What a contrast from the night before, which on the whole had been a big disappointment, with the big exception of Johann Kobborg as Siegfried. He was superb, a troubled & brooding Prince of a very different kind from Picone.

Unlike most of you (apparently) I am really sorry that these may be last performances of this production. I love the designs, which I think are beautiful and apt in a painterly kind of way. Anyone who has done some art history will be able to spot Sonnabend's references to the late 19th century symbolist paintings of Gustave Moreau and Knopf, whose fevered imaginings conjured up all kinds of images of bird women & evil temptresses.

Was not there but I heard that some lifts went missing presumably because Picone is not really the type of partner Yanowsky really needs.... but this is second hand view

I notice that Debra Craine in her review thinks the long Sylphides-like tutus of the swans are offensive. Well, when I first went to performances of Swan Lake in the 40s and 50s, long tutus were always worn, only Odette being in a short one. To me, it was a surprise when I first saw the swans in the short ones! (Or classical tutus, as we called them, as opposed to the long "romantic" ones.)

I actually think that Dowell's production may be ahead of its time - oh, and I like his Sleeping Beauty too!

After seeing two wonderful performance of Swan Lake with Tamara Roja and Yoshida I thought their dancing was more impressive the respective Kirov principals. Their performance seem to be tidier, with much more and sensitivity to the role. In contrast I find that the Russian dancers are bland from the neck up and far too extravegant in their movements. Sometimes it looks like a gymnastic performance then a dance one. As for the body language - it seems crude and hammy compared to the RB.

The Kirov soloist who did the opening night was downright bad ( I shall not name!) and had no business dancing a major role.

I would say however that sometimes the Royal Ballet performances are too pre-occuppied with naturalism - ie too much mock conversation amoung the corp and too much detail. Everyone seems to be a soloist in the RB Swan Lake!. This is not a bad thing but perhaps the rather limited rehearsal time should be giving over to drilling the corp better.

Undoubtedly the Kirov have the edge in the Corp. They have the advantage of more rehearsal time as they are far bigger and do a more limited repertoire. This explains why there Jewels and Symphony in C was better then in even the NYCB.

I truly hope that this will be the very last time we will see the currect production of Swan Lake. This production is to Antony Dowell what the Dome is to the current government. I shall be happy to put a match to the sets!

Incidently my female companion (first time at the ballet) cried after the end of Swan Lake - maybe I should have taken her to the Kirov version!!!

I'm glad you like the designs too! (although I am not an admirer of Bjornson's "Beauty"). Picone did substitute some of the very high lifts with Yanowsky in the white swan pdd, but it didn't really bother me. Helen, am I right in thinking that those high lifts are a later addition? I don't remember them from the old film of Fonteyn.

I would also like to make a comment about the unprofessionalism of the stage crew, walking on stage as the curtains coming down, surely a few seconds as it finally closes can be allowed and then at the end of act two when we have just be at a lake they turn the working lights on , on stage before the curtains close, That is appalling and is highly unprofessional. I thought the opera house was state of the art, this should never of happened.

The costumes are so dark and complex it hides the dancer underneath it all. It also look rather serious and grim. And the absurdity of the Prince hunting in the woods with a ceremonial dress uniform - he looked as if he was dressed up to open parliament then go hunting. Even "backward" Russia had guns in the 19th century so why the crossbows. Act 1 and Act 2 (esp the character dancing look particularly bad)

Whilst I welcome the scholarly research into the original choreography - I regret the considerable elimination of so much music (the entire pas de six). Moreover so much of Ashton's wonderful choreography has also been sacrificed.

The Dowell Swan Lake looks particulary bad when compared to the previous production with its delightful costumes and Ashston choreography. This has been forever preserved on a video done in 1980 with Dowell and Marakova.

Dowell seems to be obsessed with overpowering sets and costumes - this has permeated all his new productions during his tenure at Covent Garden.

Rojo was heartbreaking, Acosta tender. What can I say that hasn't been said before? Their black pdd had me jumping about in my seat, I was so excited.

Does anyone have a view on Inaki Urlezaga's dancing as I understand he's scheduled to appear?

Martinjay, I liked Urlezaga very much. He danced beautifully in the matinee, and cut a very noble, loving and anguished figure. I thought some of the lifts with Benjamin didn't look very secure - they didn't look as effortless as they should. But I put it down to the fact that he's just come back from injury. As a very last-minute replacement for Kobborg, he probably hadn't had any time to rehearse with Benjamin.

Is anyone going for the live relay?

We got to Tosca about 45 mins before curtain up and were sitting about half-way back but I suppose it could turn out completely different for ballet.