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It's wonderful to be back at the Opera House. Fortunately, I was able to ease myself into the start of the season with a pas de deux at the Paris Gala in September, when Laurent Hilaire partnered me in the 'Awakening' pas de deux. The last time I'd performed in Paris (a pas de deux with Zoltan Solymosi at another Gala), Zoltan and I were the only two dancers present from the Royal Ballet and we felt a bit isolated. So it was great, this time, to have so many other members of the company along. Laurent is a really lovely guy and it was good to dance with him again. He came over to London for a couple of days to rehearse and then we went on to Paris three days before the show. We'd danced In the middle together in 1992 and also Laurencia in 1990, where we were one of three couples. (Although I must admit I'd forgotten about that until he reminded me.) The main difficulty for us in Paris was dancing on a severely raked stage. On a raked stage you have to alter your balance completely: when you're on pointe you want to roll your ankles to compensate. The rehearsal studios in Paris are raked as well (to prepare the dancers for their own stage) but what was natural for the Paris Opera dancers was alien to us.
Back in London, we had to re-alter our balance and finish the preparations for our own season, beginning with the Requiem triple bill. I love dancing Requiem. It's so enjoyable to perform - a ballet you can really 'get into' - and the music is so beautiful, it's hard not to be moved by it. Johnny (Cope) and I were the only two members of our cast who'd taken part in the ballet the last time it was performed back in 1989. It's sad that Requiem has been out of the rep for so long and sad to think of dancers who'd have loved dancing it, but have missed their chance. It's quite a difficult piece with some tricky lifts, not only for the principals but also for the corps de ballet. There is one lift - when I'm held upside down by my legs - that can leave you feeling disoriented. I am slightly out of breath when lifted and can sometimes feel my eyes rolling back in my head so I really have to concentrate. In rehearsals I surprised myself by remembering most of the solo, but had forgotten the 'Introit and Kyrie' and 'In Paradisum'. I clearly remembered discussions I had with Kenneth when he was teaching me the part and also lots of advice that he had given me.
Then it was on to Sylvia, which has been great to dance although it's very tiring and demanding. We had been doing full calls of the ballet two weeks before the first night - and by the time of our first performance, I was feeling so well rehearsed that I wasn't at all nervous. Of course, there are sometimes small problems in rehearsals - my helmet was trying to strangle me in one full call - so perhaps it was good we had so many.
Christopher Newton has done an amazing job putting Sylvia back together and it's a very interesting ballet. When we started rehearsals way back in May, Monica Mason said it was a 'jumpy turny' ballet - but I hadn't realised just how many jumps and turns there were - or how tough and tiring it would be to dance! Jumping had been a problem before my operation but, thankfully, there have been no problems with the ankle. My calf muscles are a bit tight, but that's perfectly normal when you're performing lots of jumps. One aspect that is quite unusual is that the corps de ballet have so much to do when they're on stage with me; in other ballets they're used to frame the principal and don't do so much dancing. Ashton was clever at using all the dancers on stage; it's great that the corps, too, have been given demanding and technical work to stretch and test them.
Another aspect of the ballet I really like is the fact that all my solos have different endings. So often, in a three act ballet, all the solos finish with a manege of chainé turns - but in Sylvia every ending is different. The first act solos are very tiring, each following so soon after the last that you don't get much chance to recover. Being on stage all the time makes it even harder to get your breath back. The third act solo is very long, but I do have the advantage of dancing my solo before the coda. Donald MacLeary, who was coaching us, was at the school when Sylvia was first performed and was on stage as a trumpeter during the premiere. He warned me that the audience had applauded at least twice during the solo - as you stop briefly and then continue - so it wasn't a surprise to me when the audience did the same on the first night.
As well as Requiem and Sylvia, I've also been rehearsing the 'Awakening' pas de deux with Johnny (who hasn't danced it before). Then there's a pas de deux to work on for the Winter Gala (partnered by Carlos Acosta) and we've started rehearsals for Cinderella (first stage call at the end of the month). Yes, it's a busy time for me. And when I'm not dancing, I'm sewing - you wouldn't believe the number of pointe shoes I'm getting through!
Thank you again to everyone who has sent cards, letters and gifts to me at the Opera House; I really appreciate your support. Sorry for the delay in replying to some of them - I am still working my way slowly through the pile, so if you haven't heard from me yet, you will soon. Thanks also for the comments regarding this site but unfortunately I'm unable to offer any personal advice.
I hope you enjoyed the newsletter. Please come back again to see what I have been up to.
Enjoy your dance.
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