courtesy Royal Ballet
Lauren Cuthbertson and Frederico Bonelli
I now have to admit that we were not sitting in the Royal Opera House, but watching it from our local cinema. It was beamed live all around the world to 50 countries and 500 different locations.
If you like the ballet or opera, and have not been to one of these live performances then I would urge you to give it a try. You can watch operas from the Metropolitan, which are screened in the evenings here, but are matinée performances in New York. You are totally absorbed into the atmosphere of the Opera Houses, you can see behind the scenes during the intervals, and have a grandstand view. In fact you can see more than the people who have paid £200 per ticket for their seats. During the intervals, the audience get out their picnic hampers to eat tasty nimbles with a glass of wine, and stand around chatting. Not the normal popcorn and coke affair.
Last night was full of reminiscences for me. It is exactly 30 years ago that I saw the great Nureuyev dancing the same role. By that stage Dame Margot Fonteyn had finished dancing the part of Juliet and took the role of Juliet's mother, a non dancing part.
I have just found my programme from 1982, and Dress Circle tickets cost me £13.50 which I thought was a fortune then. We have just paid more than that at the cinema.
I have just found my programme from 1982, and Dress Circle tickets cost me £13.50 which I thought was a fortune then. We have just paid more than that at the cinema.
Rudolf Nureyev and Margot Fonteyn dancing together
via wikipedia
Nureyev's incredible tomb at the Russian Cemetery in Sainte-Geneviève-des Bois just outside Paris. It represents a draped kilim over a wanderers trunk, someone that is rootless, which is what he was. It was done in mosaic by Ezio Frigerio who designed sets for several ballets.



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