back of the Stalls very clearly, even without the binocs. A real pity if those upstairs missed out.

Special mentions also, for Thiago Soares as Hilarion and Zenaida Yanowsky as Myrtha. I have never taken much notice of Hilarion before but with Thiago in the role, I couldn't take my eyes of him: such stage presence, strong acting and energy.

In fact, I had that problem throughout the performance as there were so many good things to look at. Sandra Conley gave a moving performance as Berthe and Sarah Lamb and Laura Morera as Myrtha's attendants were excellent. The corps, especially the Wilis, were on top form.

Wonderful.

Yes, but not for the usual reason! He feels that introducing an irrelevant but (dance-wise) rather important couple disrupts the narrative too much. Better to dilute the effect by using six villagers who are just continuing the vendange festivities.

Then why are they dressed differently from the other villagers and make their entry later? The local Courland dance troupe hired for the occasion, perhaps? I'm sorry, but I remain unconvinced and don't find that this "multiplication" treatment improves the dramatic credibility in any way. For my taste, I'd be quite happy with a pdd.

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